Intermediate Terminal Warehouse No.3

Cory HarrisonBFA thesisFall 2011

this site is an emotional haven, a peaceful getaway that is in close proximity to

Richmond, yet far enough to escape the congestion of city life.

Through exploring sites similar to the Intermediate Terminal Warehouse, I have realized the importance of reacquainting Richmond with the waterfront. I believe the warehouse should be modernized so that it can once again be functional, while still preserving the history. I believe it’s important to preserve the history of the Intermediate Terminal Warehouse, as it is an important staple to Richmond’s past and holds ties to the cities rich heritage. However, rather than painstakingly preserving it to it’s original form, I propose stripping the building down to its concrete frame, quite literally the bones. The vacant lot directly adjacent to the Intermediate Terminal Warehouse could serve as a magnificent public park space, the high line and Brooklyn Bridge Park have been a major inspiration and are great examples of how defunct post-industrial spaces can be repurposed. I believe that having great public spaces is what makes a community.

design manifesto

“you build great cities by building a great public realm” Josh Campbell

My main goal is to keep the history of the Intermediate Terminal Warehouse alive. It was once a bustling waterfront that would export goods by means of train and barge. I want to rekindle the energy that the site once had, and share it with Richmond. Liter-ally reconnecting the city with the river. The program for the revitalized Intermediate Terminal Warehouse will be similar to the other Art Centers in Richmond, but they will be more accessible and less exclusive. I propose public work-spaces and studios, offering creative types a place to flourish, as well as outdoor spaces, taking full advantage of the vacant lots surrounding the site. This site will be a new central hub for art and design production in Richmond.

abstract

DOCKS DE PARISLOCATION

PARIS, FRANCEARCHITECT

JAKOB + MACFARLANE

case study

I found a building, similar in structure, to the Intermediate Terminal Warehouse, located in Paris: The Utilitarian Docks de Paris. These docks were formerly a depot for goods. Parisian architecture firm Jakob and Macfarlene were challenged with transforming the three story building into a new fashion and design center “despite its neglected state, and somewhat nondescript, utilitarian design” (Blum, 110) They wanted to stay true to the history of the building and conserve the structure, “[we chose to] take the building right back to its original skeleton and propose a new skin, it created the opportunity to give a new face to a faceless building”. Similar to what I am proposing, the program of the Docks de Paris called for shops, cafes, an exhibition space, a new home for Institut Francais de la Mode fashion school, a

rooftop restaurant, and studios that would overlook the river. Although housing all of these to fit the program is vital, the buildings most striking feature is the “plug over”, a green glass and steel structure that looks as if it’s growing off of the buildings facade. The plug over provides vertical circulation to all levels, and glows green at night, reflecting in the river. The grid of the facade helped determine the shape of the plug over. The building was over structured, and was able to hold more building “and that’s what we gave it” explained Macfarlene. I think this is the best example of re purposing a building that has fallen under disrepair; especially a riverfront building, in a way, you are re-engaging the community with the water. James Corner of Field Operations, who worked on

High Line park in New York City, makes an interesting point regarding derelict industrial areas “the whole thing [the High Line] is a sharp witted reflection of who we are as a city: strolling on the wreckage of the past while basking in the cultured and moneyed present”. He addresses an important issue, we are living among structures from our industrial past, it’s important to repurpose rather than demolish while transforming a derelict industrial area into a stylish commercial district or park. “Intuitive and Rational collide, reinforcing and inflecting one another” the architect making an interesting point about the interaction between old and new.

A new project in Brooklyn is underway, located in a defunct shipping complex along the East River. Brooklyn Bridge Park was created to reconnect the city with its waterfront: “New York City and other cities have shifted from manufacturing to service economies” explains Sarah Amelar. The new park has utilized abandoned shipping docks, creating new green spaces that were not previously inhabitable to the community. The park also provides breathtaking panoramic views of Manhattan across the “800 acres of water” that is the river. The goal of this project was to stay true to the original purpose of these industrial docks “the decisively industrial character of the Brooklyn and Manhattan bridges with their structural underbellies fully revealed, is key to Brooklyn Bridge Park’s dialogue with its past. Van Valkenburgh does not recreate nor fabricate an untouched primal landscape”. It’s fantastic what was done with the park: rather that omitting existing conditions and eyesores, they were embraced. A great example of this would be the partially submerged pilings from old piers, “artifacts

of marine infrastructure”, now a bird and fish habitat. A large steel frame structure, a skeleton of a piers shed, was re purposed acts as armatures. It will house swings, create shade for a pavilion, and provide lighting at nigh (Amelar, 82).

Not everything in the park was kept as is; a major challenge was noise pollution from the Queens expressway. Rather than building an unsightly sound barrier with steel and concrete, rolling hills were built- “rather than slavishly preserving the monotonously flat, impervious hardscape, the park introduces undulant topography and lush native vegetation, playing machine edged relics against diverse, seemingly wild landscapes”. This creates an interesting juxtaposition, and takes full advantage of the defunct space. As a closing note, I will provide a quote from the landscape architect, Van Volkenburgh: “One big distinction between landscape architecture of the 19th and 20th centuries is how much we accept the imprint of our prior inhabitations”.

“playing machine edged relics against diverse, seemingly wild landscapes”.

BROOKLYN BRIDE PARKLOCATION

BROOKLYN, NEW YORKLANDSCAPE ,=ARCHITECT

MICHAEL VAN VALKENBURG

case study

In Toronto, architecture firm West 8 has created waterfront walkways and benches “where the city kisses the river”. These boardwalk-like structures give Toronto residents access to the waterfront that was previously blocked by a major road. “We want to make sure as we march along and revitalize the waterfront, that the waters edge is recaptured by the people, legally, physically, and psychologically”-Josh Campbell, the president and CEO of Toronto’s waterfront, explains the docks importance to the community, “you build great cities by building a great public realm”. These undulating docks were literally built over the water, on pilings, because all of the

land on the waterfront was either paved with road or had an obstructing building. The founding principal of West 8, Adriaan Geuze, wanted to capture the essence of the waterfront and make it something truly unique and special for Canadians: “I wanted to define Canada’s newfound amenity by referencing a collective national memory: the beautiful view, large trees on the shore, and a rustic cabin and dock perched on the edge of the lake-this is what Canadians share” (Arvidson, 34). There is a lesson to be learned from this design that I would like to apply to my thesis, the idea of reacquainting Richmonders with the waterfront, not just physically, but emotionally as well.

TORONTO CENTRAL WATERFRONTLOCATION

TORONTO, CANADAARCHITECT

WEST 8VALKENBURG

case study

“the waters edge is recaptured by the people, legally, physically, and psychologically”

precedent study

“something to look at and to look from”

THE ORANGE CUBELOCATION

LYON, FRANCEARCHITECT

JAKOB + MACFARLANE

In Lyon, France, a building has been erected known as the “orange cube”. Located in an area that is being redeveloped-post industrial-the orange cube offers scenic river and hillside views, and, as Roland Barthes noted, apropos the Eiffel Tower “something to look at and to look from” Jakob and Macfarlene. The building has rental office space as well as ground-level retail space. The office spaces above “mark the transformation of the site” so, they decided to push the envelope to its limits and give the project “optimal physical presence on its formerly industrial site”. This “hypothetical or virtual Cartesian volume”, a box of a building, is interrupted by 3 conical volumes. The orange color, although it may seem frivolous and unnecessary, was derived from the color of lead paint that is common to the local industry of dock lands and factory zones in this region of France, making a contextual reference. The structure was about exploring and discovery “it explores volume as a rhetorical strategy yet tweaks that geometry to opportunistic ends”. The decision of color and shape of the building may seem meaningless, but the reality is contrary. These were conscious decisions and the architect was very careful in making these choices “the pursuit of iconicity has frequently resulted in meaningless gestures, The Orange Cube, to the contrary, can be inductive and subtle, almost organic in form. It is a pragmatic commercial building that appears, in the light of the day, to be surprisingly alive” (Ryan, 57).

Mezzanine

Ground Floor

Sixth Floor

Fifth Floor

Circulation

Office Space

Void

Outdoor Space

Gallery/Gallery Mezzanine

Parking Garage access

THE ORANGE CUBEANALYSIS

PLAN

SECTION

SITE

Section

Parking

Gallery

Offices

Public staff areaPrivate balcony

Relationship diagram in Section

Location

VMFALOCATION

RICHMOND, VAARCHITECT

SMBW Architects

precedent study

VMFALOCATION

RICHMOND, VIRGINIAARCHITECT

SMBW + RICK MATHERI met with Megan Liles, the Youth and Family Studio Programs Coordinator at the VMFA Art Center. She was extremely knowledgeable and had a big part in the design of the Art Center from the programming and conceptual phase all the way to completion. In designing the Art Center, the Architect thought about access and ease when space planning. It has direct access to the museums galleries, including the new wing, but it’s private enough that visitors to the museum do not interrupt the programs that are being held. The studio spaces are used for an array of programs. Schools from the Richmond and surrounding areas come to tour the Museum and Art center everyday.

There are over 100 programs, and in the summer season 3,800-4,000 students attend these programs. Megan said that the art center tries to offer some free programming, for underprivileged families, but it is hard to fund. However, most of the free events are sponsored.

The architect added a coat room, with storage cubbies under a built in bench system. Megan says this has been extremely beneficial as it keeps everything organized and clean.

There is a teacher gallery space that is part of the Art Center, but can be viewed by any visitors to the VMFA. The teaching gallery is a “rotating gallery”, meaning that every so often (about every month) the exhibition is

changed by the studio teachers andadministration that work in the Art Center. Along the walls there is a long vertical recess, with built in lighting. This is the student “Gallery” space. Its not technically a gallery, since the recessed wall runs along the circulation path, but it’s brilliant because visitors to the Museum and Art Center can view them as they pass, and the students in the program are able to display their art. Megan gets plenty of positive feedback about the student exhibition space.

There are two large studio rooms, connected by a corridor that has access to two storage rooms. Both studios house AVA equipment, including a projector. The studios have durable rubber floors, and painted drywall walls. Single stainless steel sinks are located in both studios; Megan has found that a deeper, double stainless steel sink would have been more functional with the amount of students that attend classes. There is also no backsplash behind the sinks, and paint has splattered and soaked into the wall. A simple stainless steel backsplash could solve this.

The studios have retractable glass dividing walls, which can be opened up into the circulation space/student exhibition space. The retractable glass wall is great for open houses and events, however there is a fishbowl effect when programs are going on, visitors that are passing by can gaze in, and it can be distracting to the students.

As far as storage goes, Megan has realized that shelving storage is not adequate enough; she prefers drawer-bins that can hold a variety of art supplies. As far as storage goes, Megan keeps hazardous chemicals that need to be separated from regular supplies in a locked storage closet. Megan went on to show me the different kinds of seals that are placed on supplies such as paint. AP or CL means that the paint is non-toxic and non-allergenic.

I had some questions about how the VMFA went about marketing classes/art programs, since there are over100 available to such a broad age group. There is a studio brochure that is mailed outevery semester, this has the classes listed, and similar to a classified ad in a newspaper, so that one can simply circle the classes they’re interested in. Megan also puts a posting in Style Weekly, and sometimes in Richmond Family Magazine. Richmond Family Magazine will often give her a free advertisement by posting “how to” articles and editorials. As far as social media goes, Megan has found that printed materials seem to be more effective, especially for moms and older generations. She mentioned that the Art Center would sometimes send out press release PDF flyers via e-mail. “We like to focus on our audience, but we try to reach out as much as possible.”

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5

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3

9

8

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1 Grove Avenue2 Existing structure3 Art Center 4 VMFA expansion

5 N Shepard Street6 Parking7 Separate student entrance8 Roundabout 9 Boulevard

VMFASITE PLAN

Versatility of Spaces

Ground Level

Low circulation

High circulation

ART CENTER PLAN

CIRCULATION STUDY

1 Student Gallery2 Corridor3 Studios4 Teaching Gallery

5 Orientation Room6 Coat Room7 Circulation between studios8 Storage

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2

654

38

73

8

precedent study

“We tried to make architecture by making as little architecture as possible”

KRAANSPOORLOCATION

AMSTERDAMARCHITECT

OTH ONTWERPGROEP

A similar structure to the Docks de Paris is the Kraanspoor building, located in Amsterdam. Originally, this concrete structure housed two cranes along the waterfront, used to moore ships while they were assembled. Designer Trude Hookyaas wanted to place a glass “box” on top of the structure, for her firms new location. The size and type of construction of this glass box was determined by the load-bearing capacity of the original concrete base. “Some of the concrete had deteriorated, so, for the sake of lightness and transparency, Hooykaas designed a three story box and glass and prefab steel with floors of concrete slabs only about 2 3/4 inches thick” (Metz, 80). The box is supported by slender steel H-profiles, which rest on the concrete columns of the original structure. There is a ten-foot gap between the old structure and the new “that is essential to mark both the contrast and the coming together of old and new”. It’s an interesting contrast that was created, the heaviness and bulkiness of the existing concrete base, and the lightness and transparency of the new box that is seemingly suspended in the air ten feet above the base. “We tried to make architecture by making as little architecture as possible” - I think they succeeded, transforming a relic into an icon.

VERTICALCIRCULATION

CIRCULATION

KRAANSPOOR 1

2

1

2

1 New construction2 Existing structure

east main st

wharf street

james river

INTERMEDIATE TERMINAL WAREHOUSE NO.3LOCATION

RICHMOND, VA

3103 East Main Street

scope of work roughly 10,800 square feet

second floorroof level

The Intermediate Terminal Warehouse building is located on a wonderful piece of land that kisses the James River. Built in 1937 as a shipping depot, it’s one of Richmond’s earliest reinforced concrete buildings. It was previously used as a depot for outgoing goods. For many years the majority of cargoes exported through the Richmond port were sugar and tobacco. The sugar trade came to a halt with the 1960 embargo on trade with Cuba. Exporting tobacco from the Terminal Warehouse also died out due to quicker means of transportation, and new shipping methods. In later years, the warehouse was used to store voting machines, before more modern, compact voting machines were created. The building has been empty since the 1980’s, however it was recently purchased by Michael Ripp, whose family owns 18 Arby’s establishments as well as Can Can brasserie in Carytown. The Ripp family plans to transform the Terminal Warehouse into a restaurant, and in doing so continuing to revitalize the waterfront.

history

site

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8 7

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1 Oregon Hill2 VCU/the Fan3 Carver4 Jackson Ward5 MCV6 Downtown/Shockoe Bottom

7 Mayo Island8 Belle Isle9 Manchester10 Church Hill11 Rockett’s Landing12 Intermediate Terminal Warehouse

Richmond Site Map

one of the four loading docks facing East Main Street, each has a corrugated metal awning above

opposite: detail of the loading dock door

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1 There is plenty of green space surrounding the Intermediate Terminal Warehouse

2 Space to pull off of Main Street, this used to be the original entrance to the Intermediate Terminal Warehouse. Four loading docks and one entrance door are located here.

3 A creek runs under East Main Street and the Wharf street bridge and connects to the James River

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1 A large vacant lot where a second Terminal Warehouse used to stand, this large vancant lot could serve as a public park with access to the James River.

2 There is ample space for parking in this vacant lot

3 Wharf Street runs directly under the Intermediate Terminal warehouse

4 East Main Street runs along the James River

The history of Richmond and that of the Intermediate Terminal warehouse was very influential in picking this site. The city was essentially born from the James River, and I believe that over time, Richmond has become disconnected from the waterfront. This site used to be a bustling expo for goods, but smaller, containerized shipping has rendered the once state-of-the-art facility obsolete. I want to reconnect the city with the waterfront, by revitalizing this site, Richmonders can reclaim what is rightfully theirs.

site specific

railroad ties that run parallel to Wharf Street and connect to a defunct industrial lot. They are still utilized but only to store extra train cars.

East Elevation North Elevation

building analysis

West Elevation South Elevation

Second Level

view of downtown from the vacant lot immediatley adjacent to the Intermediate Terminal Warehouse

building analysis

1 exit locations2 loading docks3 freight elevator to all levels4 window locations5 structural columns

21,600 square feet total

12’ ceilings on both levels circa 1937

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5

4

31

Second Level

long view of the underbelly, showing the structural elements

detail shot showing the water pipe grid that is mounted to the concrete structure and freigth elevator with sliding aluminum door.

natural light study

little or no natural light

high amount of natural light

Second Level

building code

3103 East Main StreetRichmond, Virginia 23223

Construction TypeType-1 concrete structure with cmu curtain walls

Occupancy Classification F-1

Allowable Area Unlimited

Alowable Stories Unlimited

Plumbing1 W/C per male and female1 water fountain

Fire Exits One more greater than 91’ away from the entrance

the vacant lot immediatley adjacent to the Intermediate Terminal Warehouse, where a second Warehouse used to stand. The James river is directly beyond this

opposite: view of the Intermediate Terminal Warehouse facing towards East Main street

Art Center relationship diagram

office relationship diagram

studios relationship diagram

event space relationship diagram

adjaceny matrix

Lobby

Reception

Offices

Gallery

Event Space

Restrooms

Studios

Cafe

Kitchen

Staff Lounge

Green Roof

Storage

Lobb

yRe

cept

ion

Offic

es

Gallery

Even

t Spa

ce

Restr

ooms

Studio

s

Café Kitch

en

Staff L

oung

e

Green

Roo

f

Storag

e

0 5 4 2 2 4 4 1 1 2 1 4

5 0 5 4 3 3 3 1 1 2 1 4

4 5 0 2 1 3 4 1 1 3 1 5

2 4 2 0 5 3 5 2 2 3 1 5

2 3 1 5 0 3 4 1 1 2 1 3

4 3 3 3 3 0 4 2 2 4 2 3

4 3 4 5 4 4 0 2 3 4 1 5

1 1 1 2 1 2 2 0 5 5 4 5

1 1 1 2 1 2 3 5 0 4 4 5

2 2 3 3 2 4 4 5 4 0 4 3

1 1 1 1 1 2 1 4 4 4 0 4

4 4 5 5 3 3 5 5 5 3 4 0

studio equipment needs

$ $

5 Tables (for 6 students at each table) 2,000.00 Compasses 65

30 chairs 1,500.00 Rulers, t-squares, protractors, etc 250

Color wheel Packs (1 Large, 30 small) 15 6 glue guns 250

Plastic 'wells' and covers 150 Clipboards and drawings boards 365

Disposable paper containers 30 Paints, papers, pencils, etc. 10,000

Detailer writers 50 Tapes and dispensors 500

Art clotheslines 20 Cutting matts 500

Smocks/Aprons 200 AV equipment 5,000

Disposable gloves 20 Containers for supplies 750

Paper dispenser and paper 500 Printing materials 1,000

Paper cutter 550 Small printing press 1,000

Drying rack 1,530 Wire and foiling materials 600

Rolling cart 300 Yarns, fibers, textiles 500

Laminator 300 Self-portrait mirrors 500

Storage Cart 305 Cubbies 4,000

Art rack 250 Misc. 4,000

Pencil sharpeners 100 Paint brushes 950

Aluminum table easles 480 Mat Cutter and replacement blades 600

High frame easel (2 for demos) 260 Staplers 275

Assorted scissors 500 Paper punch 40

Total for each studio $41,000.00

programming

Space Size Adjacencies FF&E Views Notes

Art  Center  Areas

Lobby 1,200 Located centrally Wall niches for Art, Seating Main Street

Reception 500 Immediatley adjacent to Lobby Entry counter with multi-level surfaces Main Street space for one receptionist

Gallery 800 Medium Adjacency to Lobby Wall niches for Art, as well as adequate space for installations Main Street expandable space/multifunctional

Event Space 900 Medium Adjacency to Lobby Folding wall that will open to the Gallery space Urban/River storage for funtion seating/tables

Restrooms 1,000 Located centrally

Studios 3,000 Adjacent to Gallery Open space for various classes, dual sinks, wall storage River can be opened into one large studio

Café 2,000 Medium Adjacency to Green Roof Standard table and bar seating, wall booths River

Green Roof 5,000 Vertically Adjacent to Second Floor Standard table seating, Lounge seating, Plant beds Urban/River will house a small bar/café for events

Storage 1,200 Immediatley Adjacent to Studios Vertical Wall Storage

Staff Areas

Offices 1,200 Vertically Adjacent to Studios Standard Office Furniture River located on both levels

Staff lounge 600 Directly Adjacent to Offices Lounge Seating Main Street

Staff Kitchen 500 Medium Adjancey to Lounge Fridge, and Pantry space

Conference Room 450 Directly Adjacent to Offices One Conference table with standard seating Urban/River

Restrooms 500 Centrally located

space needs

• Clean-up areas: deep sinks with tall, gooseneck faucets to accommodate filling buckets; hot/cold water with handicapped-accessible handles. Cor-rect drain and trap is very important for studio use, i.e. able to handle paint, clay, plaster, etc. Two sets of sinks in each studio.

• Lighting: track lighting, adjustable, multi sets with dimmer. No low hanging fixtures

• Easily cleanable and scrub-able floors, countertops, wall surfaces

• Wall surface needs to be pushpin friendly so that posters, student work, etc. can be easily tacked up and taken down

• In-studio storage needs: studio cabinets and drawers, horizontal paper storage and drying racks as well as tall broom closets in each studio

• Window treatment: studios need to be able to darken for showing videos, slides, etc.

This should be a flexible gallery space with lighting, security, and environmental controls necessary to display works of art

• Bookshelves• 6 large filing cabinets• Computer center with Internet access

and telephone• Xerox machine• 8 lockers• 2 worktables• Pushpin friendly wall surface• Large conference table with 8 chairs

• The space must me sufficient to hold 100-200 people for an array of events

• Multifunctional seating to include some lounge seating

• Platform/podium area (can be movable)• Projector enclosure• Slide projection screen• Room must be able to darken• Built in AV system and lockable AV

storage• Computer hook-up capabilities for multi-

media use

• Furniture needs: each studio should have 6 tables that can be folded up and removed. The studio will need durable chairs, think about long-term.

• Equipment: each studio should have lockable AV cabinet or built in, ceiling mounted projector, wall mounted TV monitor, sound system, computer with Internet access, telephone, retractable projection screen.

• Storage room in studio:• There needs to be a lockable door for

this space• Metal storage cabinets with adjustable

shelving that is wall mounted, easily viewed, and accessible

• Easy-clean flooring and shelving.

Gallery

Event Space

Studios

Offices

bibliography

Amelar, S. (2011). Brooklyn bridge park. Architectural Record, 199(9), 82-89.

Arvidson, A. (2011). New wave: Public space/collective memory/urbanism. Metropolis, 208(7), 34-35.

Barrientes, R. (2011, Octoboer 15). Interview by T Harrison [Personal Interview]. Art center : Visual art center studios. , Richmond, Virginia.

Blum, A. (2008). Utilitarian docks de paris makes a fashion statement. Metropolis, 159(4), 110-111.

Frasier, P. (2011, Octoboer 11). Interview by T Harrison [Personal Interview]. Studio spaces. , Richmond, Virginia.

Liles , M. (2011, October 23). Interview by T Harrison [Personal Interview]. Vmfa: Art center. , Virginia Museum of Fine Art.

Metz, T. (2011). Kranspoor. Architectural Record, 198(8), 52-57.

Ryan , R. (2011). The orange cube; lyon, france.Architectural Review, 1212(3), 80-84.

photo credits

pages 8-9Blum, A. (2008). Utilitarian docks de paris makes a fashion statement. Metropolis, 159(4), 110-111.

page 10-11Amelar, S. (2011). Brooklyn bridge park. Architectural Record, 199(9), 82-89.

page 13Arvidson, A. (2011). New wave: Public space/collective memory/urbanism. Metropolis, 208(7), 34-35.

pages 14-17 Ryan , R. (2011). The orange cube; lyon, france.Architectural Review, 1212(3), 80-84.

pages 22-25 Metz, T. (2011). Kranspoor. Architectural Record, 198(8), 52-57.

pages 33, 36, 38, 78-82www.maps.live.com

appendix

1. For youth workshops or classes, what size studio space do you believe works best?

A. smaller studio with two or less instructors

B. Larger studio space with two or more instructors

For teen classes? (12-16 age group)

Adult classes? (16+)

2. Do the 16+ workshops function better with the participants working individually in their own spaces/at their own desks, or together at large tables/groupings of desks? (Or both)

3. Do you find it beneficial to have separate studio spaces tailored for certain activities (i.e. painting, pottery, mixed media), rather than multipurpose spaces that can cater to all of these activities?

4. How do you market your courses/workshops to the public? How would you market differently if you were in an area with less vehicle and pedestrian traffic?

5. Would an age-specific Art Center in Richmond be as successful as something that offered workshops for all ages?

6. Do you offer open studio hours during

the week to allow peers to work outside of their classes/workshops? If so, please list some pros + cons (safety issues, precautions, etc.)7. Do you rent out studio spaces for practicing artists to utilize? What are the restrictions on these spaces (i.e. key card access? Do the artists have 24/7 access? etc.).

Do the size of these studios vary, or do they all have a general footprint?

Can equipment be rented? (i.e. printmaking equipment)

Do these artists have a space to display work? Is it viewable by the public?

8. What kind of space do you find beneficial for events (open air/outdoor, lobby, multifunctional studio space)

9. Do you offer studio spaces for an artist-in-residence to practice? If so, are there limitations on working periods? Do you have specific housing and studio facilities for the artist?

10. How do you think the Visual Arts Center of Richmond engages its surroundings? (The Fan, Richmondas a whole)

Is there anything that could be changed to improve this?

questionnaire Robert Barrientes: Visual Art Center

1. For youth workshops or classes, what size studio space do you believe works best?

A. smaller studio with two or less instructorsB. Larger studio space with two or more instructors For teen classes? (12-16 age group) Adult classes? (16+)

2. Do the 16+ workshops function better with the participants working individually in their own spaces/at their own desks, or together at large tables/groupings of desks? (Or both)

3. Do you find it beneficial to have separate studio spaces tailored for certain activities (i.e. painting, pottery, mixed media), rather than multipurpose spaces that can cater to all of these activities?

Do you provide supplies for workshops and classes?

4. How do you market your courses/workshops to the public? How would you market differently if you were in an area with less vehicle and pedestrian traffic?

5. Would an age-specific Art Center in Richmond be as successful as something that offered workshops for all ages?

6. Do you offer open studio hours during the week to allow peers to work outside of their classes/workshops? If not, why? If so, please list some pros + cons (safety issues, precautions, etc.)

7. Do you think the VMFA could benefit from renting out studio spaces for practicing artists to utilize? What kind of restrictions would be needed (i.e. key card access? Do the artists have 24/7 access? etc.)

Would be able to be equipment be rented? (i.e. printmaking equipment)

Would these artists have a space to display work? Is it viewable by the public?

8. What kind of space do you find beneficial for events (open air/outdoor, lobby, multifunctional studio space)

For an intimate cocktail party?A large gallery opening?Artist exhibition?

9. Do you provide studio spaces for an artist-in-residence to practice? If so, are there limitations on working periods? Do you have specific housing and studio facilities for the artist?

10. How do you think the VMFA engages its surroundings? The Museum district, and Richmond as a whole? (take into consideration the structure itself as well as visual signage outside of the VMFA)

Is there anything that could be changed to improve this?

questionnaire Megan Liles: VMFA

Do you find it beneficial to have separate studio spaces tailored for certain activities (i.e. painting, pottery, mixed media), rather than multipurpose spaces that can cater to all of these activities?

Do you provide supplies for workshops and classes?

How do you market your courses/workshops to the public?

How would you market differently if you were in an area with less vehicle and pedestrian traffic?

Would an age-specific Art Center in Richmond be as successful as something that offered workshops for all ages?

What kind of space do you find beneficial for events (open air/outdoor, lobby, and multifunctional studio space?

questionnaire Peter Fraser: FDA

These colors were inspired by the waterfront, the green palette was derived from the James River, the blue is reminiscent of the sky and the color that reflects from the windows on the Intermediate Terminal Warehouse, and the oranges are an exaggerated tone of the rust that is seen on the rusted galvanized steel on the building and surrounding site

cory harrison thesis

fall 2011 Problem statement My main goal is to keep the history of the Intermediate Terminal Warehouse alive. It was once a bustling waterfront that would export goods by means of train and barge. I want to rekindle the energy that the site once had, and share it with Richmond. Literally reconnecting the city with the river. The program for the revitalized Intermediate Terminal Warehouse will be similar to the other Art Centers in Richmond, but they will be more accessible and less exclusive. I propose public work-spaces and studios, offering creative types a place to flourish, as well as outdoor spaces, taking full advantage of the vacant lots surrounding the site. This site will be a new central hub for art and design production in Richmond.

Program summary square feet scope of work: 2nd level: 10,800 square feet Intermediate Terminal Warehouse No.3 3103 East Main Street, Richmond VA 2 Levels [only occupying 2nd level] 21,600 square feet total