{"id":8886,"date":"2013-07-02T13:48:40","date_gmt":"2013-07-02T18:48:40","guid":{"rendered":"http:\/\/www.conservators-converse.org\/?p=8886"},"modified":"2013-07-02T13:48:40","modified_gmt":"2013-07-02T18:48:40","slug":"41st-annual-meeting-architecture-session-may-30-panel-collaboration-in-design-working-with-architects-at-the-san-francisco-museum-of-modern-art-sfmoma-with-craig-dykers-sam","status":"publish","type":"post","link":"https:\/\/resources.culturalheritage.org\/conservators-converse\/2013\/07\/02\/41st-annual-meeting-architecture-session-may-30-panel-collaboration-in-design-working-with-architects-at-the-san-francisco-museum-of-modern-art-sfmoma-with-craig-dykers-sam\/","title":{"rendered":"41st Annual Meeting \u2013 Architecture Session, May 30, Panel: "Collaboration in Design: Working with Architects at the San Francisco Museum of Modern Art (SFMOMA)\u201d with Craig Dykers, Sam Anderson, Ruth Berson, and Jill Sterrett"},"content":{"rendered":"

\"War<\/a>
War Memorial Veterans Building, Van Ness Avenue, 1935<\/figcaption><\/figure>
\nWith just a day between the ground breaking ceremony at the San Francisco Museum of Modern Art (SFMOMA) and the 2013 AIC conference, panelists Ruth Berson, Craig Dykers, Jill Sterett, and Sam Anderson once again came together to discuss the debates and collaborations that resulted in the “generous, magnetic, and transformative” design for the SFMOMA expansion. \u00a0Each of the panelists were representative of the variety of programs and interests that had to be addressed in a project of this scale. \u00a0This project began with generosity of the Fisher family of San Francisco.\u00a0The institutional history of the SFMOMA was an important consideration before beginning to search for project architects. \u00a0The SFMOMA had humble beginnings on the fourth floor of the War Memorial Veterans building. \u00a0As it developed its own collection, the SFMOMA out grew the 1935 beaux arts building and needed it own dedicated building. \u00a0In 1988 Mario Botta was selected to design the new building. \u00a0Within fifteen years, the museum had brought in the Fisher collection and expanded its own holdings leading to the need for additional space. The new building on Third Street opened in 1995, marking the 60th anniversary of the museum.
\nDue to open in 2016, the expansion will add 235,000 square feet to the SFMOMA complex and will “seamlessly join the existing Mario Botta-designed building with a new addition.” \u00a0The project will more add more than 6 times the current public space. \u00a0There is also offsite storage for the museums expanded collection.
\nSee:\u00a0http:\/\/www.sfmoma.org\/our_expansion<\/a>
\n
\"\"<\/a>
SFMOMA, Third Street, Mario Bota, 1995<\/figcaption><\/figure>
\nRuth Berson, SFMOMA staff member and Deputy Museum Director for Curatorial Affairs, began the discussion with “Why expand-‘Why Between the What'”. \u00a0Ruth participated in the design by contributing to the space planning and design development process. \u00a0The planning process included an international search for architects,capital campaign, and the identification of the design intent. \u00a0First priorities were Magnetic<\/strong>, Transformative<\/strong>, and Generous<\/strong>. \u00a0Secondary words were added as guiding principles: Open<\/strong>, Distinctive<\/strong>, and Passionate<\/strong>. \u00a0All of the priorities and principles led to a design that was artist centric, collection driven, and civic minded. \u00a0In efforts to remain artist centric, artists were sometimes contacted to discuss the space. \u00a0The new design used the guiding principles by expanding the program to include white space for events, performance art, and meetings. \u00a0Technological advances were made to enhance the visitor experience, while also being mindful of the uniqueness of the collection and its unique holdings. \u00a0Another goal was to meet LEED expectations and expanding the museums education programs. \u00a0After the SnOhetta was selected as the architect a collaborative conversation took place between Craig Dykers and Mario Bota. \u00a0Bota stated that “I had my moment with the building, now it is SnoHetta’s turn………I will withhold my opinions until after it is finished.”<\/strong>
\nCraig Dykers, Principal of SnOhetta Architects, continued the discussion with the “SnOhetta Response”. Craig reiterated the importance of the institutional history to the design process and added that architects were not selected based off of a proposed design. It was a selection process based on the architects knowledge of the SFMOMA. The building is surrounded by six to seven streets with turn of the century buildings. \u00a0Based on the design priorities, SnOhetta wished to activate these areas with new entrances and to add a public collection space with an open area for free public access. \u00a0This new “art court” will also serve as a transition space between neighborhood and the building. \u00a0It was important to the design team to balance the traditional and new buildings that surround the SFMOMA. \u00a0Machines and daylighting systems were integrated into the design to protect and enhance the museum collection. \u00a0The facades of the new building were modeled off of the quality of light and rippling water that is unique to San Francisco. \u00a0With each step in the design process, SnOhetta remained mindful of the priorities and guiding principles to establish continuity to the overall design.
\nJill Sterett,\u00a0SFMOMA staff member and Director of \u00a0Collections and Conservation, discussed the use of “Collections as a Directive” in the design process. \u00a0Jill explained that the team took cues from the Public<\/strong>, Education<\/strong>, and San Francisco<\/strong> itself in order to inform their decisions. The artists and the relationships that they keep with them are the center of the SFMOMA. \u00a0It was important that the new offsite storage facility is a dynamic space. The new space will have capacity for collection study, research, photography, carpentry, packing\/crating, and big sculpture conservation. \u00a0These stipulations required the team to reframe the question of how to activate the collection in two different spaces. \u00a0The expansion\/new building will be divided into storage, public space, conservation, and staff areas. \u00a0The lower levels will hold the support and collection areas-this is conceived as a dynamic storage area and not static. \u00a0It will be viewed as a n operating set of suites. \u00a0Throughout the new zones, the initiatives and priorities will act as directives for accomplishing the project goals.
\nSam Anderson, Principal of Samuel Anderson Architects, wrapped up the discussion with “Engagement of Specialized Areas Integrated into the Overall Plan”. \u00a0Sam added that the mechanical systems had to respond to the climate and the program. \u00a0It was important that these strategies were specifically designed for each circumstance. With such dynamic spaces, it became a question of how to fit multiple and growing functions into one program design. \u00a0The permanent photography collection will be stored on-site, but the lower levels of the building will also serve as transient art storage. \u00a0In addition to addressing the on-site storage needs, it was important to plan for areas for staging and mounting. \u00a0In response to the climatic considerations, it was a priority to address the potential for seismic activity. \u00a0The solution for the concerns had to also be functional within the program of the building. \u00a0Each individual off-stage space was is therefore integrated with the next, for instance the conservation labs are integrated through a vertical visual connection.
\nIn all aspects of the design, it was important to maintain collaboration between the architects, designers, and museum staff in order to address the clearly identified priorities and guiding principles of the museum. \u00a0As the work progresses towards a completion goal of 2016, the two year preparation and planning period was integral to the success of the SFMOMA expansion.<\/p>\n","protected":false},"excerpt":{"rendered":"

With just a day between the ground breaking ceremony at the San Francisco Museum of Modern Art (SFMOMA) and the 2013 AIC conference, panelists Ruth Berson, Craig Dykers, Jill Sterett, and Sam Anderson once again came together to discuss the debates and collaborations that resulted in the “generous, magnetic, and transformative” design for the SFMOMA … Continue reading “41st Annual Meeting \u2013 Architecture Session, May 30, Panel: "Collaboration in Design: Working with Architects at the San Francisco Museum of Modern Art (SFMOMA)\u201d with Craig Dykers, Sam Anderson, Ruth Berson, and Jill Sterrett”<\/span><\/a><\/p>\n","protected":false},"author":169,"featured_media":7942,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"footnotes":""},"categories":[2,10],"tags":[72],"class_list":["post-8886","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-annual-meeting","category-general-sessions","tag-aics-41st-annual-meeting"],"_links":{"self":[{"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/posts\/8886","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/users\/169"}],"replies":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/comments?post=8886"}],"version-history":[{"count":0,"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/posts\/8886\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/media\/7942"}],"wp:attachment":[{"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/media?parent=8886"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/categories?post=8886"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/tags?post=8886"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}