MULTI PURPOSE ROOM

COURTYARD 1

PRIMARY EXHIBITION 1

PRIMARY EXHIBITION 3

PRIMARY EXHIBITION 2

CO

UR

TYAR

D 2

HOTSHOP 1

HOTSHOP 2

OPEN STORAGE 2OPEN STORAGE 1

LAMPWORK

HA

LL 1

CO

AT RO

OM

RESTROOM

RESTROOM

HA

LL 2

FOYER 1

CAFE

FOY

ER

2

CO

UR

TYAR

D 3

ART HOLDING FOOD HOLDING

RE

ST

GROUND FLOOR PLAN ROOF PLAN

0 10’ 20’ 40’

DESIGN INTENTIONS

Designed to house over 5000 pieces of the Toledo Museum of Art’s extensive glass collection, SANAA faced numerous contextual constraints in the design of the Glass Pavilion. Sitting in a small park across from the main neoclassical museum building, the new space needed to address this structure, Frank Gehry’s 1992 addi-tion, and a surrounding neighborhood of established Victorian and Edwardian Homes.

Ultimately, the decision was made to address these disparate neighbors by utilizing simple forms and materi-als and limiting the building’s height to a single story. To maximize the light brought into the structure, SANAA carved out a series of inner courtyards that bring light inside and also help to reduce glare by balancing the light entering from the building’s perimeter. To protect artworks from UV radiation, two galleries with opaque walls are included in the Pavilion as well as translucent silver curtains which can be drawn when necessary. In or-der to address the display issues connected with a pure glass structure, the architects developed glass vitrines on rectangular bases and incorporated ceiling mounts in the space to allow the art to be displayed without the need for walls.

BUILDING STRUCTURE

The architects worked to reduce each element to its bare minimum in order to maximize the transparency of the space and to provide a powerful showcase for the art collection. The building’s exterior skin is composed of glass panels just 8 ft wide and 1 in thick. The interior glass partitions are set 2.5 ft behind the exterior skin, cre-ating a thermal buffer that reduces energy consumption and helps to eliminate condensation. The roof is sup-ported by 35 rolled steel columns, each of which are only 4 inches thick, as well as a 3/4 in thick curved steel wall around the Hot Shop and cross bracing hidden within three sheetrock walls. A basement hides the space necessary for museum offi ces, studios, a loading dock, and the mechanical systems of the building while also providing 15,000 ft of additional future gallery space.

The result is an ethereal environment where the structure is reduced almost nothing in order to allow the visi-tor to focus entirely upon the art. The galleries as well as the art they contain seem to fl oat within the outer envelope of the building amid a series of transparent voids that serve to both separate and connect the indi-vidual galleries. An incredibly popular building with both its users and the architectural community, SANAA was awarded the 2010 Pritzker Prize for this extraordinary structure.

FROM SOUTHWEST ENTRANCE

FROM SOUTHEAST ENTRANCE

PAVILION SIGHTLINES

Ultratransparent glass walls allow visitor sightlines to pass through the building. The few opaque volumes create varying outlines based on the visitor’s angle of approach.

Glass Blowing/Hot Shop Space

Gallery/Exhibition Space

Building Envelope

PROGRAMMATIC REQUIREMENTS

Early Schemes for the Glass Pavilion de-picted it as a cluster of small structures separat-ing the disparate uses of the Hot Shops from those of the Gallery Spaces. However, the Muse-um wanted to bring both facilities under a single roof, resulting in the creation of separate spaces enclosed by a single glass envelope.

Design Elements: Transparency

The Materials of the Glass Pavilion allow three very different lighting conditions to exist within the space. The glass itself provides a transparent condition, allowing light to fl ow freely from one space into the next but distorting the light when passing through multiple panes of glass.. Some of the gallery spaces with artifacts sensitive to UV radiation require the protection of two opaque galleries which in-terrupt the fl ow of light within the Glass Pavilion. Additionally, translucent grey curtains surround some of the transparent spaces, providing a measure of privacy when desired and also allowing for a third, translucent, lighting condition. A space with all of these conditions present is represented above with a solid wall at right, translucent curtains in the center, and a transparent glass envelope surrounding them both.

GLASS PAVILION

ARCHITECT: SANAA: Kazuyo Sejima + Ryue Nishizawa

PROJECT TEAM: Toshi Oki, Takayuki Hasegawa, Keiko Uchiyama, Mizuki Imamura, Tetsuo Kondo, Junya Ishigami

LOCATION: TOLEDO, OHIO

COMPETITION: 2000

COMPLETION: 2006

CLIENT: TOLEDO MUSEUM OF ART

STRUCTURAL ENGINEER: SAPS/ Sasaki and Partners Guy Nordenson and Associates

STATISTICAL INFORMATION

FLOOR AREA: 76,000 sq ft

SITE AREA: 215,000 sq ft

HEIGHT: 35 ft

OVERALL DIMENSIONS: 205 ft x 190 ft

GLASS AREA 32,000 sq ft

COST: 30 million

Monroe S

t.

Scottwood Ave.

Parkwood Ave.

WW

oodruff Ave.

Scale: 1:500

Loading Dock

EXHIBITION 2EXHIBITION 1

OFFICES AND STORAGE

MULTIPURPOSE SPACELOUNGE COURTYARD

Longitudinal Section

One Pane: Transparent Two Panes: Distorted Curtains: Translucent Drywall: Opaque

Layers of Transparency

MULTI PURPOSE ROOM

COURTYARD 1

PRIMARY EXHIBITION 1

PRIMARY EXHIBITION 3

PRIMARY EXHIBITION 2

CO

UR

TYAR

D 2

HOTSHOP 1

HOTSHOP 2

OPEN STORAGE 2OPEN STORAGE 1

LAMPWORK

HA

LL 1

CO

AT RO

OM

RESTROOM

RESTROOM

HA

LL 2

FOYER 1

CAFE

FOY

ER

2

CO

UR

TYAR

D 3

ART HOLDING FOOD HOLDING

RE

ST

GROUND FLOOR PLAN ROOF PLAN

0 10’ 20’ 40’

DESIGN INTENTIONS

Designed to house over 5000 pieces of the Toledo Museum of Art’s extensive glass collection, SANAA faced numerous contextual constraints in the design of the Glass Pavilion. Sitting in a small park across from the main neoclassical museum building, the new space needed to address this structure, Frank Gehry’s 1992 addi-tion, and a surrounding neighborhood of established Victorian and Edwardian Homes.

Ultimately, the decision was made to address these disparate neighbors by utilizing simple forms and materi-als and limiting the building’s height to a single story. To maximize the light brought into the structure, SANAA carved out a series of inner courtyards that bring light inside and also help to reduce glare by balancing the light entering from the building’s perimeter. To protect artworks from UV radiation, two galleries with opaque walls are included in the Pavilion as well as translucent silver curtains which can be drawn when necessary. In or-der to address the display issues connected with a pure glass structure, the architects developed glass vitrines on rectangular bases and incorporated ceiling mounts in the space to allow the art to be displayed without the need for walls.

BUILDING STRUCTURE

The architects worked to reduce each element to its bare minimum in order to maximize the transparency of the space and to provide a powerful showcase for the art collection. The building’s exterior skin is composed of glass panels just 8 ft wide and 1 in thick. The interior glass partitions are set 2.5 ft behind the exterior skin, cre-ating a thermal buffer that reduces energy consumption and helps to eliminate condensation. The roof is sup-ported by 35 rolled steel columns, each of which are only 4 inches thick, as well as a 3/4 in thick curved steel wall around the Hot Shop and cross bracing hidden within three sheetrock walls. A basement hides the space necessary for museum offi ces, studios, a loading dock, and the mechanical systems of the building while also providing 15,000 ft of additional future gallery space.

The result is an ethereal environment where the structure is reduced almost nothing in order to allow the visi-tor to focus entirely upon the art. The galleries as well as the art they contain seem to fl oat within the outer envelope of the building amid a series of transparent voids that serve to both separate and connect the indi-vidual galleries. An incredibly popular building with both its users and the architectural community, SANAA was awarded the 2010 Pritzker Prize for this extraordinary structure.

FROM SOUTHWEST ENTRANCE

FROM SOUTHEAST ENTRANCE

PAVILION SIGHTLINES

Ultratransparent glass walls allow visitor sightlines to pass through the building. The few opaque volumes create varying outlines based on the visitor’s angle of approach.

Glass Blowing/Hot Shop Space

Gallery/Exhibition Space

Building Envelope

PROGRAMMATIC REQUIREMENTS

Early Schemes for the Glass Pavilion de-picted it as a cluster of small structures separat-ing the disparate uses of the Hot Shops from those of the Gallery Spaces. However, the Muse-um wanted to bring both facilities under a single roof, resulting in the creation of separate spaces enclosed by a single glass envelope.

Design Elements: Transparency

The Materials of the Glass Pavilion allow three very different lighting conditions to exist within the space. The glass itself provides a transparent condition, allowing light to fl ow freely from one space into the next but distorting the light when passing through multiple panes of glass.. Some of the gallery spaces with artifacts sensitive to UV radiation require the protection of two opaque galleries which in-terrupt the fl ow of light within the Glass Pavilion. Additionally, translucent grey curtains surround some of the transparent spaces, providing a measure of privacy when desired and also allowing for a third, translucent, lighting condition. A space with all of these conditions present is represented above with a solid wall at right, translucent curtains in the center, and a transparent glass envelope surrounding them both.

GLASS PAVILION

ARCHITECT: SANAA: Kazuyo Sejima + Ryue Nishizawa

PROJECT TEAM: Toshi Oki, Takayuki Hasegawa, Keiko Uchiyama, Mizuki Imamura, Tetsuo Kondo, Junya Ishigami

LOCATION: TOLEDO, OHIO

COMPETITION: 2000

COMPLETION: 2006

CLIENT: TOLEDO MUSEUM OF ART

STRUCTURAL ENGINEER: SAPS/ Sasaki and Partners Guy Nordenson and Associates

STATISTICAL INFORMATION

FLOOR AREA: 76,000 sq ft

SITE AREA: 215,000 sq ft

HEIGHT: 35 ft

OVERALL DIMENSIONS: 205 ft x 190 ft

GLASS AREA 32,000 sq ft

COST: 30 million

Monroe S

t.

Scottwood Ave.

Parkwood Ave.

WW

oodruff Ave.

Scale: 1:500

Loading Dock

EXHIBITION 2EXHIBITION 1

OFFICES AND STORAGE

MULTIPURPOSE SPACELOUNGE COURTYARD

Longitudinal Section

One Pane: Transparent Two Panes: Distorted Curtains: Translucent Drywall: Opaque

Layers of Transparency

MULTI PURPOSE ROOM

COURTYARD 1

PRIMARY EXHIBITION 1

PRIMARY EXHIBITION 3

PRIMARY EXHIBITION 2

CO

UR

TYAR

D 2

HOTSHOP 1

HOTSHOP 2

OPEN STORAGE 2OPEN STORAGE 1

LAMPWORK

HA

LL 1

CO

AT RO

OM

RESTROOM

RESTROOM

HA

LL 2

FOYER 1

CAFE

FOY

ER

2

CO

UR

TYAR

D 3

ART HOLDING FOOD HOLDING

RE

ST

GROUND FLOOR PLAN ROOF PLAN

0 10’ 20’ 40’

DESIGN INTENTIONS

Designed to house over 5000 pieces of the Toledo Museum of Art’s extensive glass collection, SANAA faced numerous contextual constraints in the design of the Glass Pavilion. Sitting in a small park across from the main neoclassical museum building, the new space needed to address this structure, Frank Gehry’s 1992 addi-tion, and a surrounding neighborhood of established Victorian and Edwardian Homes.

Ultimately, the decision was made to address these disparate neighbors by utilizing simple forms and materi-als and limiting the building’s height to a single story. To maximize the light brought into the structure, SANAA carved out a series of inner courtyards that bring light inside and also help to reduce glare by balancing the light entering from the building’s perimeter. To protect artworks from UV radiation, two galleries with opaque walls are included in the Pavilion as well as translucent silver curtains which can be drawn when necessary. In or-der to address the display issues connected with a pure glass structure, the architects developed glass vitrines on rectangular bases and incorporated ceiling mounts in the space to allow the art to be displayed without the need for walls.

BUILDING STRUCTURE

The architects worked to reduce each element to its bare minimum in order to maximize the transparency of the space and to provide a powerful showcase for the art collection. The building’s exterior skin is composed of glass panels just 8 ft wide and 1 in thick. The interior glass partitions are set 2.5 ft behind the exterior skin, cre-ating a thermal buffer that reduces energy consumption and helps to eliminate condensation. The roof is sup-ported by 35 rolled steel columns, each of which are only 4 inches thick, as well as a 3/4 in thick curved steel wall around the Hot Shop and cross bracing hidden within three sheetrock walls. A basement hides the space necessary for museum offi ces, studios, a loading dock, and the mechanical systems of the building while also providing 15,000 ft of additional future gallery space.

The result is an ethereal environment where the structure is reduced almost nothing in order to allow the visi-tor to focus entirely upon the art. The galleries as well as the art they contain seem to fl oat within the outer envelope of the building amid a series of transparent voids that serve to both separate and connect the indi-vidual galleries. An incredibly popular building with both its users and the architectural community, SANAA was awarded the 2010 Pritzker Prize for this extraordinary structure.

FROM SOUTHWEST ENTRANCE

FROM SOUTHEAST ENTRANCE

PAVILION SIGHTLINES

Ultratransparent glass walls allow visitor sightlines to pass through the building. The few opaque volumes create varying outlines based on the visitor’s angle of approach.

Glass Blowing/Hot Shop Space

Gallery/Exhibition Space

Building Envelope

PROGRAMMATIC REQUIREMENTS

Early Schemes for the Glass Pavilion de-picted it as a cluster of small structures separat-ing the disparate uses of the Hot Shops from those of the Gallery Spaces. However, the Muse-um wanted to bring both facilities under a single roof, resulting in the creation of separate spaces enclosed by a single glass envelope.

Design Elements: Transparency

The Materials of the Glass Pavilion allow three very different lighting conditions to exist within the space. The glass itself provides a transparent condition, allowing light to fl ow freely from one space into the next but distorting the light when passing through multiple panes of glass.. Some of the gallery spaces with artifacts sensitive to UV radiation require the protection of two opaque galleries which in-terrupt the fl ow of light within the Glass Pavilion. Additionally, translucent grey curtains surround some of the transparent spaces, providing a measure of privacy when desired and also allowing for a third, translucent, lighting condition. A space with all of these conditions present is represented above with a solid wall at right, translucent curtains in the center, and a transparent glass envelope surrounding them both.

GLASS PAVILION

ARCHITECT: SANAA: Kazuyo Sejima + Ryue Nishizawa

PROJECT TEAM: Toshi Oki, Takayuki Hasegawa, Keiko Uchiyama, Mizuki Imamura, Tetsuo Kondo, Junya Ishigami

LOCATION: TOLEDO, OHIO

COMPETITION: 2000

COMPLETION: 2006

CLIENT: TOLEDO MUSEUM OF ART

STRUCTURAL ENGINEER: SAPS/ Sasaki and Partners Guy Nordenson and Associates

STATISTICAL INFORMATION

FLOOR AREA: 76,000 sq ft

SITE AREA: 215,000 sq ft

HEIGHT: 35 ft

OVERALL DIMENSIONS: 205 ft x 190 ft

GLASS AREA 32,000 sq ft

COST: 30 million

Monroe S

t.

Scottwood Ave.

Parkwood Ave.

WW

oodruff Ave.

Scale: 1:500

Loading Dock

EXHIBITION 2EXHIBITION 1

OFFICES AND STORAGE

MULTIPURPOSE SPACELOUNGE COURTYARD

Longitudinal Section

One Pane: Transparent Two Panes: Distorted Curtains: Translucent Drywall: Opaque

Layers of Transparency

KEY ELEMENTS OF SUSTAINABILITY

The pavilion is divided into three energy zones based on the zones’ unique climatic requirements.

Zone 1 consists of the interstitial space between the exterior glass envelope and the interior of the building.Radiant heating panels in the fl oor and ceiling equalize the temperatures of the inner and outer lites of the glass envelope to prevent condensation.

Zone 2 is the hot glass production areas. Heat is recovered via a hydronic fl oor slab and used to heat the exterior loading ramp that cuts into the building

Zone 3 includes the gallery spaces which contain precious works of art which have specifi c humidity and temperature requirements. Cool air is recovered from the galleries and used to cool zone 2.

Verosol curtains containing aluminum envelope each glass volume and are use to minimize solar heat gain while facilitating diffuse interior lighting. The dense fabric which comprises the majority of the curtains refl ects sunlight and diminishes the amount of solar energy that is transmitted into the building by about 30%, decreasing the Solar Factor from 0.77 to 0.50. At the top and bottom of the curtains, the fabric has a looser weave and provides for the ventilation of solar gain captured between the curtain and glass.

The curtains also minimize heat loss during the winter by decreasing the heat transfer rate (U-value) of the double 3/8” glass from 2,9 W/(m2)K to 2,4 W/(m2)K.

ADVANCED BUILDING CONSTRUCTION, ARCH 427 WINTER 2011 DAVID MOONANASTASIA KOSTROMINOVA, BRYAN PANSING

TAUBMAN COLLEGE OF ARCHITECTURE AND URBAN PLANNING, UNIVERSITY OF MICHIGAN02.02.2011

0 5’ 10’ 20’SOUTHWEST ELEVATION

SOUTHEAST ELEVATION

THE CONCEPT OF MA

When talking about space from a Japanese perspective, time is an integral part of the experience of space.Ma is the combination and integration of space and time. Ma deals with intervals of space. This points out a fundamental difference in the mindset of the general American public and that of Japan. To the American mind, this is the best explanation. The one word ma has two meanings: an interval of time and an interval of space. In traditional Japanese architecture, there is a great emphasis on horizontal planes and the minimization of the appearance of height. Because of the concept of ma, and space and time being interconnected, thick walls were always unfavorable because they divide space as opposed to allowing it to be manipulated and changed. Instead, planes, light, and lines could be moved with semi-permanent paper screens, sliding doors, and tatami mats. Although it utilizes more modern materials, the Glass Pavilion displays many of these same concepts in its utilization of space. Ma also lends itself to the explanation of the interstitial and visible but ultimately unreachable spaces which exist within the Glass Pavilion. These interstitial voids between the galleries as well as the two unreachable courtyards are a very physical manifestation of the gap in space that Ma describes.They are visible, but remain tantalizingly separated from the viewer by nothing more than a thin plane of glass.

The thin sliding screens and translucent paper on exterior walls which allow the diffusion of light into the space in a traditional Japanese home are akin to...

...the moveable translucent curtains and thin glass walls which diffuse light into the interior of the glass pavilion.

The Essence of MaA very visible but inaccessible interior courtyard brings light to the interior of the Glass Pavilion but also serves as a gap in space inaccessible to the general public.

STRUCTURAL AXONOMETRIC DIAGRAMScale 3/16” = 1 ft

Rolled Steel Support Column

Sheetrock Bracing Wall

Metal Facia

Roof Girder

Roof Support Joist

heat recovered for loading ramp

heat recovered foff r loading ramp

main level

basement level

loading ramp

cool air recovered for hot shop

zone 1

zone 3

zone 2

3/8”+3/8” low ironlaminated glass

1/2”+1/2” low ironlaminated glass

2’-0

”

15’-0

”

13’-0

”

2’-0

”3”

CAVITY

2’-8”

radiant heating panels

G.W.B.

FEED DUCT

concrete slab

3” topping concrete

radiant heating

KEY ELEMENTS OF SUSTAINABILITY

The pavilion is divided into three energy zones based on the zones’ unique climatic requirements.

Zone 1 consists of the interstitial space between the exterior glass envelope and the interior of the building.Radiant heating panels in the fl oor and ceiling equalize the temperatures of the inner and outer lites of the glass envelope to prevent condensation.

Zone 2 is the hot glass production areas. Heat is recovered via a hydronic fl oor slab and used to heat the exterior loading ramp that cuts into the building

Zone 3 includes the gallery spaces which contain precious works of art which have specifi c humidity and temperature requirements. Cool air is recovered from the galleries and used to cool zone 2.

Verosol curtains containing aluminum envelope each glass volume and are use to minimize solar heat gain while facilitating diffuse interior lighting. The dense fabric which comprises the majority of the curtains refl ects sunlight and diminishes the amount of solar energy that is transmitted into the building by about 30%, decreasing the Solar Factor from 0.77 to 0.50. At the top and bottom of the curtains, the fabric has a looser weave and provides for the ventilation of solar gain captured between the curtain and glass.

The curtains also minimize heat loss during the winter by decreasing the heat transfer rate (U-value) of the double 3/8” glass from 2,9 W/(m2)K to 2,4 W/(m2)K.

ADVANCED BUILDING CONSTRUCTION, ARCH 427 WINTER 2011 DAVID MOONANASTASIA KOSTROMINOVA, BRYAN PANSING

TAUBMAN COLLEGE OF ARCHITECTURE AND URBAN PLANNING, UNIVERSITY OF MICHIGAN02.02.2011

0 5’ 10’ 20’SOUTHWEST ELEVATION

SOUTHEAST ELEVATION

THE CONCEPT OF MA

When talking about space from a Japanese perspective, time is an integral part of the experience of space.Ma is the combination and integration of space and time. Ma deals with intervals of space. This points out a fundamental difference in the mindset of the general American public and that of Japan. To the American mind, this is the best explanation. The one word ma has two meanings: an interval of time and an interval of space. In traditional Japanese architecture, there is a great emphasis on horizontal planes and the minimization of the appearance of height. Because of the concept of ma, and space and time being interconnected, thick walls were always unfavorable because they divide space as opposed to allowing it to be manipulated and changed. Instead, planes, light, and lines could be moved with semi-permanent paper screens, sliding doors, and tatami mats. Although it utilizes more modern materials, the Glass Pavilion displays many of these same concepts in its utilization of space. Ma also lends itself to the explanation of the interstitial and visible but ultimately unreachable spaces which exist within the Glass Pavilion. These interstitial voids between the galleries as well as the two unreachable courtyards are a very physical manifestation of the gap in space that Ma describes.They are visible, but remain tantalizingly separated from the viewer by nothing more than a thin plane of glass.

The thin sliding screens and translucent paper on exterior walls which allow the diffusion of light into the space in a traditional Japanese home are akin to...

...the moveable translucent curtains and thin glass walls which diffuse light into the interior of the glass pavilion.

The Essence of MaA very visible but inaccessible interior courtyard brings light to the interior of the Glass Pavilion but also serves as a gap in space inaccessible to the general public.

STRUCTURAL AXONOMETRIC DIAGRAMScale 3/16” = 1 ft

Rolled Steel Support Column

Sheetrock Bracing Wall

Metal Facia

Roof Girder

Roof Support Joist

heat recovered for loading ramp

heat recovered foff r loading ramp

main level

basement level

loading ramp

cool air recovered for hot shop

zone 1

zone 3

zone 2

3/8”+3/8” low ironlaminated glass

1/2”+1/2” low ironlaminated glass

2’-0

”

15’-0

”

13’-0

”

2’-0

”3”

CAVITY

2’-8”

radiant heating panels

G.W.B.

FEED DUCT

concrete slab

3” topping concrete

radiant heating