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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.