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    ADDITIONSa research inquiry

    Matthew J McGrane

    MID 510 Research Methods

    November 19, 2009

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    Building additions have been an important component in the architecturalrealm for centuries. How an addition manifests itself on the building and

    within the context of the space is something that has been addressed by archi-

    tects in an amazing variety of ways. Some additions are integral to the build-

    ing, constructed to appear as though they were a part of the original design.

    Others, preferring not to interfere with the scale and form of the original,

    detach themselves to become the original buildings neighbor. This neighbor

    can sometimes be extremely cozy, or distant. It can be noisy or quiet. It can

    enhance the setting of a civil dialogue or it can create an unbearable tension

    or friction that makes it difcult to be around. Additions have a humanity that

    speaks to us and to the buildings around them.

    They have a long and fascinating history. One such example is the Cathedral of

    Siena addition, conceived as a massively ambitious project, turning the existing

    gothic cathedral as we see it today into a transept of a huge nave that would

    cut through its center, creating a space so large as to rival St. Peters in Rome.

    The project never came to completion, and luckily we still have the skeleton of

    the exterior walls looming hauntingly alongside of the cathedral todayit func-

    tions both as a testament to the impressive motivations of the Sienese, but

    also as a public plaza and as a place where layers of various interventions have

    occurred through time.

    pg 2

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    In fact, Italian cities have had a legacy of opportunistic building, seizing upon

    existing ancient Roman foundations and fragments, or re-assembling pieces of

    them and integrating them into new buildings. Rome abounds with churches,

    palazzos, and public squares where the evidence of Roman civilization lies all

    around the visitor, quite intact to the attuned eye. The original purpose of those

    ancient buildings were of no value to the medieval Roman citizen, so they re-

    appropriated what was laying around to address their own immediate needs

    and without realizing it, created objects of amazing richness and layered mean-

    ing in the process.

    The circumstances surrounding our approach to building additions in this

    country and in this century couldnt be more different. In some ways, we could

    stand to learn a thing or two from the medieval citizens of Rome, but in many

    ways we have also been injured by the specter of 1960s urban renewal, when

    turn-of-the-century urban architecture was razed by the blockload to become

    empty lots for parking cars. For many historicists and lovers of old buildings,

    what has survived is extremely precious, and intervening with a 19th-century

    building in any way except restoration is considered a violation, an act of her-

    esy. While history and old buildings are to be revered and respected, freezing

    a building in time is also not usually well suited for an evolving population andevolving context, especially for buildings whose function has become obsolete

    or unaccommodating, and a nancial drain. So how are current practicing

    architects addressing this dilemma?

    The search strategy implemented to address this issue involved researching

    back issues of the architectural journal, Architectural Record, to study and

    observe the various solutions being offered by leading design professionals on

    public and private buildings. Because these buildings cannot conceivably be

    pg 3

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    visited in a short period of time and feature international projects, photographs

    from the internet had to be acquired to give a sense of the project itself, includ-

    ing any images of the original building.

    Further study opened a new issue, which became the re-denition of the prob-

    lemhow to catalogue the various additions in a way that is meaningful? The

    data gathered concerned the Architectural Record issue being reviewed, the

    architect, the location, and the building type. Reviewing all the data that was

    unfolding and starting to categorize it turned into a form of grounded theory,

    where it was ascertained what was essential, and various term labels began to

    form as a way of cataloguing the additions. They are identied as follows:

    THEEXTENSION

    Theextensionisanadditionwhosegeneralformpicksuprightwhereanex-

    istingbuildingleavesoff,withkeylinesandrhythmsextendedintothenewproject.Stylisticallyitmayormaynotcopytheoriginal,butitsimultaneously

    alterstheproportionsinallcases.ArataIsozakisfootbridgeisanextensionof

    SantiagoCalatravasbridge(sample1),andwhileitdoesnotimitatetheorigi-

    nalformsofCalatravasbridge,itdoescontinueaveryspecicgestureand

    specicline.DillerScodo+RenfrosAliceTullyHall(sample27)isanother

    example,wherethegeometryoftheadditionmimicstheoriginal,morphingas

    itmovesawaytoculminateinacantileveredmass.Theoriginalgeometryis

    radicallytransformed.

    THEARTIFACT

    TheartifactissimilartohowmedievalRomansapproachedadditionsintheircities:disassociatedfeaturesofaformerconstructionareembeddedaspre-

    ciousobjectsinanewprogram,andarehighlightedasanimportantdesign

    component.PeterZumthorsKolumbamuseuminCologne(sample3)isan

    excellentexampleofcreatingaspacearoundtheruinsofachurchbombedin

    WorldWarII.Theremnantsrecallthebuildingshistoryandviolentend,butthe

    additionbringsitnewlife.IntheUnitedStates,anartifactofanearlierbuilding

    ispreservedasafaadeelementintheFolsomandDoreStreetapartments

    (sample22),juxtaposingtwodifferentscales.

    THEPAVILION

    Thepavilionisattachedtotheoriginalstructure,butappearsdetachedand

    spatiallyindependent.Sometimesthepavilionlinkoccursunderground,or

    maybeaminimalcontactwiththehostbuilding,touchingitverylightly.The

    additionitselfisobservedasanindependentbuilding,andtheoriginalbuilding

    appearsuntouched.Lightboxescascadingacrossastretchoflandadjacent

    totheNelson-AtkinsMuseumofArtarepristineexamplesofthis(sample11).

    TheBowdoinCollegeMuseumofArtalsofeaturesapavilionadditionthatlinks

    undergroundtotheoriginalstructure(sample4).Pavilionswerethemost

    populartypesofadditionstomuseumsinthisresearchdata.

    pg 4

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    THEPLUG

    Whereasthepavilionisperceivedasanindependentbuilding,theplugis

    smashedupdirectlytotheoriginalwithlittleornospatialseparation.The

    HearstTower(sample2)isanexampleofaverticalplug,whileChicagos

    RalphEllisonHighSchool(sample20)isaquintessentialhorizontalplug.In

    bothcases,neitheradditionhasanythingtodowiththeoriginalstructure.Ifa

    perceivedplugcontainselementsoftheoriginal,itisactuallynotaplugbutan

    extension.

    THEINFILL

    Theinlltakesavoidbetweenbuildingstoconnectitsvariouspiecesintoa

    megastructurethatisdetectablefromgroundlevel.Itisoneformwithseveral

    stylesofarchitecturalblockscomprisingawhole.TheMorganLibrary(sample

    9)andtheWheelerSchool(sample37)showaninll.

    THECAP

    Thecapisasmallarchitecturaladditiontothetopofanexistingbuilding.

    TheDocksdeParisisaspectacularcaptoadraboriginalwaterfrontbuilding

    (sample33),thecapbecomingaseriesofpedestrianwalkwaysthatconnect

    thespacestotheupperdeck.Italsobecomesthebuildingspublicidentity.

    AnotheristhelidandfacetedglassdiamondthatprojectsfromtheDianevon

    FurstenbergStudioHeadquarters(sample14).

    THEWRAP

    Thewrapisacloakadditionthatininjectsastylisticallydifferentiatingform

    aroundtheoriginal,eitherinwholeorinpart.Apoeticwrapshieldsthedeli-

    catebrickwallsoftheOurLadyoftheConceptionChapelinBrazil(sample31),

    andshelterstheopenspacewithanewoatingceiling.Anotherprotective

    wrapguardstheskeletonofa6-storyretailbuildinginSanFrancisco(sample

    32)

    THESUBTRACTIVE

    Thesubtractiveisaspecialkindofadditionthatisactuallyaremovalofspe-

    cicpartsofanexistingbuilding.Itcanbeconsideredanadditioninthesense

    thatisaninterventionthatre-purposesthestructure.Onlyonesampleinthis

    researchwassubtractive,theMontpelieradditioninVirginia(sample34).Now

    amuseumofJamesMadisonshome,theadditionhadtodemolishvastpor-

    tionsthathadbeenaddedoverthedecades,mostrecentlybytheduPonts,who

    ownedtheestatebeforebequeathingittotheNationalTrust.

    After determining the nature of each project as having a specic typology, the

    categorization of each project was complete. Data was entered into a spread-

    sheet showing the reference sample, the published issue, the project name,

    location, architect(s), building type, and addition type. The following images

    show the order of the projects listed:

    pg 5

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    sample 1

    Bilbao Bridge over Nervion

    Bilbao, Spain

    Arata Isozaki

    building type: bridge

    EXTENSION

    sample 2

    Hearst Tower

    New York, New York

    Foster + Partners

    building type: ofce

    PLUG

    sample 3

    Kolumba Museum

    Cologne, GermanyPeter Zumthor

    building type: museum

    ARTIFACT

    sample 4

    Bowdoin College Museum of Art

    Brunswick, Maine

    Machado and Silvetti Architects

    building type: museum

    PAVILION

    sample 5

    National Museum of Singapore

    Singapore

    W Architects

    building type: museum

    PLUG

    pg 6

    DATA SAMPLES

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    sample 6

    rleman Wing, Philadelphia Museum

    Philadelphia, Pennsylvania

    Gluckman Maynor Architects

    building type: museum

    PLUG

    sample 7

    Prado Museum

    Madrid, Spain

    Rafael Moneo

    building type: museum

    PAVILION

    sample 8

    Dairy House

    Somerset, England

    Skene Catling de la Pena

    building type: house

    PLUG

    sample 9

    Morgan Library

    New York, New York

    Renzo Piano

    building type: museum / library

    INFILL

    sample 10

    Shaw Center for the ArtsBaton Rouge, Louisiana

    Schwartz / Sinver

    building type: museum / theater

    PLUG

    DATA SAMPLES

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    sample 11

    Nelson-Atkins Museum of Art

    Kansas City, Missouri

    Steven Holl Architects

    building type: museum

    PAVILION

    sample 12

    Knight Building, Akron Museum

    Akron, Ohio

    Coop Himmelblau

    building type: museum

    PLUG

    sample 13

    CaixaForum

    Madrid, Spain

    Herzog & de Meuron

    building type: cultural / museum

    ARTIFACT

    sample 14

    on Furstenberg Studio Headquarters

    New York, New York

    Work Architecture Company

    building type: ofce

    CAP

    sample 15

    One Window House

    Venice, California

    Touraine Richmond Architects

    building type: house

    PAVILION

    DATA SAMPLES

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    sample 16

    Front Street, Block 97

    New York, New York

    Cook + Fox Architects

    uilding type: multi-family residential

    WRAP

    sample 17

    Parke-Burnet Gallery Building

    New York, New York

    Foster + Partners

    uilding type: multi-family residential

    PLUG

    sample 18

    Gentry Library

    Gentry, Arkansas

    Marlon Blackwell Architects

    building type: library

    WRAP

    sample 19

    Julia Stoschek Collection

    Dusseldorf, Germany

    Keuhn Malvezzi

    building type: museum

    CAP

    sample 20

    Ralph Ellison High School

    Chicago, Illinois

    OWP/P

    building type: school

    PLUG

    DATA SAMPLES

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    sample 21

    Booker T Washington High School

    Dallas, Texas

    Allied Works Architecture

    building type: school

    PLUG

    sample 22

    Folsom and Dore Street Apartments

    San Francisco, California

    David Baker + Partners

    uilding type: multi-family residential

    ARTIFACT

    sample 23

    Contemporary Jewish Museum

    San Francisco, California

    Daniel Liebeskind

    building type: museum

    xxx

    sample 24

    Yale Art and Architecture Building

    New Haven, Connecticut

    Gwathmey Siegel Associates

    building type: higher education

    PLUG

    sample 25

    Museum of the Roman TheaterCartegena, Spain

    Rafael Moneo

    building type: museum

    PAVILION

    DATA SAMPLES

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    sample 26

    Museum of Arts and Design

    New York, New York

    Allied Works Architecture

    building type: museum

    WRAP

    sample 27

    Alice Tully Hall

    New York, New York

    Diller Scodo + Renfro / FxFowle

    building type: higher education

    EXTENSION

    sample 28

    Reitberg Museum

    Reitberg, Germany

    ARGE Grazioli Krischanitz

    building type: musuem

    PAVILION

    sample 29

    Espace 400e

    Quebec City, QC

    Dan Hanganu + Cote Leahy Cardas

    building type: museum

    WRAP

    sample 30

    Fulbright Building

    Fayetteville, Arkansas

    Marlon Blackwell

    building type: ofce

    EXTENSION

    DATA SAMPLES

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    sample 31

    Our Lady of the Conception Chapel

    Recife, Brazil

    Paulo Mendes de Rocha

    building type: chapel

    WRAP

    sample 32

    185 Post Street

    San Francisco, California

    Brand + Allen

    building type: retail

    WRAP

    sample 33

    Docks de Paris

    Paris, France

    Jakob + McFarlane

    building type: retail

    CAP

    sample 34

    Montpelier

    Orange, Virginia

    MCWB Architects

    building type: museum

    SUBTRACTIVE

    sample 35

    Inujima Art Project

    Inujima, Japan

    Sambuichi Architects

    building type: museum

    ARTIFACT

    pg 12

    DATA SAMPLES

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    sample 36

    Davidson Center

    Jerusalem, Israel

    Kimmel Eshkolot Architects

    building type: museum

    PAVILION

    sample 37

    The Wheeler School

    Providence, Rhode Island

    Ann Beha Architects

    building type: school

    INFILL

    sample 38

    Fort Point Loft Condos

    Boston, Massachusetts

    Hacin + Associates

    uilding type: multi-family residential

    CAP

    sample 39

    Art Institute of Chicago

    Chicago, Illinois

    Renzo Piano

    building type: museum

    PAVILION

    sample 40

    Art Gallery of Toronto

    Toronto, Ontario

    Frank Gehry

    building type: museum

    CAP

    DATA SAMPLES

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    The actual spreadsheet showing the information is as follows:

    Some interesting information was revealed upon charting the various data

    into graph form. The following four graphs focus on the amount of additions

    projects catalogued in each ArchitecturalRecord issue, the quantity of building

    types that were represented (with museum showing as by far the most highly

    published building type), the various assigned typological label being quanti-

    ed, and nally the museum additions typologies that were the most pervasive.

    pg 14

    1 Jan-08 Bilbao Bridge over Nervion River Bilbao, Spain Arata Isozaki bridge extension

    2 Jan-08 Hearst Tower New York, New York Foster + Partners office plug 3 Jan-08 Kolumba, Art Museum of the Archdiocese Cologne, Germany Peter Zumthor museum artifact

    4 Feb-08 Bowdoin College Museum of Art Brunswick, Maine Machado and Silvetti Architects museum pavilion

    5 Feb-08 National Museum of Singapore Singapore W Architects museum plug

    6 Mar-08 Perelman Wing at the Philadelphia Museum of Art Philadelphia, Pennsylvania Gluckman Mayner Architects museum plug

    7 Mar-08 Prado Museum Madrid, Spain Rafael Moneo museum pavilion

    8 Apr-08 Dairy House Somerset, England Skene Catling de la Pena house plug

    9 May-08 Morgan Library New York, New York Renzo Piano museum infill

    10 May-08 Shaw Center for the Arts Baton Rouge, Louisiana Schwartz/Silver museum plug

    11 May-08 The Nelson-Atkins Museum of Art Kansas City, Missouri Steven Holl Architects museum pavilion

    12 Jun-08 Knight Building, Akron Art Museum Akron, Ohio Coop Himmelblau museum plug

    13 Jun-08 CaixaForum Madrid, Spain Herzog & de Meuron museum artifact

    14 Jul-08 Diane von Furstenberg Studio Headquarters New York, New York Work Architecture Company office cap

    15 Jul-08 One Window House Venice, California Touraine Richmond Architects house pavilion

    16 Jul-08 Front Street, Block 97 New York, New York Cook + Fox Architects multi-family wrap17 Sep-08 Parke-Bernet Gallery building New York, New York Foster + Partners multi-family plug

    18 Oct-08 Gentry Library Gentry, Arkansas Marlon Blackwell Architects library wrap

    19 Dec-08 Julia Stoschek Collection Dusseldorf, Germany Kuehn Malvezzi museum cap

    20 Jan-09 Ralph Ellison High School Chicago, Illinois OWP/P school plug

    21 Jan-09 Booker T Washington High School Dallas, Texas Allied Works Architecture school plug

    22 Jan-09 Folsom and Dore Street Apartments San Francisco, California David Baker + Partners multi-family artifact

    23 Jan-09 Contemporary Jewish Museum San Francisco, California Daniel Liebeskind museum plug

    24 Feb-09 Yale Art and Architecture Building New Haven, Connecticut Gwathmey Siegel Associates higher education plug

    25 Feb-09 Museum of the Roman Theater of Cartagena Cartagena, Spain Rafael Moneo museum pavilion

    26 Feb-09 Museum of Arts and Design New York, New York Allied Works Architecture museum wrap

    27 Jun-09 Allice Tully Hall New York, New York Diller Scofido + Renfro / FxFowle higher education extension

    28 Jun-09 Reitberg Museum Reitbert, Germany ARGE Grazioli Krischanitz museum pavilion

    29 Jun-09 Espace 400e Quebec City, QC Dan Hanganu + Cote Leahy Cardas museum wrap

    30 Jun-09 Fulbright Building Fayetteville, Arkansas Marlon Blackwell Architects office extension31 Jun-09 Our Lady of the Conception Chapel Recife, Brazil Paulo Mendes de Rocha chapel wrap

    32 Jun-09 185 Post Street San Francisco, California Brand + Allen retail wrap

    33 Jun-09 Docks de Paris Paris, France Jakob + McFarlane retail cap

    34 Jun-09 Montpelier Orange, Virginia Mesick Cohen Wilson Baker museum subtractive

    35 Jul-09 Inujima Art Project Inujima, Japan Sambuichi Architects museum artifact

    36 Jul-09 Davidson Center Jerusalem, Israel Kimmel Eshkolot Architects museum pavilion

    37 Jul-09 The Wheeler School Providence, Rhode Island Ann Beha Architects school infill

    38 Jul-09 Fort Point Loft Condos Boston, Massachusetts Hacin + Associates multi-family cap

    39 Aug-09 Chicago Art Museum Chicago, Illinois Renzo Piano museum pavilion

    40 Aug-09 Art Gallery of Toronto Toronto, Ontario Frank Gehry museum cap

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    Conclusions

    While museums tend to occupy the vast majority of coverage in Architectural

    Record,a variety of other built forms are interspersed to offer a wide spectrum

    of addition solutions to the reader. This is in keeping with the museum-building

    boom that has been in effect for over a decade now, with museums around

    the world looking to architects to give them a branded identity to stand out

    amongst their competitors, and to lure visitors. The means in which those solu-

    tions manifest themselves is vast.

    Plugs are the solution that is most readily applied by the designers for their

    various projects, with pavilions being a close second. However, in museum

    design, pavilions are the most pervasive form. It may be that the vererated

    buildings that originally housed the works of art are considered to be extremely

    important objects in and of themselves, and that the delicate approach of thepavilion is viewed as the most unobtrusive way to expand a collection without

    altering the building.

    The method of research employed in this label approach was mainly guided by

    a quantitative-to-qualitative means, from a detached perspective. Allowing the

    forms to emerge on their own, studying them closely, and beginning to create

    groups of similar chunks of data was a method of organizing seemingly unor-

    ganized, loose information. While other typologies may eventually emerge with

    further research, this collection of eight labels seems to cover an extremely

    broad range of buildings. If anything, subcategories (such as the vertical plug

    and the horizontal plug discussed earlier) may be all that is necessary to fur-ther differentiate the distinct features of a particular addition. The amazing

    breadth of these structures and the approach directed by the architect and the

    program therefore do have correlational information that can be assessed and

    catalogued within these parameters.


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