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Transcript of Architectual Thesis Book
Continuing Architectural HeritageContemporary Addition and Reuse of Historic Buildings
Zak Robinson | Graduate Thesis | Professor Ronaszegi | May 2012
Continuing Architectural Heritage: Contemporary Addition and Reuse of Historic Buildings
Zak Robinson
Accepted in Partial Fulfillment of the RequirementsFor the Degree of Master of Architecture at:
The Savannah College of Art and Design
© May 2012 Zak Robinson
The author herby grants SCAD permission to reproduce and distribute publicly paper and electronic thesis copies of document in whole or in part in any medium now known
or hereafter created.
Signature of Author and Date_________________________________________________________
_______________________________________________________________________________/__/__ Arpad Ronaszegi, Professor of Architecture, Committee Chair Date
_______________________________________________________________________________/__/__ Catalina Strother, Professor of Architecture, Faculty Advisor Date
_______________________________________________________________________________/__/__ Justin Gunther, Professor of Historic Preservation, Topic Consultant Date
Continuing Architectural Heritage: Contemporary Addition and Reuse of Historic Buildings
A Thesis Submitted to the Faculty of the Architecture Departmentin Partial Fulfillment of the Requirements for the Degree of Master of Architecture
Savannah College of Art and Design
ByZak Robinson
Graduate Thesis (Arch 799)Savannah, GA
May 2012
Table of Contents List of Figures
Thesis Abstract
Thesis Proposal
Historic Preservation
History of Preservation
Methods of Intervention
Design Aproach
Contemporary Architecture
Contextualism
Debate and Guidelines on Contemporary Design
Differing Opinions
Continuing Heritage
Contemporary Design within Savannah
Conceptual Analysis
The Problem
The Concept
Design Strategies
Site Analysis
Program
2
4
6
10
12
14
22
24
26
27
30
31
32
38
40
42
43
49
71
Schematic Design
Sketches and Diagrams
Plans
Perspectives
Design Develpment
Building Codes
Plans
Details
Perspectives
Conclusion
Final Documentation
Presentation Board
Bibliography
80
82
88
93
97
99
100
106
107
114
115
137
140
Fig. 1.1 - http://www.georgiatrust.org/images/hayhouse/hay_house.gif
Fig. 1.2 - http://www.georgia.org/SiteCollectionImages/Industries/Entertainment/Camera%20Ready/ Counties/Bibb/Hay%20House%20Interior.jpg
Fig. 1.3 - http://www.history.org/almanack/places/hb/hbpalpc2.cfm
Fig. 1.4 - http://www.nps.gov/hps/tps/standguide/reconstruct/reconstruct_approach.htm
Fig. 1.5 - http://www.tate.org.uk/modern/images/tatemodern_exterior.jpg
Fig. 1.6 - http://www.tate.org.uk/modern/images/tatemodern_turbinehall.jpg
Fig. 1.7 - Tyler, Norman. Historic Preservation. 2nd ed. New York: W.W. Norton & Company, 2009. P 107.
Fig. 1.8 - Tyler, Norman. Historic Preservation. 2nd ed. New York: W.W. Norton & Company, 2009. P 107.
Fig. 1.9 - Tyler, Norman. Historic Preservation. 2nd ed. New York: W.W. Norton & Company, 2009. P 109.
Fig. 1.10 - http://www.themorgan.org/about/images/renzo-madison-entrance.jpg
Fig. 1.11 - http://www.themorgan.org/about/images/renzo-model_1.jpg
Fig. 2.1 - Tyler, Norman. Historic Preservation. 2nd ed. New York: W.W. Norton & Company, 2009. 104.
Fig. 2.2 - http://www.msa.mmu.ac.uk/atelieritalia/venez/atitwork.htm
Fig. 2.3 - http://picasaweb.google.com/lh/photo/GQcunVQabDYv6YyZZbUCOw
Fig. 2.4 - http://www.flickr.com/photos/derboti/3799981534/
Fig. 2.5 - http://www.wallpaper.com/art/scad-museum-of-art-in-savannah-georgia/5501
Fig. 2.6 - http://www.wallpaper.com/gallery/art/scad-museum-of-art-in-savannah-georgia/ 17052726/53312
Fig. 2.7 - http://savannah.for91days.com/2011/01/13/ellis-square/
Fig. 2.8 - http://dmscs.com/wp-content/uploads/2010/07/EllisSquareG.jpg
Fig. 3.1-3.3 - Photos by Author
Images Cited
1|2
Fig. 3.4 - http://www.themorgan.org/about/images/renzo-madison-entrance.jpg
Fig. 3.5 - http://www.themorgan.org/about/historyImage.asp?id=68
Fig. 3.6 - http://www.wallpaper.com/art/scad-museum-of-art-in-savannah-georgia/5501
Fig. 3.7 - http://www.wallpaper.com/gallery/art/scad-museum-of-art-in-savannah-georgia/ 17052726/53312
Fig. 3.8 - 3.23 - Diagrams by Author
Fig. 3.24 - http://www.archiexpo.es/prod/cultured-stone/aplacados-de-piedra-reconstituida-interior- 5646-15692.html
Fig. 3.25 - http://picasaweb.google.com/lh/photo/N0j3QcS1K3OGOyCj_kbCyw
Fig. 3.26 - http://www.nicsolutions.biz/project_gallery
Fig. 3.27 - http://www.interpane.com/m/de/medien/resize/bildmaterial_industrie_indus_300dpi_ 11-02_punkthalter_g_436_330.jpg
Fig. 3.28 - 3.31 - Diagrams by Author
Fig. 3.32 - 3.38 - Photos by Author
Fig. 3.39 - 3.63 - Diagrams by Author
Fig. 3.64 - 3.69 - http://www.a-x-d.com/
Fig. 3.70 - 3.75 - http://www.fosterandpartners.com
Fig. 3.76 - 3.81 - http://www.lamott.de/display.php?project_id=69
Fig. 3.82 - 3.85 - Diagrams by Author
Fig. 4.1 - 4.55 - Images by Author
Fig. 5.1 - 5.13 - Images by Author
Fig. 5.14 - 5.23 - Images by Author with Photoshop assistance by Emily Hum
Fig. 5.24 - Image by Author
Continuing Architectural Heritage: Contemporary Addition and Reuse of Historic Buildings
Zak Robinson
May 2012
This thesis focuses on the continuation of our architectural style within historic districts through the use of
contrasting architectural elements. The goal of contrasting design is to respect the existing structures by
putting an emphasis on the differences rather than similarities. The concept is that new and old design
should be easily distinguishable from one another as it is a product of its own era. Therefore, we are able
to continue the architectural heritage from every generation whether it’s past, present or future.
3|4
Thesis Statement
The design intent of this thesis is to restore,
reuse and add to the existing structure on
the intersection of Montgomery Street and
Congress Street in the historic district of
Savannah, Georgia to create a Historic
Preservation Museum. Today our culture is
either stuck in the past or striving towards
new innovative designs. Architecture is
one of the most important parts of being
able to tell the history of the people that
lived before us. Destroying that history can
lead to a loss in knowledge of our heritage
for future generations. Most contemporary
architects tend to ignore our history and
culture and look mainly towards the
future. If an important existing building sits
on the site in a prime location for a new
business, an architect will typically demol-
ish the existing building and neglect to see
its importance within our heritage. If a
building is deemed historic on a site, an
architect, by code, has no choice but to
build around it or renovate it for reuse. The
significance of this thesis is to show that
contemporary architecture can be used
as a tool to celebrate our history without
severing it ties to its heritage.
Significance of Study
In a historic city, more often than not there
will be a large amount of unused or
vacant buildings. Why is this? Most archi-
tects feel restricted in what they are able
to build and will shy away from the adap-
tive rehabilitation of a historic building. In
today’s society, we have the mentality
that what we buy must be new. People
would much prefer a brand new car over
a used car that smells like smoke, has
stains on the seats or a broken radio.
Thesis Proposal5|6
This gives a negative connotation that
when something is used it is dirty or dull.
When someone buys new, they have a
much deeper connection to it. The intro-
duction of contemporary into a historic
city can help to make the city feel new
and less dull or dirty. This study will help to
show how contemporary design can
coalesce with an existing design to create
a new history and interest in unused
spaces.
In designing new architecture within the
context of old, how do we relate the new
addition and rehabilitation contextually to
the surrounding built environment? This
thesis will show the physical and theoreti-
cal connection between old and new. It
will provide the challenge of how the new
design will interact with the existing build-
ing in order to put emphasis on its history
and the heritage of the city. There are
multiple ways to approach the addition’s
design. It can mimic the surrounding
historic elements, contrast with the existing
building or blend the two together. The
code requirements as set down by the
Secretary of the Interior’s Standards for
Treatment of Historic Buildings will provide
strict limitations on what can be achieved
with the project.
The ultimate goal is to prove the need for
more contemporary architecture within
historic cities. The use of a new design, if
done correctly, can make the surrounding
urban context stand out more; otherwise,
it becomes monotonous and just blends in
with the rest of the city. In designing a
museum for historic preservation, there
needs to be an element that provides the
building with the opportunity to stand out
and become a node or destination within
the city. If the museum is just another
restored historic building, people might
not be interested in visiting it, as they do
not realize it is a museum because it looks
just like most other buildings in the city. The
significance of this study is to coalesce
new and old architecture to form a new
history rather than always live in the past. If
we always live in the past, we are losing
our current culture. The layer of architec-
tural elements in the city provides richer
knowledge of our culture than freezing a
city in a specific era. A building designed
today can be seen as a historic landmark
in a few hundred years from. So why stop
architectural growth? History needs to
continue; our contemporary culture
should not be neglected.
Methods of Inquiry
There are many key issues that need to be
explored throughout this design process.
Preservation and the different types of
ways it can be accomplished. The theory
and background of architectural addi-
tions to historic buildings needs to be
explored, along with the concept of
adaptive rehabilitation. How do these
relate to one another? The research and
study of the theory behind contemporary
design within a historic context will be
analyzed. Case studies on these topics
become a key factor in providing
evidence that contemporary design is
practical in helping celebrate the history
of the city rather than deterring from it. An
in-depth analysis of the city of Savannah’s
urban growth can illustrate that architec-
ture is always changing and that we
should not be limited to living in the past.
Codes and regulations provided by the
city’s Historic Review Board will be studied
and implement as much as possible into
the final design.
In the end, the final vision of this thesis is to
have an addition and rehabilitation of the
existing building that will allow for the
celebration of the historical building, of
the city and of the culture. The design
should fit within the surrounding context
and not deter from other buildings. The
idea for the museum will be to provide the
people with a deeper understanding of
the importance of our history and culture
and how we pass it on to the next genera-
tion.
7|8
Chapter OneHistoric Preservation
This chapter will investigate the origins of Historic
Preservation. It aims to show where preservation
came from and where it will be going in the
future. There are multiple different ways in which
historic buildings can be preserved, but there is
never a correct solution for any one project. Thus,
having a thorough understanding of these
different methods of preservation helps the
architect to choose which approach is the best
choice for each situation.
9|10
History of Preservation Architecture is the framework of our
heritage. Each and every building tells a story
about the people that lived before and their
cultural heritage. Throughout the past forty years,
practically every community in American society
has acknowledged the importance of historic
heritage within the built environment. During the
course of these past few decades, many steps
have been implemented in hindsight after the
deterioration of these historic landmarks, so
much so that the government has taken a
significant role in designating and regulating
these places. Historic preservation ultimately has
become the key to saving the history of our
heritage for future generations to come.
History of Preservation in the United States
Historic preservation has two distinctive
paths from which it formed, private and public.
During most of early preservation, the government
was not a large influence. In the private sector of
preservation, activities “tended to [focus on]…
important historical figures and associated
landmark structures” (Tyler 2nd, 27). The
government’s involvement was restricted to
establishing national parks and preserving natural
features. Throughout the years the public and
private paths of preservation blended together to
create the preservation movement we have today
(Tyler 2nd, 27).
The first act of preservation within the
United States was to save Independence Hall in
1816 from demolition. After much opposition, the
city of Philadelphia purchased the building for
preservation (Tyler 2nd, 27). Soon after, many
historical societies and associations were founded
hoping to protect sites with relevance to the late
eighteenth and early nineteenth century architec-
ture. The first association was named the Mount
Vernon Ladies’ Association in 1853. The
association’s goal was to save the deteriorating
11|12
Mount Vernon, George and Martha Washington’s
home. They requested assistance from the govern-
ment, but the government declined (Tyler 2nd, 29).
This new, private organization was developed and
directed by Ann Pamela Cunningham. After much
campaigning, their efforts proved successful.
Mount Vernon was to be restored. The association
became a role model for preservation organiza-
tions that would soon follow. These new organiza-
tions focused on the preservation of buildings
relating to important events and people (Tyler 2nd,
30).
The government, on the other hand, took
little or no part in the preservation of potentially
historic buildings. Their primary focus was the
westward expansion of the nation. They finally
announced Yellowstone National Park as a
protected area in 1872, which made it the world’s
first national park (Tyler 2nd, 30). In 1889, the Casa
Grande ruin in Arizona was designated as the
nation’s first National Monument. Thus began the
United State’s first national funding for preserva-
tion. With the passing of the Antiquities Act of 1906
the President had the ability to deem landmarks
and structures as historic. This act established
penalties for destroying federally-owned sites and
became the nation’s first preservation legislation
(Tyler 2nd, 31). Eventually it led to the creation of
the National Park Service in 1916, with their
primary focus of managing areas too large to be
preserved and protected privately (Tyler 2nd, 32).
In 1933, the National Park Service, the
American Institute of Architects (AIA) and the
Library of Congress established the first federally
funded program to survey historic structures
named the Historic American Buildings Survey
(HABS). Thus began the government’s first signifi-
cant presence within historic preservation (Tyler
2nd, 40). Ultimately in 1949, the public and private
paths of preservation unified through the National
Trust for Historic Preservation. The National Trust
aimed to coordinate the National Park Service and
the private preservation sectors. This allowed for all
aspects of historic preservation to be brought to a
new level of awareness (Tyler 2nd, 42). Seventeen
years later, the National Trust published a book
titled With Heritage So Rich. The book documented
our heritage through photos of lost historic
structures and became indispensable to preserva-
tionists. Recommendations made in the book led
to the establishment of the National Historic
Preservation Act of 1966. This act was the most
important act passed by Congress for historic
preservation. Prior to the act the primary focus was
on specific historic landmarks, but after it was
passed it allowed for locally run historic districts
and funding for many preservation activities. The
act was a model for most present-day guidelines
(Tyler 2nd, 46-47).
Methods of Intervention for Historic Structures
Preservation
Preservation is the ceasing of processes
that contribute to the deterioration of a building or
site by making essential repairs to maintain its
existing state. It is hidden work aimed in keeping a
property as it was found (Fram, 42). There are
various theories and philosophies that are associ-
ated with historic preservation. Most people see
preservation as saving old buildings. Arguably
some see preservation “as preserving cultural
heritage, some as fostering urban revitalization,
and some as contributing to sustainability and an
alternative approach to current development
practices” (Tyler 2nd, 18). With these different
philosophies, preservationists often have differing
views on how a building should be preserved.
Some feel that it is necessary to keep the historic
structure as is, yet others wish to restore it to its
original designed condition. Preservation should
be based upon each specific objective. A method
that works in one instance may not work in another
(Tyler 2nd, 18).
13|14
Restoration
Restoration is the act of bringing a historic building
back to a specific time period. Most often it is
brought back to its original condition. At times,
restoration is required when the historic integrity is
lost or when a specific time period is more signifi-
cant (Tyler 1st, 24). The Hay House in Macon,
Georgia is an example of restoration that is being
done today. Three different families owned the
home: The Johnston’s, The Felton’s, and The Hay’s.
The challenge was deciding what time period to
restore the building to. The Georgia Trust for
Historic Preservation (founded in 1973) decided
that they should represent each era. They restored
the rooms based on which was the most promi-
nent. In order to preserve the history of all three,
they would leave patches of the original paint in
case they wished to someday restore it back to its
original design.
Figure 1.1 Figure 1.2
Reconstruction
Reconstruction is the replication of a
historic structure’s design or materials. This method
of construction is used primarily when the original
structure no longer exists, and there is a strong
need for it to be replaced for continuity. Williams-
burg, Virginia was one of the first colonial cities
within the United States. In the 1920s, John D
Rockefeller realized the importance of the city and
began restoration of the entire town. The main
problem was nothing remained of the structure of
the Governor’s Palace that was the hub of the
original town. The decision was to reconstruct the
palace from what plans, paintings and documents
they had available. It was completed in 1934 (Tyler
1st, 27-28).
Figure 1.3
Figure 1.4
15|16
Adaptive Rehabilitation/Reuse
A historic building’s original function and
use is often not practical within today’s society. The
approach of rehabilitation, also referred to as reuse,
is used to adapt a structure to a new function or
use. Norman Tyler, explains, “Rehabilitation
describes a suitable approach when existing
historic features are damaged or deteriorated but
modifications can be made to update portions of
the structure, even adapting the building for a new
purpose” (Tyler 1st, 28). The majority of changes
happen primarily on the interior of the building.
The changes on the exterior are limited in order to
maintain the historic integrity of the building (Tyler
1st, 28).
Contemporary architecture has infiltrated
into historic preservation with the advent of new
technology and design. Often new construction in
adaptive rehabilitation aims to be compatible or
contrast with the original historic elements. When
new construction attempts to be compatible with
existing, it must take into consideration and relate
to elements such as material, scale, massing, color
and proportions. The new design will not fully
match the original but it will make a few connec-
tions to it. The majority of designers today tend to
design so that the new construction does not
compete with the existing. Contrasting the original
elements is where contemporary design becomes
controversial. The goal of contrasting design is to
respect the existing structures by putting an
emphasis on the differences rather than similarities.
The contrast of an element such as a glass curtain
wall system next to an older brick wall can put an
emphasis on both of the elements rather than one
becoming superior to the other (Tyler 1st, 28).
Case Study: Tate Modern in London,
England
The Bankside Power Station in London is
an inspirational example of adaptive rehabilitation.
The building was built in two different phases
between 1947 and 1963. The rising prices of oil
made the power station inefficient, so it was closed
in 1982. The factory remained empty until 2000
when the Tate Collection decided to convert the
building to a new use. The Tate Collection was
originally located in Millbank, London. They
realized they had outgrown the original building
and need to move to a different location. The
question they were faced with was: does modern
art need to be in a modern building or a conversion
of an old building? Ultimately, they settled on the
reuse of the Bankside Power Station for its size and
location. The turbine hall is used as the main
entrance and provides space for large pieces of art.
The boiler room is divided into individual galleries.
A glass roof on the top allows light into the main
hall and provides space for a café (Tate Moderns).
17|18
Figure 1.5
Figure 1.6
Additions
More often than not additions and
adaptive rehabilitation go hand in hand. An
addition is the expansion of an existing building.
When additions are made the existing building
will be rehabilitated to function better. The major
issue associated with additions is contextualism
as it primarily focuses on the exterior of the
building. Questions often arise as to how well the
old and the new designs will blend together.
Similar to adaptive rehabilitation, additions have
three different design approaches that can be
utilized: matching, compatible and contrasting
(Tyler 2nd, 106).
Matching
The primary goal of matching is to just imitate
the existing features. Additions will be designed
in the same style and use similar materials and
detailing. Norman Tyler states that, “Some critics
question this approach, saying the new is not
clearly differentiated from the old, and may fool
an observer into thinking a recent construction is
older, part of the original historic structure.” This
idea of matching an existing structure limits
design and is often looked down upon (Tyler 2nd,
106-107).
Compatible
Compatible design is the most common
technique used for additions. The new design
makes suggestions to the original size, scale,
material, color and proportions. This is often
achieved through simplification of these
elements. For example if the façade of a building
consisted of a series of four evenly spaced ornate
Romanesque windows, the addition can take the
size and spacing of those windows and simplify
Figure 1.7
them on the addition, which makes it compatible
with the existing building (Tyler 2nd, 107).
Contrasting
As stated before, “The goal of contrasting
design is to respect the existing structures by
putting an emphasis on the differences rather
than similarities.” The concept is that new and old
design should be easily distinguishable from one
another as it is a product of its own era. There are
different ways to approach contrasting additions.
The new structures, with little identity, can recede
into the background of the old building, which
makes the old building stand out. The new
building could aggressively clash with the historic
structure and context. This often makes the
architects seem as if they put no consideration
into the historic context with the thinking that
architecture is a product of its own time (Tyler
2nd, 108).
19|20
Figure 1.8
Figure 1.9
Case Study: Morgan Library by Renzo
Piano
For the Morgan Library in New York, Renzo
Piano was challenged with designing an addition
with a setting that consists of multiple contextual
styles. The new addition needed to make a connec-
tion between three different buildings on the site:
the original Morgan Library designed by McKim,
Mead and White; the Annex designed by Benjamin
Wistar Morris; and the Morgan House. Renzo Piano
blended the compatible and contrast
ing approach to the addition. The center part that
extrudes out has a three-part structure, which
relates to the existing building to the left of the
addition. It also relates to the simplicity and color of
the existing building to the right of it. The physical
connections of additions are made of glass, which
contrasts and gives more emphasis to the older
structures. The new addition is recessed back from
the street, so it won’t clash with the existing
buildings (The Morgan Library & Musuem).
Figure 1.10
Figure 1.11
The role of preservation is important in
the conservation of our culture and heritage. Many
of today’s architects tend to overlook the impor-
tance of historic buildings. Frequently new
constructions are attached to or placed next to
historic structures with little or no consideration to
the impact on the surroundings. An architect
needs to respect our heritage as it will be the key to
the knowledge of our past and a foundation our
future. History cannot be repeated, and if it is lost, it
will be forgotten. If a building is replaced, it is not
continuing history but rather making a new history.
When designing within a historic environment,
there are many different issues that need to be
addressed and many solutions. One must study all
possible solutions such as whether it should be
preserved, restored, reconstructed, rehabilitated or
enlarged.
The focus of this thesis will be about
adaptive rehabilitaion and additions to existing
historic structures. The theory of contrasting
designs of old and new proves to be a difficult
undertaking. It needs to take into consideration
the theory of contextualism and the significance of
comptempory design within preservation. This will
be discussed in more depth in the next chapter.
With historic structures, there are regulations and
codes that need to considered. Navigating and
weighing them against the need for contemporary
design in a historic district will be the challenge.
What defines something as historic? How can
contemporary design create a new usefulness to
our historic structures and preserve the richness of
our past?
Design Approach21|22
Chapter TwoContemporary Architecture
This chapter will investigates the idea of incorpo-
rating contemporary architecture into a historic
built environment. It shows that the topic is
nothing new and has been a subject of debate for
many years. Knowing differing views on the topic
can prove useful in providing evidence towards
why it should be considered as a design idea. This
chapter will prove the importance of continuing
our architectural heritage thourgh the use of
contemporary architecture.
23|24
The goal of a historic preservationist is to
preserve heritage for future generations. Then why is
it that we have to deny the architectural heritage of
the present? The implementation of contemporary
architecture as an addition to a historic building is
often looked down upon and never thought of in the
initial design phases. With this thought, do we feel
that our current heritage will be lost for the future
generations? The United States, more often than
most countries, is content on designing monoto-
nous, undistinguished and loosely referenced new
historical additions. De Teel Patterson Tiller states in
the Forum Journal, a journal of the National Trust for
Historic Preservation, “Best intentions of the most
committed architectural review board aside, in doing
so, we rob future generations of the record of our
time, of what was important to us, of how we best
built here and now, particularly in rich setting of our
nation’s historic districts and neighborhoods” (De Teel
Patterson Tiller, 6).
Contemporary Architecture within a Historic Context
Contextualism
The term contextualism usually goes
hand-and-hand with contemporary design.
Contextualism design approach “yields contem-
porary architecture that is sensitive to, and
compatible with, its surroundings” (Tyler 2nd,
103). There are two main elements to this design
method: context of time and context of place. The
context of time is essential to understanding the
history of a building. Peter Eisenman provides an
example of an arrow. In the picture, we do not
know whether the arrow is moving or is static.
Without knowing where it came from or where it
is headed, we are unable to understand the
arrow. The image shows only a fraction of the
story of that arrow. The meaning is lost without
knowing the larger context. A building cannot
stand alone. It essentially is a part of a continuing
story becoming the link between the past and
the future. The design should not neglect what
25|26
was there before and what is there currently.
Architects tend to ignore this and only think of
the future. Similarly historic districts should not
neglect the idea of what it is today, what it was
and what will become. The context of place puts
emphasis on the building’s physical surroundings.
It will have neighbors, making it a part of a
collection of structures. The building needs to be
compatible with its neighbors but different at the
same time (Tyler 2nd, 103-104).
First Debate on the Topic
The concept of contemporary architec-
ture within a historic context is not a new
argument. In 1951, Frank Lloyd Wright was asked
to design a building in Venice, Italy. The project
was called Masieri Memorial. It was located in a
prominent part of the city. The site could be seen
from the Ponte del’ Academia and located on the
one of the busiest intersections of the Grand
Canal. On either side of the site, there is Gothic
and Renaissance palazzi. When Wright revealed
his design to the public, it triggered an immense
debate about its merits from 1953 to 1955. Many
well-known architects of the time were in
agreement with Wright’s design ideas, but others
thought differently. They felt the design was ‘a
piece of inexcusable vandalism.’ Thus the design
was rejected by Venice’s municipal council. They
claimed that it would lose the vernacular of the
historic building it sought to replace, and that the
modern architecture was unsuitable in the
historic city. This argument became one of “the
first public debates on the matter of how (or
whether) contemporary designed buildings can
(or should) be integrated within historic
precincts” (De Teel Patterson Tiller, 7).
Figure 12
Figure 2.1
Figure 2.2
Guidelines for New and Old
Around ten to twenties years later, many
countries throughout Europe and the United States
began to understand the importance of regulating
the introduction of contemporary architecture into
historic contexts. A common agreement was made
by preservationist groups through charters such as
Venice Charter of 1964, the third ICOMOS
(International Council on Monuments and Sites)
General Assembly in Budapest in 1972, and the
National Trust for Historic Preservation’s sympo-
sium in 1977. They came up with four conclusions
similar to the ones stated in the ICOMOS General
Assembly, which states:
1) “The introduction of contemporary architecture
into ancient groups of buildings is feasible in so far
as the town-planning scheme of which it is a part
involves acceptance of the existing fabric as the
framework for its own future development”
(ICOMOS, 1).
2) “Such contemporary architecture, making
deliberate use of present day techniques and
materials, will fit itself into an ancient setting
without affecting the structural and aesthetic
qualities of the later only in so far as due allow-
ance is made for the appropriate use of mass,
scale, rhythm and appearance” (ICOMOS, 1).
3) “The authenticity of historical monuments or
groups of building must be taken as a basic
criterion and there must be avoidance of any
imitations, which would affect their artistic
and historical value” (ICOMOS, 2).
4) “The revitalization of monuments and groups
of buildings by the finding of new uses for them
is legitimate and recommendable provided
such uses affect, whether externally or internally,
neither their structure nor their character as
complete entities.” (ICOMOS, 2).
The National Trust for Historic Preservation
concluded with similar guidelines of relating old
and new buildings. They released a book called
Old and New Architecture: Design Relationship
written in 1980. The book provides an assortment
of desirable design ideas for architectural
additions that differ from the original historical
structure (sometimes called “theory of disjunc-
tion”). It shows how a new building can work with
the context of size, footprint, massing and detail
of the original building but still be different.
These design ideas paved the way for the consen-
sus that additions mimicking the historical
context are not aesthetically pleasing and that
contemporary design “should obey the impera-
tives of its own historical moment” (De Teel
Patterson Tiller, 9).
27|28
Standard 9
The design ideas in the book Old and
New Architecture: Design Relationship were
coalesced and incorporated into the Secretary of
the Interior’s Standards for Rehabilitation. It
consists of ten standards of advice on how to
balance preservation with rehabilitation.
Standard 9 speaks directly of new additions and
how they should behave. Standard 9 originally
read:
1978) “Contemporary design for alterations
and additions to existing properties shall not be
discouraged when such alterations and additions
do not destroy significant historic, architectural,
or cultural material, and such design is compat-
ible with the size, scale, color, material, and
character of the property, neighborhood, and
environment” (De Teel Patterson Tiller, 9).
In 1995, a revision was made to the Secretary of
the Interior’s Standards for Rehabilitation, which
changed Standard 9 to read:
1995) “New additions, exterior alterations, or
related new construction will not destroy historic
materials, features, and spatial relationships that
characterize the property. The new work shall
be differentiated from the old and will be
compatible with the historic materials, features,
size, scale and proportion, and massing to protect
the integrity of the property and its environment”
(De Teel Patterson Tiller, 9).
The new revision to the standards makes
the statement that different but compatible is the
preferred method of design, leaving the idea of
contemporary design open as a possibility. It has
been argued that nothing in the rewrite restricts
contemporary design just so long as it is respect-
ful to its context. These standards are used as
guidelines for architectural review boards, zoning
boards and planning commissions. As a guide-
line, they are open to interpretation by local
officials so what one review board may pass
another may reject. This revision, however, has
created a ripple effect within addition design that
may allow for contemporary ideas to coalesce
with the original design (De Teel Patterson Tiller,
10).
Differing Opinions
The concept of contemporary design set
within a historic district is an unfamiliar theory to
most people. Generally speaking, preservationists
have the mindset that we need to do anything to
preserve the past with little knowledge of the
current architectural style. Similarly, an architect’s
focus is so much on the future of architectural
design styles that they neglect the important
surrounding historical context. These conflicting
ideas surfaced as a result of the Second World
War. The majority of preservationist realized that
the destruction of war caused heavy losses of our
architectural heritage. It resulted in a hefty
increase in the preservation of older buildings
vital to continuing their heritage. Also around the
Second World War, architectural modernism and
urban planning proved to be destructive towards
thousands of historical buildings and the loss of
heritage. The modernist movement focused on
the concept of a machine and the push towards a
new age, which generally ignored the surround-
ing context and demonstrated a lack of respect
towards its history. “The architecture profession
bears significant responsibility for so many
inferior designs foisted into historic districts
nationwide. Unlike in Europe, historic design
contextualism remains largely ignored in most
U.S. architectural school curricula today” (De Teel
Patterson Tiller, 11). The United States is only a
few hundred years old whereas Europe has been
around for thousands of years. With that much
history, there is no way to completely ignore the
surrounding context. The idea of context is new
in the United States as architects are just now
beginning to understand the importance of
architectural heritage. The preservationist field is
a recent process towards saving our history,
which might be flawed. Many review board
members in federal, state and local government
preservation departments “are rarely adequately
schooled or prepared for these complex visual
decisions” (De Teel Patterson Tiller, 11). These
review boards will often lack the advice from an
architect, which leads towards biased decision
that may ultimately end with a boring design just
to blend in with the surrounding context. A larger
amount of citizens have been involved at review
board meetings and serving on committees but
more for social and political reasons. The average
response to something that is different is more
often than not negative. Thus, contemporary
designs are often looked down upon, so people
resort to vaguely historicized addition, as they are
safer.
29|30
Continuing Our Heritage
The creation of new historicized build-
ings curtails our architectural heritage. “We
experience a complexity of generations of
occupancy expressed through architecture and
material culture, layer on layer, generation by
generation, tangible and intangible. Historic
places have the power to speak to us as vital and
living links between us and those that have gone
before and those yet to come. Historic neighbor-
hoods speak to the continuum of life and
endeavor” (De Teel Patterson Tiller, 12). The
visually interesting part of being in a historic city
is being able to look around at all the different
styles of architecture layered on top of one
another and know that it has a rich heritage. A
building with multiple additions from different
time periods has more to tell and is thus more
exciting than a new building that is built in the
same style as the building right next to it.
Imagine a hundred years from now when we look
at a historic city and wonder what happened in
the last hundred years of architecture. Whether
we like or hate a building’s design, it is crucial
towards the continuum of our architectural
heritage. “Good contemporary design is funda-
mental to that interaction with the future and the
past” (De Teel Patterson Tiller, 12).
Think of what power contemporary
architecture could have within a historic context
and how interesting an intergenerational design
conversation could become, rather than being
“trapped in history with little sense of future
befitting its powerful and magnificent past” (De
Teel Patterson Tiller, 13). It allows the viewer to
understand and interpret the history of that
building through the layering of design. Contem-
porary design is not always the best design
decision for an addition, but it should be an
integral part of the initial design phases. It should
not be explored as an afterthought. Contempo-
rary design in a historic context is the most
difficult challenge to successfully achieve when
designing an addition. When done effectively,
however, it can become the most rewarding. It is
able to celebrate our past and current heritage
for the future generations to come.
Savannah is one of the most well-known
historic cities within the United States. Its core
value is to preserve as much of the city as
possible to provide an example of historic cities
and to preserve its heritage. The city follows the
Secretary of the Interior’s Standards for Rehabili-
tation and also has a strict set of guidelines on
what is allowed to be built within the city’s
historic district. With these strict regulations, it is
often difficult to incorporate contemporary style
into a design, but there are a few examples in the
city of contemporary architecture that works with
the surrounding context.
Savannah and Con-temporary Architecture
31|32
Case Study: Jepson Center
The Jepson Center for the Arts, designed
by Moshe Safdie and Hansen Architects, is a
contemporary architectural design located in the
heart of Savannah’s Landmark Historic District.
The challenge was to be unique but work with
Savannah’s urban fabric. Safdie states the
building’s design “respects the traditional grid of
the historic district. The glazed façade on York
Street engages tree-lined Telfair Squarer and is
formed by two white architectural concrete
‘screens’ framing glass walls, which break up
the…(120-foot) frontage into bays of less
than…(60 feet), as required by the Historic
Savannah guidelines” (Safdie Architects).
The Jepson Center is typically viewed as the
primary example of contemporary architecture in
Savannah. It is a design that pushes the boundar-
ies of being compatible to almost becoming
contrasting. The building is successful in drawing
from the rhythm and pattern of its neighboring
buildings and the rest of the surrounding context.
It uses a staggered white stone that is compatible
with the staggering of brick and the white stone
and stucco used in many of the other surround-
ing buildings. The introduction of a predomi-
nately glass façade facing the square pushes the
boundary of the typical vision of new design
within the context of old, which has proved
successful.
Figure 2.3
Figure 2.4
The eight-six foot tower fits into the skyline as
one of the highest points within Savannah’s
downtown district. Their contrasting design
approach makes the original structure stand out
more than that of the new addition. Thus,
providing a prime example of how contrasting
contemporary architecture can be successful in
celebration of a passed heritage (Sottile & Sottile).
33|34
Figure 2.5 Figure 2.6
Case Study: SCAD Museum
The SCAD Museum of Art sits on the site of the
original headquarters of the Central of Georgia
Railway. The majority of the original building had
fallen to ruins. Only parts of the exterior façade
on the west side of Turner Boulevard and a few
rooms on the side closest to Martin Luther King
Junior Boulevard remained intact. The site is
located in the Landmark Historic District of
Savannah, which requires the new structure to
abide to the design guidelines set by the city of
Savannah. The firm Sottile & Sottile was given the
task of designing a contemporary art museum
while preserving the walls that still remained. The
new design was placed between the original
walls, which helps demonstrate to the viewer the
importance of the original building’s heritage.
contemporary visitor center and restrooms. The
visitors’ center is primarily glass walls with a
butterfly roof. The design is minimal and has little
relationship to its surrounding context. It is not
overpowering the other buildings because of its
diminutive size. Even though it might not be the
most successful design that it could have been, it
is a step towards the notion of incorporating
contemporary architecture within the city of
Savannah (City of Savannah).
Case Study: Ellis Square
The site of Ellis Square originally was a
part of Savannah’s City Market. A portion of City
Market was torn down in 1954 to make way for a
new parking garage. The garage was an attempt
to provide additional parking downtown to
encourage shopping. The city realized the
importance of the site, and the parking garage
needed to be removed. In 2005, the garage was
torn down and placed underground. This
provided the opportunity to create an urban
plaza at street level. The square also consists of a
Figure 2.7 Figure 2.8
Concluding Thoughts
The concept of designing contemporary
architecture within a historic context is challeng-
ing and highly controversial. The debate on
whether we should accept this design idea has
been continuing for over fifty years. There is no
correct solution to the issue, but steps have been
made that allow for more variety in architectural
design within our ever-growing historic districts.
New design relies heavily on its surrounding
context. If this context is ignored, the building
design will prove unsuccessful. When done
correctly, however, it provides us with the
opportunity to create a link “between us and
those that have gone before and those yet to
come,” and allows for the continuum of architec-
tural heritage.
35|36
Chapter ThreeConceptual Analysis
This thesis focuses on the continuing of
our architectural style within historic
districts. It is the reuse and addition to
the vacant building located on the
corner of Montgomery and Congress
Street in Savannah, Georgia. The build-
ing will be reused as a museum to
celebrate Historic Preservation to give
the viewer an understanding of what
goes into preserving buildings, furniture
and other elements.
37|38
Left: Hilton Garden Inn detail; copying architectural style.
Bottom: Hilton Garden Inn from Franklin Square.
Top Right: The Cay Building, to be completed on Elis Square in 2012.
Figure 3.1
Figure 3.2
Figure 3.3
Historic cities are a vital link to the history
of previous generations. When we look
at older cities, we see a layering of
architectural styles and heritage.
Whether the design was successful or
not, it is a part of our history, even
buildings that are being built today.
Preservation is the key to saving history
for future generations and the
continuum of architectural heritage.
When we preserve historic districts
however, we become “trapped in
history with little sense of future befitting
its powerful and magnificent past.”
Imagine a hundred years from now
when we look at a historic city and
wonder what happened in the last
hundred years of architecture.
The Problem39|40
Top Left: Morgan Library in New York City designed by Renzo Piano.
Top Right: The Morgan Library addition provides a perfect example of how to incorporate today’s traditions within a historical context.
Bottom Left: SCAD Museum designed by Sottile and Sottile.
Bottom Right: Certain contrasting architectural elements create an emphasis on the existing brick to celebrate the history of the building.
Figure 3.4 Figure 3.5
Figure 3.6 Figure 3.7
41|42
Contrasting architectural elements
provide the opportunity to incorporate
today’s style of architecture into a
historical context. The goal of contrast-
ing design is to respect the existing
structures by putting an emphasis on the
differences rather than similarities. The
concept is that new and old design
should be easily distinguishable from one
The Concept
Con
text
ualis
mContrasting
Exist
ng
New & Old
Mat
eria
lity
Heritage
ContinuingHi
stor
icPr
eser
vatio
n
Contemporary
Celebrate
Architecture
another as it is a product of its own era.
Therefore, we are able to continue the
architectural heritage from every genera-
tion whether its past, present or future.
Figure 3.8
Design Strategies
?North Elevation abstracted from site on West Congress and Montgomery
Lack of Respect for Surrounding Context
The design strategies are a personal set
of guidelines that will be used to help
create the new plan for the addition.
Without personal or city guidelines any
building can be built on the site, possibly
lacking the respect towards the already
existing buildings.Figure 3.9
Figure 3.10
43|44
Matching copies the surround contextual elements within the new building.
Compatible takes some architectural elements from the surrounding context without directly copying them, which is the most common method of designing in historic districts.
Contrasting, contemporary design, if done effectively, allows for the continuum of our architectural heritage with the respect of the existing context.
Figure 3.11
Figure 3.12
Figure 3.13
Short
Tall
Average
Pros-Does not overpower surrounding context
Cons-Can become lost-Does not provide enough space as an addition
Pros-Can stand as a landmark-Provides extra space for a small addition-Contrasts context
Cons-Can be over baring-Amount of material on facade could clash to much with the neighboring buildings
Pros-Works proportionally with surrounding buildings-Does not exceed height restriction for the area
Cons-May blend to much with other building heights-Does not make a statement if needed
Height
Figure 3.14
Figure 3.15
Figure 3.16
Small
Large
Pros-Can allow for path between buildings-Gives visual dominance to existing build-ing
Cons-Does not cover enough street frontage-May not provide enough space for the program-May not be enough to prove concept
Pros-Provides extra space-Can expand over existing
Cons-Cannot go over neighboring building-Could become visually overbearing
Pros-Hints to the idea of expanding over the existing building-Does not overpower its context
Cons-Blends too much with context-Not enough of a statement
Average
Scale45|46
Figure 3.17
Figure 3.18
Figure 3.19
Fenestration
Visual Grid
The building form of the city block is tall and narrow on the center lots and short and long on the end buildings. The center lots have a three or four part type within the windows.
With this grid created by the fenestration, how should the grid be incorporated into the design of the new addition?
The grid does not have to be literally represented in the design. It can be abstracted but still refer back to the context, which may better distinguish old from new.
Abstract Grid
Figure 3.20
Figure 3.21
Figure 3.22
47|48
Stone material is similar to the surrounding context, which may not work for contrasting design.
Wood is visually contrasting the existing materials, but it does not have the sense of permanence that the existing has.
Steel or metal can contrast the existing materials and it also provides a sense of permanence that wood is lacking.
Glass is visually transparent, and brick is solid, which creates visual contrast. It also has a sense of permanence like metal or stone.
Existing MaterialityFigure 3.23
Figure 3.24 Figure 3.25 Figure 3.26 Figure 3.27
Savannah River
Site Location
Figure 3.28
49|50
Existing historic building
Empty lot for addition
Mon
tgom
ery
St
Jeffe
rson
St
Barn
ard
St
Mar
tin L
uthe
r Kin
g Jr
Blv
d
W Julian St
W Bryan St
W Congress St
Broughton St
Bay St
Figure 3.30Figure 3.31
Figure 3.29
Figure 3.32 - West Facade Figure 3.35 - Brick and Stucco
Figure 3.33 - Garibaldi’s with Original Signage Figure 3.36 - East Facade
Figure 3.34 - West Congress Street Figure 3.37 - Franklin Square and City Market
Site Context
51|52
Site of Addition
Rough Building Height of 30’
Garibaldi’sRestuarant
Likely orginal brick covered with stucco
Rough Building Height of 36’
West Congress Street
Building to be Rehabilitated
Figure 3.38 - North Facade
Forest City M
illsHaynes & Elton
Storage
Shed
Steam Fire Eng. N
o 2
Plumber’s Supplies
Iron Pipe
Wholesale M
dse.
1884 Sanborn Map
1898 Sanborn Map
John Shick originally owned the land and sold it to George W. Hardcastle in 1854. In that year, Hardcastle had the building on 30-38 Montgomery St built. It was originally called Forest City Mills. Notes on the Sanborn map of 1884 state “Forest City Mills-Haynes & Elton- run of stone, smut mach. 3rd, brand 3R, very little wheat grinding done principally corn, lights, gas, fuel, and wood.”
The property changed hands a few times between 1854 and 1898. In 1857, tax records show that Francis J. Champion owned the property, yet it kept the name Forest City Mills. In 1866, George Washing-ton Garmany purchased the property. On the tax records, it states that in 1873 Garmany, Trustee, owned the property.
W. Congress St.
Mon
tgom
ery
St.
W. Congress St.
Mon
tgom
ery
St.
Plumber’s Supplies
’
Site History
Figure 3.39
Figure 3.40
53|54
Wholesale
Dry Goods
Stge. Wholesale M
dse.
WholesaleRadio
Stge.
Garage
Wholesale
Dry Goods
Wholesale M
dse.
WholesaleRadio
1916 Sanborn Map
1954 Sanborn Map
W. Congress St.
Mon
tgom
ery
St.
W. Congress St.
Mon
tgom
ery
St.
The tax records show that the lot immedi-ately to the East was combined with the building in 1866. For the most part, the building was utilized as a retail store as it was situated right next to City Market. The lot to the East of the building was primarily used as storage spaces.
Sometime between 1916 and 1954, the storage structures were removed, and the lot remains empty to this day. The main building however, continued to be used as a wholesale store. In 1993, it housed the 606 East Cafe for nine years until they closed in 2002. The building has been vacant ever since.
Wholesale
sDry G
oodso
WholesaleRadio
Wholesale
sDry G
oodso
WholesaleRadio
Figure 3.41
Figure 3.42
Site Analysis
Historic District
Savannah River
55|56
Savannah River
Historic BuildingsThere are appoximately 1700 historic buildings in
downtown Savannah, Georgia. Making it the largest National Historic Landmark District in the
United States.
Savannah River
57|58
There are few museums Located in of the largest historic districts in
the United States. Of which, there are no Historic Preservation
Museums for being one of the leading cities in preservation.
Roundhouse Railroad Museum
Ships of the Sea Maritime Museum
SCAD Museum
Jepson Center
Telfair Museum
Owens Thomas House MuseumDavenport House Museum
Museums
Savannah River
107'-414"
1-2 Storys3 Storys4 Storys5 Storys6 Storys
8-14 Storys
The building height restriction for the site is four stories.
Building Heights
Savannah River
59|60
1-2 Storys3 Storys4 Storys5 Storys6 Storys
8-14 Storys
Location of site, which could provide opportunity for a new landmark.Emporis- First Union BankSCAD Museum Tower
Cathedral of St. John the Baptisit
Building Landmarks
Savannah River
Franklin Square is the last remaining intact square on Montgomery Street.
Liberty Square was cut down in size by Montgomery Street, a parking garage and the city courthouse.
Albert Square was cut by Montgomery Street and the Civic Center.
Last Square
Savannah River
61|62
The primary entry to the city of Savannah terminates at Franklin Square. If or when
the I-16 fly-over is removed, Montgomery Street still is interupted by the square,
which makes it a point of interest within the city.
City Entry
City Market
?Ellis Square
No Place of DestinationAfter its completion, Ellis Square has become a
popular tourist destination to accompany City Market, but there is no counter balance on the other side of
the market.
67|68
Elis Square
The proposed site the opportunity to serve as a counter balance to the contemporary design of Elis
Square.
Place of Destination
65|66
Ellis Square
Public ParkingThere are two parking garages near the
site. These are popular for tourist to park in because they are located close to city
market and Broughton Street. When tourist park there, they will often walk past the site, which makes it a good location to
attract tourists.
Vehicular Traffic
Very little trafficLittle traffic
Average trafficMore than average traffic
A lot of traffic
67|68
Pedestrian Traffic
Little trafficAverage traffic
More than average trafficA lot of traffic
Proposed Building Marc by Marc Jacobsto the South
Proposed Building Marc by Marc Jacobsto the South
Close building proximity limits the use of natural light during the winter. The addition could provide the ability to bring more light into the building.
Proposed Addition
Proposed Building
Winter sun angle is 38 degrees.
Summer sun angle is 81degrees.
Solar Analysis
Figure 3.56
Figure 3.57
Figure 3.58
69|70
Mon
tgom
ery
St.
Congress St.
Mon
tgom
ery
St.
Congress St.
Mon
tgom
ery
St.
Congress St.
Mon
tgom
ery
St.
Congress St.
Summer Fall
Spring Winter
Wind Analysis
Figure 3.59 Figure 3.60
Figure 3.61 Figure 3.62
60’ 32’
90’
Existing Building Empty Lot
90’ x 60’ =5400 SqFt per Floor
5400 x 3 (Floors) =16,200 Total SqFt
90’ x 32’ =2800 SqFt per Floor
2800 x 4-8 (Floors) =11,200 - 22400
Total SqFt
27,400 - 38,600Total SqFt
Gallery 9,200 - 12,900
Working Gallery 6,100 - 8,600
Studios 5,000 - 7,500
Classrooms 1,500 - 2,300
Shop 2,500 - 3,300
Cafe and Kitchen 3,000 - 4,000
Approximate Square Footages
Program
Figure 3.63
71|72
Always by Design AxDStudio/Gallery
AxD is an architectural firm that specializes in creating spaces for living, working and learning. This building was originally a warehouse that is now converted into a working studio and open gallery. They paid specific attention to emphasize the existing brick and historical features to create a dynamic interior space.
Figure 3.64 Figure 3.65 Figure 3.66
Figure 3.67
Figure 3.69
Foster + Partners ReichstagNorman Foster states that rehabilitation and addition of Reichstag is “rooted in four issues: the significance of the Bundestag as a democratic forum; a commitment to public accessibility; a sensitivity to history; and a rigorous environmental agenda.” The building took a beating during the world war. After removing some of the layers added in the 90s they revealed “the striking imprints of the past, including graffiti left by Soviet soldiers.
Figure 3.70
Figure 3.71 Figure 3.72
Figure 3.73
Figure 3.74
Figure 3.75
73|74
Lamott ArchitektenPublic Library
The existing building was built in 1895 to house the Landau slaughter-house. It is now reused as a public library to accommodate 75,000 books, CDs and periodicals. The new addition provided the room to hold the large amount of books. The concept was to make a clear transition between old and new architecture. The addition contains the entry, foyer, exhibition area, cafe, children’s library, and main reading room with open stacks. The bridges on the interior make the transition between the old and new architecture, which emphasize the differ-ences in materiality.
Figure 3.79 Figure 3.80 Figure 3.81
Figure 3.76 Figure 3.78
Galle
ryGa
llery
Mon
tgom
ery
St.
Congress St.
Main Gallery
Cafe
KitchenShop
Working Gallery
Galle
ryStudios
Classrooms
Circ
ulat
ion
Figure 3.82
75|76
CafeClassrooms
Main Gallery
Studios
Kitc
hen
Shop
Cir
cu
lati
on
Galle
ryWorking Gallery
Outdoor Gallery
Figure 3.83
Mon
tgom
ery
St.
Congress St.
Utili
ze M
axim
um A
mou
nt o
f Spa
ce
Large amount of pedestrian traffic provides attention towards the building
Glass and Metal Construction or material that is contrasting and gives a sense of permanence.Brick and Stucco facade
Cafe
Encourages people to come in.
Show what Preservation is about
Transparent
Tran
spar
ent
Vehicular traffic is forced to turn next to site which forces driver to look towards the new addition.
Glass facade on upper levels will help bring natural light into the building.
Figure 3.84
77|78
Land
mar
k
Cross Ventilation from Westerly Wind
Stack Ventilation
Views toRemember
Architectural
Heritage
Public Interaction and Outdoor Space
Figure 3.85
Chapter FourDesign
This thesis focuses on the continuing of
our architectural style within historic
districts. It is the reuse and addition to
the vaccant building located on the
corner of Montgomery and Congress
Street in Savannah, Georgia. The build-
ing will be reused as a museum to
celebrate Historic Preservation to give
the viewer an understanding of what
goes into preserving buildings, furniture
and other elements.
79|80
Designing a building in a historic city is a
challenging task to accomplish. The
building has to be designed to fit within
the surrounding context while also
attempting to fit within personal and city
guidelines. The goal was to create a
design that will become unified with the
original structure but also can be visually
read as a separate building through
contrasting elements.
Schematic Design
81|82
Preliminary Sketches
Figure 4.1 Figure 4.2
Figure 4.3
Figure 4.5
Figure 4.4
Figure 4.6
Figure 4.7
Figure 4.8
Figure 4.9
83|84
Figure 4.11
Figure 4.10
Figure 4.12
Figure 4.13 Figure 4.14 Figure 4.15 Figure 4.16
New Old
IntersectionConcept Diagrams
Figure 4.17
85|86
Top of Building to Left
Top of Building to Right
Grid from Interior Continued to Exterior
Open to Welcome Public
Glass
Drop Ceiling
Heavy Timber Beam
Able to See Existing Structure and Allow for Natural Light
I-Beam
Glass Existing Floor
Heavy Timber Beam
Show Connection Between Old and New
I-Beam
Glass
Brick with Original Signage
Existing Openings on East FacadeReversal of Solid and Void
Figure 4.18 Figure 4.19 Figure 4.20
Figure 4.21 Figure 4.22 Figure 4.23
The new entry of building will be located
in the addition portion of the design. The
main lobby contains the core circulation
and the beginning of procession
through the main gallery.
87|88
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Gallery - Local Completed Projects
Gallery - Current Local Projects
Impo
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e of
Hi
stor
ic P
rese
rvat
ion
Lobby/Entry
Men
Women
Service Elevator
First Floor Plan
2’
4’
8’
16’
32’
0
N
Figure 4.24
The second floor consists mainly of more
gallery space for the museum. The
opening to below part provides the view
towards the signage wall and opens up
the main lobby space to allow for more
natural light.
Open to Below
Gallery Old/New
Service Elevator
Second Floor Plan
Figure 4.25
89|90
The third floor is similar to the second
except that it has office spaces on the
south side of the original building. The
new addition is set back from the origi-
nal to allow guests to see the physical
connection between old and new.
Rest.
Office Office OfficeConference
Service Elevator
GalleryFinished Works
Open to Below
Third Floor Plan
Figure 4.26
The fourth floor gives the guests the
opportunity to learn how architectural
elements are preserved or restored. In
the working gallery, a preservationist
would be working and explaining to
people the process to which they have
to go through to bring these elements
back to life.
Service Elevator
Working Gallery
Process of Preservation
Open to Below
Outdoor Space/Larger Works
Fourth Floor Plan
Figure 4.27
91|92
The top floor is the indoor and outdoor
cafe space. The surrounding buildings
are no higher than four stories. This
provides guests the ability to relax and
reflect on the unique heritage that the
city of Savannah has to offer.
Rest.Kitchen
Cafe
Outdoor Seating
Fifth Floor Plan
Figure 4.28
Outdoor Cafe
Working Gallery
Outdoor Space
Cafe
Elevator
Wall with Existing Signage
Galleries Entry/Lobby
Cantilevered Structure Over Existing
Figure 4.29
93|94
The design keeps the street frontage
that is required in the city’s guidelines.
The new addition above is recessed to
make sure it does not visually over
power the existing building.
North Perspective
Figure 4.30
The East wall of the original building is
partially removed to expose the con-
nection between the new and old. This
was done by inverting the solids and
voids that use to service the older
additions.
Interior Lobby
Figure 4.31
95|96
The wall on Garibaldis on the East side of
the new addition contains original
signage. This signage will be preserved
behind a glass wall to help enhance the
visual of the old ways of advertising.
Third Floor/Signage Wall
Figure 4.32
Design Development This portion of the design was focused
mainly on the details of how the design
can be feasible. A new addition to an
existing historic structure provides many
unique challenges. The main one being
the physical connection that is made
between old and new. The other issue
that was addressed was fixing the
interior design to: create more visual
interest in the main lobby, rework the
layouts of the gallery spaces and add
more service spaces with the addition of
a basement.
97|98
Figure 4.33
Figure 4.36
Figure 4.37 Figure 4.40
Figure 4.34
Figure 4.35
Figure 4.38
Figure 4.39
Building Code Occupancy Type: A-3 - “This group
includes recreational amusement, and
worship uses not specifically falling under
other Assembly groups, including, for
example galleries, auditoriums,
churches, community halls, courtrooms,
dance halls, gymnasiums, lecture halls,
libraries, museums, passenger station
waiting areas, and the like.”
Contruction Type: I-B - Requires 2
hour fire rating
Occupancy Load: 5 sq.ft. net per
occupant
Max Travel Distance:
Unsprinkled - 200’
Sprinkled - 250’
Max Common Path - 75’
Dead End Corridor - 20’
Door Width - Min. - 32” net clear
Max - 48” nominal
99|100
Basement Floor Plan After more investigation of the original
building, it was determined that it con-
tained a basement that could be
utilized for addition space. In the new
addition, restrooms and service spaces
were added to utilize the existing base-
ment for storage. The East side of the
addition is open to allow natural light to
filter into the basement and give space
to display works.
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Figure 4.41
First Floor Plan After research of building codes, it was
necessary to incorporate a secondary
form of emergency egress. The place-
ment of restrooms in the basement
provided extra room on the main floor to
be used as gallery space. The vertical
circulation was moved to run along the
signage wall rather than having a
central core.
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Figure 4.42
101|102
Second Floor Plan The second floor addition was reduced
in size to provide more visual space for
the main lobby below. The east side of
the floor was relocated farther away
from the signage wall to be able to
better see it and provide space for the
vertical circulation. Light wells were put
in the existing part of the building that
runs from the roof down to the base-
ment. This allows for more natural light.
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Figure 4.43
Third Floor Plan The third floor is similar to the second
other than the landing for the main
staircase is in a different location. The
floor on the existing building is cut away
along the main gallery to help open up
the buildings and allow the viewer to see
the physical connection between the
new and old.
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Figure 4.44
103|104
Fourth Floor Plan The fourth floor is the working gallery,
which is cantilevered over the original. It
contains a partial glass floor allowing
guests to see the structure below. The
I-beams holding the new structure were
extended to allow for the light wells in
the existing building. This floor also
provides the access to the roof of the
existing structure serving the outdoor
gallery and roof garden space.
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Figure 4.45
Fifth Floor Plan The fifth floor contains the indoor and
outdoor cafe and kitchen space along
with restrooms. The outdoor space now
has a glass roof that cantilevers from the
indoor portion of the structure.
DNDN
DNDN
DNDN
Figure 4.46
105|106
Structural Details The details help to show the interaction
of old and new design. A connection
between a heavy timber beam and
steel I-beam is not common. Thus a
unique bracket had to be designed to
join the two elements. The bracket
design, however, needed to be larger to
be able to support the timber, as the
end of the beam is the most common
place for shear failure.
Hardwood Floor
Railing
Metal T-Shaped Bracket to Support Timber Beam
Original Heavy Timber Beam
Original Wood Joists
Original Wood Decking
Steel I-Beam Column
Gypsum Board Wrapped Around I-Beam
Metal Stud
Metal Decking
Concrete
Gypsum
Wood Furring
Steel I-Beam
Drop Ceiling
Open Web Joist
Hardwood Flooring
Glass Roof
Steel I-beam Joist
Steel I-beam Column
Railing for Outdoor Cafe
Concrete on Metal Deck Roof Roof
Concrete Decking
Existing Basement
Original Brick Wall
Concrete on Metal Decking
Original Heavy Timber Beams 7”x 7”
Glass Curtain Wall
Gypsum Board
1”x 3” Original Decking
3/4” Hardwood Flooring
W16x45 Steel I-beam column
W16x45 Steel I-beam Joist
Original 2”x 8” Joists
New Concrete Wall
Wall SectionBasement
First Floor
Second Floor
Third Floor
Fourth Floor
Fifth Floor
Figure 4.47
Figure 4.48 Figure 4.49
North Perspective The perspective helps to give an idea as
to how the new design will look within
the existing context of the city.
Figure 4.50
107|108
Overview from North The overview shows how the new addi-
tion rests above the existing and allows
for vertical light wells in the center of the
original building.
Figure 4.51
Congress Street View Context is vital to the success of a
design within a historic city. The view
provides the rough idea of how the
design has been successful in contextu-
ally contrasting with the surrounding
buildings.
Figure 4.52
109|110
Main Lobby The floors are set back to allow for a
larger main lobby, and the large white
wall provides the space for a main
display for the guests when they first
enter the museum.
Figure 4.53
View of Main Lobby Opening up a part of the original wall
near the main lobby allows for the
interaction between old and new.
Guests will be able to see details of the
connections while being able to see the
signage wall.
Figure 4.54
111|112
Working Gallery The working gallery helps to demon-
strate to the viewer the importance of
historic preservation.
Figure 4.55
Chapter FiveFinal Design
Architecture is a way to write history.
Every part of every building has a unique
story to tell us. Preserving historic
buildings provides the opportunity to
share history with the future generations.
City officials have attempted this by
setting guidelines for new construction in
historic districts. However, these rules
constrain today’s architectural style. The
strict rules have resulted in new
construction that mirrors the style of
architecture from a hundred years ago.
Thus, the architectural heritage of today
is being lost within our historic cities.
When we experience a historic city, the
most unique aspect is the layering of
generations, which gives us the ability to
see history through architecture. Through
the use of contrasting architectural
elements with respect of the surrounding
context, this inevitable gap in our
architectural heritage can be fixed.
113|114
Figure 5.1
Basement Floor Plan
UP
UP
UP
2’
4’
8’
16’
32’
0
Prep/Office SpaceResource Library
Storage
Mech.
115|116
Figure 5.2
First Floor Plan
UP
UPDN
UP
DN
DN
61' - 0" 30' - 0"
90' -
3"
4' -
0"6'
- 10
"19
' - 7
"12
' - 8
"8'
- 0"
20' -
0"
6' -
4"1'
- 7"
11' -
3"
19' -
11"
8' -
11"
10' -
6"
9' -
6"10
' - 4
"9'
- 2"
20' -
0"
6' -
5"
10' - 3"
4' -
0"6'
- 10
"19
' - 7
"12
' - 8
"8'
- 0"
20' -
0"
6' -
4"1'
- 77"7
11' -
3"
2’
4’
8’
16’
32’
0
Main Gallery
Figure 5.3
Second Floor Plan
DN
DN
UP
UP
DN
UP
2’
4’
8’
16’
32’
0
Gallery
117|118
Figure 5.4
Third Floor Plan
DN
UP
DN
UP
DN
UP
2’
4’
8’
16’
32’
0
Gallery
Figure 5.5
Fourth Floor Plan
DN
UP
DN
UP
UP
2’
4’
8’
16’
32’
0
Working Gallery
Rooftop Gallery
119|120
Figure 5.6
Fifth Floor Plan
DN
DN
DN
2’
4’
8’
16’
32’
0
Cafe
Office
OutdoorSeating
Figure 5.7
121|122
Wor
king
Gal
lery
Gal
lery
Gal
lery
Mai
n G
alle
ryS
tora
geC
afe
13' -
11"
12' -
0"
10' -
0"
11' -
3"
10' -
0"
13' -
11"
Figure 5.8
Figure 5.9
123|124Glass Roof
Steel I-beam Joist
Steel I-beam Joist
Hardwood Flooring
1’x 3” Original Decking
Original 2”x 8” Joists
Original Heavy Timber Beam 7”x7”
Bolted Metal Bracket to Connect Timber to Steel
Hardwood Flooring
1’x 3” Original Decking
Original 2”x 8” Joists
Original Heavy Timber Beam 7”x7”
Original Heavy Timber Column
Hardwood Flooring
Concrete with Metal Decking
Open Web Steel Joists
Steel I-Beam Joist
Drop Ceiling Wrapped with Gypsum
Steel I-beam Column
Steel I-beam Column
Railing for Outdoor Cafe
Concrete on Metal Deck Roof Roof
Concrete Decking
Existing Basement
Original Brick Wall
Concrete on Metal Decking
Original Heavy Timber Beams 7”x 7”
Glass Curtain Wall
Gypsum Board
1”x 3” Original Decking
3/4” Hardwood Flooring
W16x45 Steel I-beam column
W16x45 Steel I-beam Joist
Original 2”x 8” Joists
New Concrete Wall
Wall Section
New and Old Connection
Original Structure
New Construction
Figure 5.10
Figure 5.11
Figure 5.12 Figure 5.13
125|126
Figure 5.14
North Overview
Figure 5.15
127|128
South Overview
Figure 5.16
Main Lobby
Figure 5.17
129|130
Signage Wall
Figure 5.18
View from Original into New
Figure 5.19
131|132
Working Gallery
Figure 5.20
Roof of Original
Figure 5.21
133|134
Indoor and Outdoor Cafe
Figure 5.22
Figure 5.23
135|136
Figure 5.24
139|140
Fram, Mark. Well-Preserved. 3rd ed. Ontario: Boston Mills Press, 2003.
City of Savannah. “Ellis Square.” Web. 8 November 2011 < http://savannahga.gov/cityweb/p&tweb.nsf/ 02e67f6f5dc1d3e585256c2f0071940a/5ec6a1cca9ba14e68 52571f7002c8d62? OpenDocument>.
De Teel Patterson Tiller. “Obey the Imperatives of Our Own Moment: A Call for Quality Contemporary Design in Historic Districts.” Forum Journal. Volume: 21. Summer 2007: 1-13. Print.
ICOMOS. “Resolutions of the Symposium on the Introduction of Contemporary Architecture into Ancient Groups of Buildings.” Web. 5 November 2011<http://www.international.icomos.org/ publications/93towns7e.pdf>.
Safdie Architects. “Telfair Museum of Art, Jepson Center for the Arts.” Web. 8 November 2011 <http://www.msafdie.com/#/projects/Telfairmuseumofartjepsoncenterforthearts>.
Sottile & Sottile. “Savannah College of Art and Design Museum of Art.” Web. 8 November 2011 <http://www.sottile.cc/SCAD-Museum-of-Art-Sottile-Folio-Excerpts.pdf>.
Tate Moderns. “The Building.” Web. 9 October 2011 <http://www.tate.org.uk/modern/building>.
The Morgan Library & Musuem. “The Renzo Piano Expansion and Renovation.” Web. 9 October 2011. <http://www.themorgan.org/about/historyMore.asp?id=27>.
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Tyler, Norman. Historic Preservation. 2nd ed. New York: W.W. Norton & Company, 2009.
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