The First Sign Of Snøhetta’s Design For SFMOMA Expansion

at SocketSite™

SFMOMA Expansion Rendering

Snøhetta‘s design for the $250 million expansion of San Francisco Museum of Modern Art (SFMOMA) has been revealed. From the Business Times with respect to the designs for the 195-foot building on a site zoned for 320 feet of potential hight:

On its east side, the building will feature a sweeping
façade and an entrance in an alleyway that is currently hidden from
public view and largely unused. This will be achieved through the
creation of a mid-block, open-air, 18-foot-wide pedestrian promenade
running from Howard Street through to Natoma Street that will open a new
route of public circulation through the neighborhood and bring Natoma
Street, currently a dead end, to life.

SFMOMA Expansion Rendering: Night Aerial

The public promenade will feature a series of stairs and
landings terracing up to an entry court that extends from the new east
entrance, providing additional public spaces.

The building also introduces a façade on Howard Street that
will feature a large, street-level gallery enclosed in glass on three
sides, providing views of both the art in the galleries and the new
public spaces. At this time, the museum is also exploring the creation
of a number of outdoor terraces, including one on top of its current
building.

SFMOMA%20Expansion%20Rendering%20Streetscape.jpg

On Howard Street, the glass-enclosed gallery and pedestrian
promenade will be located on a site currently occupied by Fire House 1
and its neighbor at 670 Howard Street.

As the site currently appears from Howard Street:

SFMOMA Expansion Site

And from above:

SFMOMA Aerial (www.SocketSite.com)

SFMOMA wing gently expands reach in early plans

THOUGHTS: One more San Francisco building downtown Kelly has worked on!

by John King

(05-25) 16:38 PDT San Francisco — The details are sketchy, but the San Francisco Museum of Modern Art has released its design concept for a new wing that would double the size of the institution – a concept that aims to slide a block-long building into the landscape without causing a fuss.

The expansion would stretch from Howard Street north to Minna Street behind the museum’s existing home, a length of 335 feet. The top height of 195 feet along Howard compares with the 163-foot peak of SFMOMA’s distinctive granite-rimmed skylight.

But instead of a solid block, the architects envision something more like a weathered cliff that folds in on all sides to lessen the impact on views and not shade the museum’s popular sculpture garden.

“We’re trying to minimize the mass of the building as much as possible,” said Craig Dykers of Snøhetta, the firm selected last year to design the new wing. “Every facade of the addition has to relate to the urban condition in a unique way.”

Dykers stressed that the concept is a work in progress. The material for the new wing’s skin hasn’t been selected. Architects are working with museum staff on how best to connect the new gallery spaces with the existing museum, a brick-covered box from 1995 that faces Third Street and was designed by Swiss architect Mario Botta.

Still, the unveiling of what Dykers called “a preview of a preview” took place Wednesday with fanfare befitting a $250 million expansion that is shaping up as the city’s largest private development project between now and the planned opening in 2016. Along with images and a model, guests and the media had access to a buffet with cheeses, breads, a broad bowl of ripe berries and three California wines.

Connecting with the city

“We’re immensely pleased,” SFMOMA director Neal Benezra said of the architectural path being taken. He said the design, which includes a number of outdoor spaces, symbolizes efforts “to expand the museum’s reach into the community. That’s a big part of our ambition.”

The conceptual design focuses on how the new wing would mesh with the skyline and neighboring streets, and it has little of the drama seen in the existing structure and other high-profile museums of the past generation.

The museum’s front door would continue to be on Third Street, but visitors could also enter from a new 18-foot-wide pedestrian alley off Howard Street.

This path would lead past a 28-foot-high, glass-walled gallery along the sidewalk and then upstairs to a terraced plaza accessible by the public. It would feature sculptures and views east down Natoma Street as well as ticket booths.

There’s a functional aspect to the elevated public plaza – which could also be reached by elevator – because the existing easement from Natoma into the middle of the block must be left open to serve the museum’s loading docks and the neighboring W Hotel. But the architects also seek to tap into the alley culture that’s emerging within the South of Market neighborhood.

“Offering the public a choice when they approach a building is more powerful than saying ‘Here is the (one) door,” Dykers said. As for the transparent space along Howard and a similarly exposed gallery that would begin 35 feet above Minna, “we want the museum to connect with the city, give to it in a generous way.”

The new wing would contain seven levels of gallery space topped by two floors of offices. It would connect to the rear of Botta’s compact box, which has a 141-foot roofline; it also would form a sort of ridge between the Botta building and the adjacent 435-foot Pacific Telephone Building from 1925.

Rather than compete for attention, Snøhetta’s design takes a deferential approach to its neighbors.

The new wing’s roofline would taper down in the middle to keep the sightline between Botta’s diagonal skylight and the sleek art deco look of the telephone building, one of the city’s most revered high-rises. Similarly, the new wing pulls inward from Minna Street as it rises, keeping eastward views as open as possible.

Outdoor spaces

The upper-floor facades might also be sliced by two outdoor terraces, one facing east and one facing west.

“We’re aiming for the sense of natural surfaces that have been eroded, or worked by a craftsman’s hand,” suggested Snøhetta’s Simon Ewings.

The connection to Howard Street will be made by demolishing two buildings, including a fire station that SFMOMA will replace nearby on Folsom Street.

The full schematic design, including the connections between old and new, will be presented in November.

Snøhetta, which is working with local firm EHDD, received the museum commission last summer after an international search that whittled 35 firms to four finalists.

This is the first major cultural building in the United States for the firm, which was founded in Norway in 1989. It also has offices in New York, where it is the architect for the 9/11 Memorial Museum Pavilion at the World Trade Center site.

This article appeared on page A – 1 of the San Francisco Chronicle

How Design Can Get Kids On the Path to Tech Careers

THOUGHTS: Being a parent of a child starting kindergarten, I have found myself re-examining my education.  Moreover, I have mentally relived  those experiences and attempted to remember how they either enlightened or cast a shadow on my regards for the education ‘system’ as a starting point for my line of thinking around education, public or private, and how best to serve my child’s.

To say the least, it has been an interesting process and mind shift that has occurred around the education in the formative years…

by Trung Le

A conversation with Dr. Stephanie Pace Marshall, the founder of a new type of science and math academy.

“Education is the point at which we decide whether we love the world enough to assume responsibility for it… And education, too, is where we decide whether we love our children enough not to expel them from our world… nor to strike from their hands their chance of undertaking something unforeseen by us, but to prepare them in advance for the task of renewing a common world.” –Hannah Arendt

Her name comes up in almost any discussion about transforming education: Dr. Stephanie Pace Marshall. Dr. Marshall is the founding president (1986-2007) and president emeritus of the Illinois Mathematics and Science Academy (IMSA), an internationally renowned, publicly funded residential high school (10th to 12th grade) that emphasizes a curriculum in science, technology, engineering, and mathematics (STEM).

Dr. Marshall’s first mandate in developing the concept for this decidedly new learning experience was: “Let’s not call it a school but rather a ‘center for inquiry and imagination.’” When IMSA’s funding was in jeopardy, Dr. Marshall legendarily brought her students to the Illinois state capitol and set up classes in the rotunda. There they conducted physics and chemistry experiments, spoke Japanese and Russian, staged a scene from a Shakespearean play, and met with legislators. IMSA’s funding agreement was rectified. With STEM education a U.S. priority and increasingly seen as the means to competing with developing giants like China and India, I asked Dr. Marshall about the opportunities and challenges we face in advancing STEM learning.

How can the entanglement of design and education move the unmovable object — i.e. the established, staid institution of education?

I love this question, because it seeks to get at the core of design and its role in helping to co-create an educational system worthy of our children. I would amend it slightly however, to ask: ‘How can design both enter into and perturb a new conversation about education so the system becomes disturbed enough to begin living into their desired future now?’

“Design enables us to redefine who and how we now want to be.”

I am not a credentialed designer, but as a leader I have always been mindful of the power of design to evoke changes in perception, attitudes, experiences, and behaviors by helping to change the relationships, patterns, and shape of the system. For me, designers are storytellers. They speak a patterned and relational language, and they use it to create environments and experiences that change the system’s neural network and the traditional dynamics of who and how we move, think, and behave, within a particular place. Design invites us to navigate a new narrative, to alter the map and landscape we have traditionally traveled, and to be different and belong differently to a place. Design enables us to reclaim spaces and behaviors that may not have been accessible before and redefine who and how we now want to be.

Design enables us to encode our stories and create our maps. It makes our covenants visible, and it illuminates our beliefs and values. And when this happens, when design enables our children’s, teachers’, and system’s inventive genius to flourish, education will change.

Sometimes there are moments in human history that seem to beckon awakenings. They perturb us to reevaluate our beliefs, assumptions, and reigning cultural stories. They challenge us to synthesize and integrate seemingly disparate forms of knowledge into new relationships, new patterns, and new theories. They invite us to invent new language, new rules, and new structures. They call us to create and live into new stories of possibility. The ancient Greeks called this time kairos, the “right moment.” It is a time when reality embraces possibility.

What were the key ideas and goals behind creating a learning community like IMSA?

The idea of a residential secondary institution for students talented in mathematics and science was proposed by Nobel Laureate Leon Lederman. This was in the fall of 1983 and his vision was a response to the perceived national crisis in developing STEM talent. But as we know, the crisis persists. The achievement level of U.S. students on internationally benchmarked standardized tests in science and mathematics remain dismal and the needs of our nation’s most talented youth remain unfulfilled. Traditional models for educating academically talented students in STEM (Advance Placement courses) have not been able to nurture our next generation of STEM researchers, innovators, leaders, and inventors.

[Dr. Marshall talks to a student in a science class.]

From inception, IMSA sought not only to develop decidedly different scientific minds, but also to develop a decidedly different residential learning community — one that was nurturing and innovative, and one that instilled a sense of stewardship, and an obligation to give back. As a dynamic teaching and learning laboratory, IMSA continues to evolve, yet the roots of our founding ideas and goals remain. Here’s what they were and still are. The ‘IMSA idea’ means:

1. A collaborative partnership between diverse stakeholders — education, science, research, technology, innovation, business, and government.

2. Serving as a catalyst and laboratory to stimulate excellence in STEM teaching and learning.

3. Multi-dimensional admission criteria for identifying STEM talent and potential beyond a standardized test score.

4. An innovative, advanced and “uniquely challenging” curriculum designed by IMSA faculty that integrates the habits of mind of science and mathematics with those of the arts and humanities. Advanced placement (AP) would not be the content or driver of the curriculum.

5. Personalized learning opportunities both on and off campus for independent study, research and mentorships.

6. Formal interaction with some of the great minds of our time.

7. Developing deep disciplinary and interdisciplinary expertise and integrative ways of knowing and experiencing the interdisciplinary nature of science by solving complex multidisciplinary problems.

8. Learning experiences designed using current research on the learning sciences and how we learn.

9. Commitment to treat each student as if he or she is capable of significantly influencing life on the planet.

10. Embodies the following programmatic commitments: distributed expertise with students and teachers serving as co-learners and collaborators; fostering integrative habits of mind; designing competency-driven, inquiry-based, problem-centered, and integrative curriculum; experiential and technology embedded instruction; student-driven inquiry and research; flexible time structures to align with and support curricular and instructional goals and the commitment to share our learning, practices, processes, materials and models with educators and schools in Illinois and beyond.

Why did you feel so strongly about not calling IMSA a “school”?

It was very clear to me that whenever you say the word ‘school,’ it conjures up mental images and models of our experiences and behavior in a place — and accompanying that ‘place model’ is a kaleidoscope of memories and emotions about how that place looked and worked — how we felt in it, what was rewarded, celebrated and expected, and who we were supposed to be as learners in that place. Unfortunately, many of these mental models of how we should learn in school are completely at odds with how real learning happens and how it’s demonstrated in the real world. False proxies for learning often erode our children’s vibrant intellectual and creative potentials because they diminish the excitement of real learning and discovery. Everyone knows that finishing a course and a textbook does not mean achievement. Listening to a lecture does not mean understanding. Getting a high score on a high-stakes standardized test does not mean proficiency. Credentialing does not mean competency. Our children know it, too, yet it persists.

From IMSA’s inception, I knew that if we called IMSA a school, I would spend most of my time explaining what we were not instead of what we were. I would be telling people what we didn’t do rather than what we did do.

Years ago, a wise colleague told me to be careful because what you call it becomes what it is. This was a powerful caveat — calling ourselves an academy and a ‘teaching and learning laboratory for imagination and inquiry’ stimulates questions that enable us to have the conversations we want to have. All transformation begins in language. I did not want IMSA to be confined within a school story because that narrative would have been far too small for our imagination. You simply cannot create new maps from old stories.

[Images courtesy Illinois Math and Science Academy]