founded in 1895 in san francisco’s golden gate park, the de young museum has been an integral part...

6

Upload: patricia-cunningham

Post on 01-Jan-2016

214 views

Category:

Documents


0 download

TRANSCRIPT

• Founded in 1895 in San Francisco’s Golden Gate Park, the de Young Museum has been an integral part of the cultural fabric of the city.

• The de young museum built in 1894 was initially suppose to be a temporary structure due to public and political opposition, but then later in 1906 after the exposition ended it was allowed to remain as a permanent museum.

• The original building was designed in 1917 by architect Louis Mullgardt. It was much more Spanish in style than the temporary building it replaced from the 1894 Midwinter Exposition. Wings were added in 1925, 1931, and most recently, in 1964. The newest addition accommodated the Asian Art Museum, since relocated to the old Main Library in San Francisco's Civic Center.

• The New De Young museum is designed by Herzog and de Meuron. Herzog wanted the museum to be the reflective of San Francisco.

• The de Young museum is a 293,000-square-foot building with a three-level main structure and a nine-story tower.

• The museum is a touch stone for any fan of 21st century design and was privately funded with over $185 million including $10 million from president.

• Structural Engineer Bret Lizundia and his team at Rutherford & Chekene literally helped the designers of the new de Young Museum weave this structure into Golden Gate Park.

• Despite being retrofitted after the 1989 earthquake, the museum was deemed unsafe by potential traveling exhibits and the drive to replace it was begun.

The Old De Young Museum

The New De Young Museum

Bird’s eye-viewInternal views

• The De Young Museum consists of a horizontal element, two stories high with a third level underground, with a 144 –foot vertical complement-twisted trapezoidal tower.

• The galleries are laid out in three parallel bands, intersected by irregularly shape, narrow landscape courtyards (designed by Walter hood) which bring both light and sense of the park location into the depths of the building.

• The museum is sensitively designed from the inside out, to allow each of the very different collections to be shown in their best light.

• There are traditional rectangular rooms with walls painted in varying shades such as rose, mauve, beige and green; and other collections are dramatically lit in darker galleries with wood used generously on the floor, ceilings, and display cases. The building is distinguished for the richness of the materials used and extraordinary attention to detailing.

Topped by a viewing gallery, it offers a resting vistas of San Francisco in all directions, giving panoramic views of the city & bay.

• The twisting tower is the building’s unique trademark, that takes on different silhouettes depending on the angle from which it is viewed, and is inspired by the pattern of San Francisco Streets.

• The intention of this design was to have a building that was light, strange and one that blends with the park setting.

• The tower basically houses the educational programs of the museum.

• Nestled in a grove of mature eucalyptus trees the metal edges appear to merge with surrounding branches and further the twisting geometry of the tower accentuates the effect.

• By winding an open concrete exit stair, accessible for daily or non-emergency use around the tower’s exterior, the architects were able to veil the shaft in perforated copper.

• The tower's unique design evolved after many architectural approaches and structural systems were investigated. In the final design, the tower rotates 30 degrees in plan as it rises above the main building, with rectangular floors turning into parallelograms.

9 storey Twisted tower

Open Exit stair, without Cu cladding

• The building is clad in copper panels, already oxidizing towards a dark verdigris.

• Each panel has been uniquely embossed into patterns of dimples and perforated with circular punches.

• The result is a rich, densely patterned surface that allows for a play of light like that of sunlight through trees, with subtle and complex variations that relieve the massiveness of the facade.

• The building takes the shape of fingers of a hand.

• Courtyards are interspersed throughout the structure to bring nature into the museum and vice versa.

• A large airy court provides as the concept stated, "non hierarchical” access to the various collections.

• In the tower's, architecturally exposed concrete is shrouded with perforated copper cladding.

• The skin and roof are comprised of over 7,000 custom copper unique embossed panels.

• The rotating floors result in end walls that tilt more than 16 degrees from a vertically post-tensioned tower.

• Walls were vertically post-tensioned with high-strength steel strands, to reduce an individual wall ratcheting in the direction of tilt during an earthquake.

• The slender aspect ratio of the tower and roof trusses cantilevered over 50 feet creates significant seismic demand on the special foundation systems, to accommodate these demands with the sandy soils.

• The upper floors ,specially the observation floor have full-length glazing on the long sides, for which deep girders up to 80 feet long were used to span the distance between end walls and were also post-tensioned with high strength steel strands.

• To make the copper roof a truly visible fifth façade, mechanical or electrical equipment were placed in the basement instead of placing on the roof.

• The designers wanted the museum to be seamlessly connected to the park, with the top of the finished stone floor matching the exterior grade and with the landscape coming right up to the face of the building, still permitting drainage and unhindered movement during an earthquake.

• To bring the park into the museum a number of special long-span framing systems like extensive interior landscaped courtyards, atria, skylights, and diaphragm penetrations were used.

Photos during construction 1999-2004