The Sun City Science IVIuseum

and Exploratorium

A Thesis in Architecture
By
Dave C. Bowden
 THE SUN CITY SCIENCE MUSEUM
AND EXPLORATORIUM
FOR EL PASO TEXAS

by

Dave C. Bowden

A THESIS
IN
ARCHITECTURE

Submitted to the Architecture Faculty

of the College of Architecture
of Texas Tech University in
Partial Fulfillment
for the Degree

BACHELOR OF ARCHITECTURE

Chairman of the Committee

Programming Instmctor (Arch 4395): Prof. Guenter Lehmann

Design Critic (Arch 4631): Prof. Danny Nowak

Accepted

Dean, College of Architecture JmieRl??'Lmry

/AC
TABLE OF CONTENTS

*^1 f
' ' ^ LIST OF FIGURES 4

LIST OF TABLES 5

THESIS STATEMENT 6
INTRODUCTION 7
DESIGN FOCUS 8
GOALS AND OBJECTIVES 9
BACKGROUND STUDY 12

MUSEUMS GENERAL 12
THE AMERICAN MUSEUMS 18
SCIENCE MUSEUMS 22
THE PLANETARIUM 23
CHILDREN'S MUSEUMS 26

CASE STUDIES 29
WERKBUND EXHIBIT 29
WHITAKER ELEMENTARY 31
THE NATIONAL AQUARIUM IN BALTIMORE 34
 TABLE OF CONTENTS

SPATIAU ACTIVITIES ANALYSIS 38

INTERNAL SPACES 38
THE GALLERIES 38
THE PLANETARIUM 40
BOTANICAL GARDENS 42
ENTRY/ FOYER/ RECEPTION 44

EXTERNAL SPACES 45
SCULPTURE GARDEN 45

SPATIAL QUALITIES 47
GENERAL FACILITY 47
PLANETARIUM 47
BOTANICAL GARDEN 48
SCULPTURE GARDEN 48
 TABLE OF CONTENTS

THE SITE 49
GENERAL BACKGROUND 49
SITE ANALYSIS 51
El PASO CITY MAP 50
TRAVEL TIMB DISTANCE ANALYSIS 52
VIEWS OFF SITE 54
DEVELOPMENT MAP 55
MAJOR ROAD MAP 56
SITE CONTOUR MAPS 57
TRAFIC CIRCULATION MAP 59
PHOTOGRAPHS 60

BIBLIOGRAPHY 61

END NOTES 63
 LIST OF FIGURES

FIGURE NUMBER DESCRIPTION PAGE

1 16th century museum presentation technique 14
2 Table top museum presentation 14
3 Floor plan of the British Museum of Natural history 16
4 Floor plan of early museum. Demonstrates designing down 17
5 Interior photograph of tunnel like museum 17
6 Charles W. Peal's museum at the Philosophical House 18
7 Interior of Werkbund exhibit 29
8 Interior of Werkbund exhibit 30
9 Front elevation of Whrtaker Elementary School 31
10 Tunnel connections for Whitaker Elementary School 32
11 Photograph of entry at Whitaker Elementary School 32
12 External Icon design for Whitaker Elementary School 33
13 Playful kx)n design example 33
14 Pencil skylight at Whitaker Elementary School 33
15 Exterior photograph of the National Aquarium in Boston 34
16 Site plan of National Aquarium 35
17 Floor plans of first three levels for the National Aquarium 36
18 Section view of National Aquarium 37
19 Plan of tropical rain forest for the National Aquarium 37
20 Photograph of McCombs & North-South Freeway inter. 51
21 Color Panoramic photographs of site 59
22 Black and white Panoramc photographs 54
 LIST OF TABLES/ MAPS

\AB\ER/MAP DESCRIPTION PAGE

1 Map-1 El Paso City and surrounding area
2 Map-2 Area development map
3 Map-3 Major Access road map
4 Map-4 Contour map @ 1 "= 24,000'-00"
5 Map-5 Contour map @ 1 "= 8,725'-00''
6 Map-6 Traffic circulation around site
7 Tabel-1 Travel Time/ Distance Analysis
 When analyzing the course of architectural
developments, it is easy to see that many traditional
architectural styles have greatly influenced the styles that are
accepted and practiced today. Furthermore, it is from this
evolution of architectural design that some designers have
become innovators by using and adapting conceptual
meanings from previous archetypes, and creating a new
means of architectural expression. It is therefore obvious to see
the importance and Influence of Architectural History on
present day forms of architecture. These historical models
provided from previous architectural styles aid in the formation
of new forms of architecture, and will continue to do so in the
future.
In my architectural studies I have attempted to
understand the concept, aspects, features and philosophical
intentions of the International Style, Cubism, Post Modern, and
High Tech architecture. Recognizing that there is a
interrelationship between these styles of architecture it is my
intention to present an architectural thesis that is a synthesis of
the most inter-relating aspects and concepts of these styles.
This synthesis is not to be an architectural "style," but will
become a example of purity in geometry, form and Materials.
D(n)tt(r@dl(LO(gGB@[n)

When considering the education of America's youth, we find

that there are some severe problems that must be addressed.
One of those problems is the quality of education the children
are receiving. On a global level it is a fact that America's
elementary and secondary educational systems do not
compare well to those of other countries. Students from
countries such as China, Japan, and Germany excel in the
fields of mathematics, science and a variety of other subjects.
Teachers and counselors at all levels of the educational
system have agreed and stated that if students, despite their
age, are actively interested in a subject, that student will
develop a better understanding for the subject on their own
initiative. Teachers have also noted that the environment in
which the students are placed plays an important role in the
their ability to learn the material.
If the environment is of interest to the student, then the learning
process is enhanced.
 8
Design Focus:
Based on these facts, it is my intention to design a museum
complex that, through the use of various architectural
elements, will provide the public and local school systems with
a means of enhancing the visitors'^knowledge of the physical,
biological, and astrological sciences. This will be
accomplished by providing the visitors with a museum complex
comprised of three basic elements a Science Museum, a
Planetarium and a Botanical Garden facility.
These three elements will provide the visitors with the
opportunity to experiment with the physical sciences through
interactive exhibits, to view and examine various biological
wonders and their natural habitat and to study and gaze upon
the world and elements beyond the confines of the earth.
While this facility is not intended to be a 'school,' it will be a
place that through architectural design invites and appeals to
students of all ages, while giving them the opportunity to glean
important information and knowledge about the world around
them and beyond.
 The primary goal of the Sun City Science Museum and
Exploratorium is to provide the public with a facility that will
augment the local school's curricula, and enhance the
knowledge of all visitors in the areas of Physics, Physical
Science, Biology, and Astronomy. Further goals of the facility
are:
1. To provide a positive learning experience.

A. By supplying the museum with a means of

presenting the materials within the galleries
in a manner that allows the visitors to view
all of the exhibits easily.

B. By creating and environment that presents

the material to be learned in a manner that
appeals to children of all ages.

2. To encourage exploration and as a result cause

questions.

A. By creating a space which is in itself creative

and conducive to interest. Thus enhancing
one's overall perception of the entire
environment.
 10
B. By offering a museum that is in itself creative,
and internally presents the exhibits in a
manner directly related to exploration.
Providing a different experience around
every corner and at each exhibit.

C. To present the material within the museum

in a manner that is easily comprehensible.

To aid in the individual learning experience.

A. By presenting material taught in the local

schools in a manner different to the normal
classroom environment, thus attempting to
create a new interest in certain subjects.

B. By offering a diverse range of subjects and

experiments not available to the local school
systems. Thus, creating an environment that
broadens the intellectual range of the
visitors.

To create a series of spaces that together form a

single museum complex that is both a exhibit,
and a place of exhibition.

A. By providing various breaks and points of

interest within the museum complex.

B. By maintaining interest through various

changes in elevation and orientation within
the complex such that every change in
position is a presentation in itself.
 11
C. To arrange the articulation of the interior
spaces and visitor circulation patterns such
that each time they are experienced new
points of interest are discovered.

5. To be a place that is remembered.

A. By providing information to the visitors that

was either not available to them, or re-
presenting information to the visitors in a
manner that is new and enlightening.

B. By supplying the visitors with a series of

experiences to be found only at the museum.
 12

Museums (General) :
Museum - a term derived from the ancient Greek name
for the temple of the Muses, the patron Goddesses of the arts.
Originally this term meant advanced learning and did not refer
to museums in their present meaning until the Renaissance
period. While references are made to museums prior to the
Renaissance period, these references were directed to the
displays of collections rather than institutions of learning and
education. Presently, the term Museums refers to "a collection
of specimens of almost any character and is in theory
connected with the education or enjoyment of anybody who
may wish to avail himself of its facilities." ^
Collecting valuables and oddities of countries and
regions were the basic elements of today's museums. In the
early sixteenth century, museums were private collections of
nobility, princes and clergy. More times than not these
collections would grow as a result of war, with the victor
claiming all valuable property after the battle.
The idea of the public museum or exhibition was first
introduced by Julius Caesar in his efforts to reform domestic
policy. Caesar declared hording wrong, and in making himself
and example, placed his entire collection on display in the
 13
temples. However, this idea was not widely accepted and on
Caesar's death, his entire collection was seized by private
collectors and herders. This deprivation of art and sculpture
attributed to hording had not changed in the Middle Ages nor
would it change drastically in the centuries to follow.
The only examples of exhibitions that did exist during
this time were for aspiring artists and future sculptors. Lorenzo
di Medici used his private collection as a training ground for
young artists. Another collector who followed this example was
Charles Lennox (Duke of Richmond), who, in 1758, opened up
a collection of paintings and various sculptures as a school of
drawing and a place of inspiration for young students. It should
be noted that '1his desire of collectors to obtain fine works of art
by providing artists with opportunities for studying works of
famous masters of the past was probably the motive which first
unlocked the doors of private galleries and cabinets."'
With these growing private collections, one problem
found was the lack of thought given to presentation of the
articles within the collection. This problem was first addressed
in 1594 by Sir Francis Bacon, where he describes the nature of
museums.
 14
"First, the collecting of a most perfect and general
library wherein whosoever the wit of man hath
heretofore committed to books of worth... may be made
contributory to your wisdom. Next, a spacious,
wonderful garden, wherein whatsoever plant the sun
divers climate, or the earth out of divers moulds, wither
wild or by the culture of man brought forth, may be... set
cherished: this garden to be built about with rooms to
stable in all rare beasts and to cage in all rare birds;
with two lakes adjoining, the one of fresh water the
other of salt, for the like variety of fishes. And so you
may have in small compass a model of the universal
nature made private. The third, a goodly, huge cabinet,
wherein whatsoever singularity, chance, and the shuffle
of , thingshath produced; whatsoever Nature has wrought
In things that want life and may be kept; shall be sorted Fig-1
and Included. The forth such a still house, so furnished
with mills. Instruments, furnaces, and vessels as may be
a place for a philosopher's stone."'

It is from the sixteenth century onward that the idea of

presentation varied from simply having all of the collection in
one large room or series of rooms with shelves and cabinets to
placing the articles of collection on table tops. (Fig. i and 2)
One of the problems with this method of presentation is
that without the keeper of the collection, the general visitor
would merely be gazing upon many curious objects without
having any knowledge of what it was they were looking at or its
significance. The solution to this problem would come as

Fig-2
 15
museums evolved into places of presentation rather than
places of gathering, and as museums were made public.
The first official request for formal museums came in
1674 from the Duke of Schleswig- Holstein. The Duke
requested that collectors open up their collections for the
benefit of the masses and form institutions of learning and
education. This request differs from previous ones mainly
because it calls for the formation of an institution rather than the
abolishment of collections for personal gain. It is obvious from
the lack of public facilities in the late seventeenth century and
early eighteenth century that this proposal was not popular
amongst collectors. However, some changes did occur. The
first notable change was the opening of collections to the
aristocrats and other nobility while the general public remained
deprived of these treasures.
It wasn't until May 21,1683, nine years after the Duke of
Schleswig's proposal, that the people of Europe triumphed in
the battle for a public museum with the opening of the
Ashmolean Museum at the University of Oxford. While this
museum was open to the public it was intended to be a
research museum. Therefore, access by the public was
extremely limited at best. While this museum was a first step in
the opening of museums to the public, it isn't until the late
nineteenth century that museums for the public were created.
 16
'It was not...In the eighteenth, nor yet in the early part
ttrntmcme
of the nineteenth century that museums can be said to have
taken any part In the natural life of any country. They began to
be of service to scholars...Artists as well as scholars began to
profit. But for the general public museums were just collections rTvU I
J
Ml-
of curiosities...with little guidance for the Inexpert and no help
to enable him to assimilate this mass of strange and unrelated .. . ^ i - 4-« • • * • * '
JB__i__ I.I.-' ,-,- •••••- -- i- y ^ 9t*^ ft^ ^^% Hi W»niiM II
W.
ft

material," wrote Sir Fredrick Kenyon in his essay, "Museums

and Natural Life".
A good example of this method of design is seen in the
tttSMC
British Museum of Natural History which opened to the public
on April 19, 1881. The general concept of the museum was to
show the plan of creation, and this was to be accomplished by F\g-3
three separate displays. (Rg.3)
In analyzing the plan of the museum, one finds the first
display is arranged in the front and back galleries. This
arrangement was to give a general 'comprehensive
philosophic and connected view' of animals and plant life. The
second display is located in the central hall. This hall was
originally planned to be the directors personal introduction and
presentation to the exhibits. While in this portion of the
museum, the director would guide the tour personally, identify
each of the displayed objects and present any information
regarding the object. Finally, during this phase of the tour, the
director would field any questions.
 17
The third and final display is the Gallery of British
Zoology located in the north hall. When analyzing the layout of
the museum, the course of natural history was clearly laid out.
However, little or no attempt was made in the organization and
presentation of the articles in the collection.
The presentation technique used in the British Museum Fig-4
of Natural History was typical for museums of its time. Exhibits
were displayed in glass cases placed in the long rectangular
tunnel like appendages of the museum. Most of the articles
were placed in no clear pattern with little or no explanation as
to the purpose or use of the object. If an explanation was
provided, it was usually written in scientific terms or in Latin
and was beyond the comprehension of the observers.
As should be clear from the photographs, designing
downwards gave a rigid layout that ends up channeling the
visitors into a maze of circulation paths. This discourages the
visitors from experiencing all of the articles within the
collection. (Fig. 4and 5) The solution to this problem came in the
early 1930's by Walter Gropius in his Deutscher Werkbund
Exhibition of Paris.
(This example will be discussed further in the case studies)

Fig-5
 18
The American Museums:

The history of the American museum is quite different.

From the Colonial period, even before the revolution, the
institution of the American museum was an example of
democracy. While the treasures of kings and royalty in Europe
were locked up and kept behind closed doors, American patriot
collectors were making their collections open for all to see. The
original group was known as the Charleston Library Society.
Charies Wilson Peale of Philadelphia, artist by
profession, was soon to be the pioneer of America's first
national museum. Peal, originally disturbed by the fact that
there was no place where the public could come and view his
paintings and natural history collection, responded to this by
opening up his house in 1785 to the public to benefit and
educate all. By 1794 his collection outgrew his home. The
American Philosophical Society, of which Pale was a member,
invited him to move both his family and his collection to the
new Philosophical Hall. Here he was granted both museum
space and living quarters in exchange for maintaining and
FiQ-6
presenting his collection to the public. Within eight years of
Peale's move to the hall, he had once again exceeded its
limits. Local authorities granted to move Peale's collection to
the State House (now Independence Hall), where the
collection would remain for more than two decades. (Fig 6)
 19
Peale's museum opened the door to museum creation
in America. Upon Peale's death, in an effort to preserve his
collection, it was decided that a permanent place was needed
for the collection. A loan was obtained from the United States
bank for such a building. However, the loan broke the bank,
causing it to fail. As a result the building was never completed.
Much of the collection was sold to pay for the losses to the
bank and to the builder. It was this failure that spawned the
further development of American museums.
A great deal of museum development took place after
America's Centennial. The Centennial Exposition of
Philadelphia, held in Fairmont Park from May to November,
1876, this movement spurred both academies of that city to
construct new buildings devoted to educating the public. One
of these buildings was Memorial Hall, which was built for
exhibiting the art of the Exposition.
Another major development in the American museum
was the new United States National Museum. This museum
was a branch of the Smithsonian Institution and took shape
shortly after the Centennial. The Smithsonian itself had been
started after an act of Congress in 1846. This was the result of
eight years of debate on whether the Government ought to
accept the bequest of James Smithsonian, an Englishmen who
left his entire estate to the United States,
 20
'1o found in Washington an establishment for the increase and
diffusion of knowledge among men."*
The year of the Centennial also saw the development of
the first wings of two of the largest and most important
museums in the country: New York's Metropolitan Museum of
Art and American Museum of Natural History and Boston's
Museum of Fine Arts. With the creation of these institutions
came the innovation of museum organization. Early museums
had been started by individuals, societies and academies. The
new plan for the development of these fine institutions was
evolved providing for a corporation, governed by a board of
trustees and aided in New York, by city tax funds; in Boston, by
public subscription. In return for this fiscal benefit, the American
and Metropolitan Museums were urged by their cities to repay
their debts by being "as important and beneficial an agent in
the instruction of the people as any of the schools or colleges."
Even though Paris developed the Louvre as the Museum of the
Republic, it appears that much of the changes and
developments of this time in museums was occurring in the
United States.
One of the most notable changes that occurred was an
effort to get away from the "gloom of the European museum"
an escape the "tunnels of confusing displays." This was
accomplished through modern architecture. Until well into the
 21
twentieth century, museums were built only in revival styles,
modeled after Greek temples, Gothic churches, and Italian
Renaissance palaces. There was virtually no attempt in the
design of museums to provide for their special activities.
Functionalism in museum design did not become a vital factor
until t h e 1 9 3 0 ' S (See Case Study Walter Gropius Werkbund exhibit) With

functional design the rule and neoclassicism the exception, the

museum was seen as the exponent of modern architecture.
Along with the modern architecture exterior, other changes
involved the internal architecture.
The typical organizational plan of the museum had also
undergone some changes. Special attention was paid to the
flow of traffic and the display of the collection. Following the
new organizational plan, the articles within the collection were
displayed in a manner which was understandable to all with
certain points of the display being made evident and
comprehensible. With these changes in the American museum
system it is from the late 1930's onward that the educational
level was increased simply by the use of architecture and
architectural planning that was more responsive to the users
and the museums activities itself. This was accomplished by
presenting the materials within the museum in such a way that
the exhibits were able to display information clearly and teach
important topics.
 22
Science Museums:
Museums in general were originally designed for the
scientific community. The collections of scientists for scientists
became numerous during the Renaissance period and then
developed slowly into the full scale museums starting in the
seventeenth century. While these early science museums were
generally associated with a scientific research center or
university, they still maintained the three basic elements of a
museum which are:
1)-A desire to interest visitors in history
2)-To enlighten them about the nature of science
3)-To entertain

As the evolution of museums continued its slow path, the

separation of the museum and the scientific research center
was seen in the early nineteenth century with a greater
emphasis placed on public education. This development of a
pure educational museum began in 1903 with the
development the Deutsches Museum in Munich by Oscar von
Miller.' Another example of this movement is seen in the Palais
de la Decouverte in Paris 1937, where there were no historical
objects within the facility. This facility was formed as a place
that the operation in the latest in science and technology could
be demonstrated.
 23
As the development of the "Educational Museum" or
"Exhibition Center continued into the twentieth century, it was
found that the centers in which almost exclusive attention was
paid to teaching, were rapidly increasing. These centers are
designed in a manner which was suppose to entice the visitors
inward and through well-displayed exhibits which
demonstrated the laws and principles of nature, physics, and
astronomy. In many cases, these centers of exploration are
intended to augment the local schools curricula. In other cases,
it is designed to fill in a void where classes of these topics can
not take place.

The Planetarium:
The science museum, as mentioned before, comprises
exhibits that encourage visitor participation to adequately
demonstrate the law or principle to be taught. This form of
exhibit is the best for science. However, the best exhibit to help
understand the celestial bodies and the universe is by far the
planetarium. A planetarium is a device that demonstrates the
apparent motion of the moon, the sun, the planets, and the
stars. ^
The first planetariums were orreries or mechanical 'cXas TG""
models of the solar system that were perfected by George • ^rCnitGC"
Graham (1674-I75i). The name Orrery is derived from the
 24
elaborate device that was created for Charles Boyle, the fourth
Earl of Orrery, in Ireland. The device was made in the
eighteenth century. The first orreries operated based on a
clockwort^ system. They demonstrated the motion of the known
planets (out to Saturn), about a central sun, at scale speeds.
They did not involve the movement of the stars or
constellations.Not satisfied with an outside view of the solar
system, men began to construct an indoor system that would
demonstrate the movements of the solar system. These were
called celestial globes. One variety of a celestial globe was
built 1699 by Erhardt Weigel, a professor of astronomy at the
University of Jena, Germany.
This device consisted of a hollow globe with pinholes in
it to represent the stars. The Viewer, looking into it through an
opening would see a pin-point on the opposite interior wall that
represented the star or constellation that was to be viewed.
The other type of celestial globe, that was first
constructed in Germany, was big enough for the visitors to get
inside. It was capable of simulating the movement of comets,
meteors, rain, and lightning. However, these systems were no
longer sufficient and were replaced by a machine, that through
the use of light projections could demonstrate the proper
movement of the planets and moon about the sun. At the same
time, it could also demonstrate the location and movements of
 25
Stars, constellations, comets and many other celestial bodies.
Carl Zeiss, at the Deutsches Museum in Munich, designed the
original equipment for this modern planetarium in 1923.
The projector is placed in the center of a white dome
and the projections are placed all about the inner ceiling of the
dome. This creates an illusion of being outdoors. In the most
complete configuration, the projector assembly consists of two
spherical, hollow housings that contain the lenses that project
the images seen. Each sphere projects half of the sky. The
central portion of the apparatus consists of equipment that can
produce enlarged versions of various celestial bodies that
enable the visitors a more detailed view of the moon and
planets in correct positions and phases of illumination. This
experience allows the operator to demonstrate the celestial
events of any given period to an audience, and provides the
visitors with an extremely life like environment. The first of
these facilities to open in the United States was the Adier
Planetarium and Astrological Museum which opened in
Chicago in 1930.'
 26
Children's Museums:
The science/ education museums of the late nineteenth
and eariy twentieth century led the way to a new and more
popular means of education for youngsters and adults alike. It
was Franklin W. Hooper who created the first children's
museum. His only goal for this facility was "to create an
institution that was conceived to delight observation and
reflection...to bring boys and giris whether attending school or
not, into direct relation with the most important subjects in their
daily life, in their reading, in their games, in their rambles in the
fields, and in the industries that are being carried on about
them or in which they themselves later may become
engaged."^
With the goal set, this facility for children set the
precedent for others to follow, and in 1899 the Brooklyn
Children's Museum opened its doors to the young
impressionable minds of the future.Unlike the science
museum, this children's museum taught by using exhibits that
were interactive. The children were encouraged to open cases
and examine, play and question things that were, until this
time, labeled 'Do Not Touch'. With the rising popularity of this
museum amongst teachers and children, other exhibits were
created which sought to teach the physical sciences. They
often had moving parts which required a child's participation.
 27
It was through this museum and the experiments and
curiosities within, that a place was finally created where a child
by his own experiences, could directly satisfy his curiosity
about the world around him; a place where lessons or ideas
presented in the classroom suddenly came alive, and finally a
place where a child felt at home.
It was in the spirit of these types of children's facilities
that Miss Ann Billings Gallup ( Director of the Brooklyn
Children's Museum) stated the purposes of a children's
museum:
1)- To reveal to the child the world in which he lives.
2)- Put into the hands of children the means by which they will learn to face the world.
3)- To arouse intellectual curiosity.
4)- To open a door to a wonderful world.
5)- To create a place where education is recreation and recreation is education.
6)- To provide a place where the chance for the spirK to roam and the imagination to
play is achieved.

Since this early development of the children's museum

many factors have created the need for such facilities to
continue to be constructed and new methods of education to
be offered to America's youth. One such factor is the the slow
degradation of the public education system to a point where
child illiteracy is a common phenomenon. With problems like
this in mind many local authorities are calling upon designers
to create places that will stimulate and encourage children to
learn.
 28
Following the purposes of a children's museum set forth by
Miss Ann Billings Gallup, designers have created spaces and
learning environments that are conducive and influential to the
learning capacity of todays children. It is from these designs
that children of the future will be allowed to grow and
experience things that might be denied to them by either
socioeconomic status, geographic location, or family status.
This new revolution in design was created to answer the cries
of society and fix the problems attributed to modern day
education. Some of these solutions will be discussed further in
the case studies.
 29
©iig© StiydlS©^

Case Study Werkbund Exhibit

Architects Walter Gropius in collaboration with
Michael Breuer, L. Moholy Nagy,
Herbert Bayer.
Client Der Deutsche Werkbund
Location Grand Palais Der Artists Decorateurs;
Paris, France
Year 1930

From the sixteenth century to the twentieth century, one of

the biggest problems with museum design was attributed to
rigid museum layout. The layouts would be designed in a
manner that channeled the visitors into a maze of circulation
paths, which discouraged the visitors from experiencing all of
the articles within the collection."
A revolution in museum design was achieved at the
Deutscher Werkbund exhibit by Walter Gropius and a
collection of former Bauhaus colleagues. The goal of the
project was to meet the physiological and psychological
requirements of the visitor while meeting the functional need of
the museum.
Fig-7
 30
The solution was arrived at by dividing the exhibition space
into areas of different character, and arranging the displays so
that they followed a logical sequence from room to room, (tig 7)
Special attention was paid to circulation, promoting a *.»s»

smooth flow of visitor. This was accomplished by the

introduction of curved walls, ramps, stairs, and a bridge which
•P':'^
creates a dramatic multileveled interior space, (fig 8)
This dynamic space was accented further by the
imaginative presentation of objects no longer confined to glass
cases. The use of bold lettering, photography, charts, and
graphic design were other techniques used to enhance the
presentation of material within the museum, (fig 8) It was these
innovations that have greatly influenced the development of
exhibit and museum design. This period marked the revolution
in museum presentation, other institutions have adopted these
methods of presentation and virtually made them a standard in
the field.

Rg-a
 31
Case Study Whitaker Elementary School
Architect Fisher Cordova Prestige (Firm)
Tony Barrahas
Client El Paso Independent School District
Location El Paso, Texas
Year 1988

The goal of Whitaker Elementary School was to surround

the school with the spirit of a playground. To accomplish this
task the designers got away from the standard monolithic form
for schools. (Fig 9) Whitaker is comprised of six separate units
on the site. In the center of the complex are the administrative
offices, the library and the cafeteria." The classrooms are ng-9
connected to the main building by large clear plexiglass
tunnels which pull the students outside the structure exposing
them partially to external environmental elements and then
returning them into one of the other complex units. (Fig io) As the
school grows provisions have been made for additional units to
be added to the main building in the same manner.
The materials used in this project are corrugated metal,
concrete block, colored tile, and stucco. All of these materials
are left exposed to the view of the occupants and provide an
interesting articulation of both interior and exterior spaces. The
exterior of the school is made for the children in every sense.

Fig-10
 32
The main entrance is a semicircular plan that is highlighted by
the American flag and a large open book overhead, inscribed
with inspiring quotes pertaining to education. (Figii)
Other areas of the school appeal to the children in an iconic
manner. As the children move in and out of the modular units
they are presented with icons that describe their final
destination. (Fig 12) On the main complex it was difficult to create
an icon that related to all of the eternal activities, therefore
"playful icons" were used instead. This type of icon is best seen
by the rocket-ship atrium where the smoke for the blast off is
the icon along with the form of the ship. (Fig i3) This use of icons
is applied to the interior as well. From the large pencil skylight
in the central portion of the complex (Fig 14) to the colored tile Fig-11
on the interior walls that describes various interior spaces such
as: Office and Library.
At first many of the residents during the constmction stage
complained to the architectural levity of the school, however l.Jf^e mo\»
' e v e f is to develop " ' ^ »^.^ i.f
upon completion of the project all of the complaints turned into « n d fhp significance ot ^ ^
smiles upon children's faces.'" It seems that with the arrival of others. This is ^^"^ ^ ' ' " '
rest h o r n a m e n t a t i o n j ^
this school to Northeast El Paso a new enthusiasm for learning
structure
and education came as well. It has been noted statistically by
the school's administration that absenteeism has fallen
drastically, and there has been no vandalism in the school.''

R
Fig-12
 33
This school is a good example of sensitive and appealing
design for children, it demonstrates how the creation of a
special place is accepted and appreciated, not only by the
occupants, but by the community as well.

Fig-13

Fig-14
 34
Case Study The National Aquarium
Architect Cambridge Seven Associates
Client City of Baltimore
Location Baltimore, Maryland
Year 1981

"Architecture Is not issue," says Cambridge

Seven's Peter Chermayeff. Rather the new aquarium's
form is conceived as merely a device for organizing a
progression of experiences Cfiermayeff describes the
aquarium as, "so involving that you forget about the
architecture." Happliy, the device is oniy partly
successful. Within the building the orchestration of
exhibits is so merged with their visual and spatial
framework that the architecture becomes Ineradlcabiy
a part of the visitor's total experience. And without ...
It Is surely architecture that establishes this spirited
and spirit-llfting iandmarit at the rim of Baltimore's Inner
Harbor.'^
Baltimore is accented with many places of interest; the
Fig-15
Harbor Place Market Complex, a Science Museum, the World
Trade Center and the National Aquarium. All of these give
visitors many activities to encounter. When analyzing the
Aquarium the first notable feature is exterior and its scale in
relationship to the surrounding area.
 35
The building is located along a pier and is surrounded by water
on three sides, with a skyline of high-rises and ships
surrounding it to the north, (fig 15& 16)
The structure, at first glance, appears to be big and bulky.
However, when viewing the structure against the background
of Baltimore, the building appears to overcome this bulky
appeal by the use of cantilevers, crystalline pyramid roofs, and
accents of color. All of these elements combined, along with its
location on the pier, give it an illusion of floating. This illusion is
reinforced by reflections in the water surrounding the structure.
Some of the elements expressed on the exterior, amongst
the gray concrete and variation of a Corbusian color scheme,
are a five-level atrium gallery, highlighted by a glass pyramid
that roofs a simulated tropical rain forest. Other elements
include a semi-circular shaped tank that intersects the atrium,
an elevated entryway, and finally, an auditorium.
Due to the location of the aquarium, placing the extensive
mechanical equipment for the facility underground was
impossible. Therefore, it was placed at plaza level and one
level above, (tig 17) Public spaces are introduced by a pyramid-
capped platform that gives the visitors a pleasant view of the Fig-16

outer harbor and the Baltimore skyline. The first encounter of

interior space is with a water sculpture that acts as a screen
from the gift-shop and other internal traffic."
 36
As a deeper penetration into the aquarium occurs, the
visitors are presented with a continuous one way path that
zigzags and rises throughout the galleries, and emerges at the
tropical rain forest (Fig i8& i9)
Light is introduced only by the reflected illumination of the
dolphin pool and a blue neon wave that surrounds
photographic exhibits. The circulation paths are illuminated by
reflections cast from the pool and recessed spot lighting, off the
highly reflective roof, which gives the illusion of water
overhead. To prevent "museum fatigue," the designers placed
balconies and places to loiter while gazing at the dolphins or
other exhibits. The exhibits depict a natural course of
underwater development and show relationships on both
species and ecosystem scales. The method of exhibition varies
from color transparencies to live sea creatures in their natural
environment.
As the ascent comes to an end the visitors are introduced to
^OHlNTf EBS

a completely different environment. The ascent climaxes with a

«t«DO OCkO

<^^J.: • M
change of environment from one of ocean to air. The visitors
enter the Tropical Rain Forest and are overcome by a lavish ^
area of stones, plants, trees, a waterfall and free ranging birds.
The ramps continue through this space and offer the same
S
— ...HI
LL — r
places for the visitors to step off and enjoy the views and A; 4 I f vfI

experience the environment before making the final descent.

Fig-17
 37
As the final descent begins, the visitors get a glimpse of a
coral reef and are then directed through a final view of the
sharks, stingrays and the dolphin pool. The aquarium ends its
presentation with an exhibit that traces the role of man as
explorer and exploiter of the sea.
The Baltimore National Aquarium is an excellent example
of complete exhibit design and visitor circulation. All of the
circulation paths are designed in a manner that allows the !±^^ C n u A i Rf M

visitors to easily experience the exhibits and to view the

animals from many different vantage points. The structure gives OnaoflNiiNf;
Ur
forth illusions of floating and flying both within and on the
exterior, which enforce its form and internal space design. Fig-18
Along with the Aquarium's bold design and excellent interior
spaces, it provides an excellent means of learning and
entertainment.

MfCM RAIN, \

'^ii^A-''
/J-^^^

Fig-19
 38
ilP^TO^y /?\©TOWDTOES /^(Nl/^LViOi

Internal Spaces:

GALLERY SPACES:
1- Physical Science Gallery
2- Biological Gallery
3- Adaptable Gallery
Additional spaces within the galleries:
A- Seating off the main tour route
B- Restrooms
0- Storage Space

Gallery spaces 1 and 2 should be designed such that more

than adequate room is provided for smooth circulation to and
from the galleries, and exhibits. The gallery spaces should be
equipped to insure the comfort of the visitors, these spaces
include rest rooms, seating areas and breaks in the general
tour route to allow the visitors to view other activities and rest.
Gallery space 3 is to be designed as a temporary gallery
space for moving exhibits. This gallery should have the same
basic flow pattern, but remain adaptable for the nature of the
exhibit. Within in this gallery the same breaks in the tour route
along with the comfort facilities should be included. This gallery
due, to its nature, should be smaller in physical size.
 39
Additional Spaces
(A)- Seating areas should be provided
along the tour path to provide as a barrier
against "Museum Fatigue". These areas should
be located in a manner that provides the visitors
with a view of other internal and/ or external
activities.
(B)- The rest rooms within the facility
should conform to the Uniform Building Code,
and provide the visitors with comfortable and
accommodating clean facilities. **
(C)- Clear, unobstructed dry storage space.
"(All areas of the facility which call for restrooms will follow this description)

ACTIVITIES: Gallery spaces:

1- Looking and interacting with exhibits
2- Take planned tour
3- Glean information from exhibits
4- Free examination of exhibits (not a formal tour)
5- Questioning of tour guide
6- Sitting in viewing/ leisure areas
7- Use of hygiene facilities
8- Watching of others in tour group
9- Developing an understanding for material in exhibit
 ^

40
PLANETARIUM SPACE:
1- Seating area for observers
2- Control booth
3- Projector area
Additional Spaces within the Planetarium:

A- Mechanical Space
B- Storage
C- Rest Rooms
The seating area should accommodate enough seating for
300 visitors at one time. This area should include proper aisle
spaces as required by the Uniform Building Code for general
fire safety of occupants and comfortable circulation. The seats
in this area should be reclining, to allow for proper viewing of
the domed area above.
The control booth should allow the tour guide ample room
for proper operation of the planetariums equipment. All
equipment should be operated by controls within the booth.
The projector area is generally located in the middle of the
planetarium (As dictated by design) and should, therefore,
have an adequate area provided to allow for visitor circulation
around the projector without disturbing the instrument. Hand
rails and other pedestrian restraints should be used to
discourage handling of the instrument.
 41
Additional Spaces
(A)- The mechanical space for the
planetarium should be allowed to accommodate
all necessary controls for the various apparatus
within the planetarium. Also in this space, a
halogen fire extinguishing system should be used
to avoid damage to valuable electrical equipment.
This system should also be used in the general
seating area to protect the planetarium's projector
and projection surfaces.
(B)- The storage area should be a dry storage
area large enough to accommodate the
equipment necessary for the planetarium. The
above mentioned fire protection system should be
installed within this space as well.
(C)- See description Pg. 37

ACTIVITIES: Planetarium space:

1- Viewing projected images of the heavens
2- Learning of star and planetary movements
3- Learning the fundamentals of astronomy
4- The viewing of light shows
5- Discussions/ lectures/ presentations
6- Relaxation
 42
BOTANICAL GARDEN SPACES:
1- Greenhouse areas
2- Mechanical Room
Additional Spaces within the Botanical Gardens:
A- Storage
B- Rest Rooms
The greenhouse space should be made of a crystalline
form and allow ample sunlight to enter the structure for the
climate being presented. The area should have a clear
circulation pattern while providing a break in the tour path to
allow the visitors to experience and wonder within the
projected environment. Temperature and other environmental
controls will be dependent on the environment which is being
presented. Within these spaces, plants, birds, fish and other
living elements, will be presented based on the environment
being projected. This will allow the visitors to view a climate
foreign to that which they are accustomed.
The mechanical room for the botanical gardens should be
designed in a manner such that it serves all of the
greenhouses at one time. Equipment for each greenhouse will
be centrally located providing ample space for maintenance
and operation.
 43
Additional Spaces
(A)- Storage rooms for the gardens should
be designed in a manner which allows for proper
care of equipment needed to maintain the interior of
the garden. This space should include hanging
areas for gardening tools and storage areas for
fertilizers and other equipment or supplies.
(B)- See description Pg. 37

ACTIVITIES: Botanical Gardens:

1- Experiencing nature in a pure form
2- Touching of plants and elements of environment
3- Learning through direct interaction
4- Relaxation
5- Generating awareness to other environments
6- Understanding nature and ways to care for it
7- Sitting and enjoying the view
 44
ENTRY/FOYER SPACE:
1 - Reception area
2- Orientation
Additional Spaces within the Entry/ Foyer:

A- Rest Rooms
The reception area should be one large enough to allow
tour groups to form and organize. This area is where tours are
paid for and admission is granted to the facility.
The orientation area is a room and or zone provided that
presents the visitors with the necessary information concerning
the operations of the museum facility, the exhibits within, and
coming attractions or special events. Also within this area the
visitors should find the proper information to allow them to view
the exhibits without taking a formal tour.
Additional Spaces
(A)- See note Pg. 37

ACTIVITIES: Entry/Orientation:
1- Gathering of information
2- Forming of tour groups
3- Paying of, or receiving admission
4- Departure and arrival
5- Introduction to facility its exhibits and attractions
 45
External Spaces:

Sculpture Garden:
1- Main garden area
2- Sitting area
Additional spaces within the Sculpture Garden:
A- Congregation area

The main garden area should be placed in an area that

accents the museum structure. This area should provide
seating areas which allow the visitors to view the main
sculpture. Adjacent to the main garden is an area that is for
either smaller sculptures, or traveling sculpture exhibits. This
external space should be designed as a exhibit space and
reflect the general theme of the facility or develop an accent to
the facility.
The Sitting areas should be provided throughout the
external areas of the facility, if not to view the sculpture garden
then to view the Franklin Mountains and surrounding
landscape. These areas should be designed such that a buffer
zone exists to decrease any street or associated noises.
 46
(A)- Before entering the sculpture garden
a congregation area should be provided to allow
the dropping off or picking up of large groups, and
or visitors. This area should provide seating for
the group and any environmental accents that
provide environmental control such as trees and
shrubs.

ACTIVITIES: Sculpture Garden:

1- Interpretation of art and form
2- Invoking thought due to experiencing the art
3- Enjoying the views off site of the surrounding mountains
4- Relaxation
5- Provide a place for local artists to display their wori^
6- A place of gathering of groups
7- Tours of the sculpture garden exhibits
 47

General Facility:
Within the structure, the quality of space expressed through
an architectural means should be such that it invokes thought
or interest. This space should be planned in such a manner
that a return visitor is always able to discover a new portion or
aspect of the facility. The concept behind this re-discovery is to
further interest and exploration on the visitor's part. This space
should adequately provide an adaptable area which is capable
of displaying and demonstrating scientific apparatus and
experiments.

Planetarium:
The planetarium's internal spatial quality should be one
that is peaceful, comfortable and relaxing. In a facility that is
designed to view celestial bodies, the internal space should be
designed such that no external noises or natural light are
noticeable. A comfortable temperature should be maintained,
and the proper angle of seating to ensure optimum viewing of
the inner planetarium structure should be provided. One further
consideration would be the inclusion of both a quality sound
system and additional secondary image projection systems so
that the facility can accommodate more than one function.
 48
Botanical Garden:
The botanical garden portion of the facility should be a
series of greenhouses where the visitor can experience many
different types of environments that are not indigenous for that
local region. These areas should display both animal and plant
life, this is to give the visitor a proper experience to an
environment not generally experienced. Such a facility aids in
the learning of environmental science and stimulates the
visitor's understanding of nature.

Sculpture Garden:
The sculpture garden is intended to be designed as a
means of expression and accent to the overall facility. The
garden is located before actually arriving at the facilities' main
entrance, and therefore should provide the visitors with a
pleasing and interesting procession through the garden to the
main entrance of the facility. This procession is accented by the
sculptures themselves, along with seating areas, landscaping
and then the structure itself.
 49
TIHIE SOTE

General Background:
El Paso, located in the extreme western portion of Texas, is
situated on the north bank of the Rio Grande opposite Ciudad
Juarex, Mexico,at an altitude of 3,762 ft. El Paso's population is
calculated by the summation of three contributing areas. The
city itself, the county, and Ciudad Juarez. The population for
these areas is:
El Paso City: 516,996
El Paso County: 73,857
Ciduad Juarez: 910,000
Total Area Population: 1,5000,853

El Paso is located in a region of cattle ranches and irrigated

farms, which produce cotton, fruits and vegetables. The city
and surrounding area is a commercial and manufacturing
center, its economy is based on the processing of foods,
petroleum, primary metals, as well as the manufacturing of
apparel and machinery. Being a border city and a port of entry
into the United States, El Paso is served by major Mexican and
U.S. Highways and railroads. (SeeMap-1)
50
 51
In an effort to address the continuing growth within the
El Paso City limits the Department of Planning, Research, and
Development set a plan into action that would develop the
three major areas of the city which were under rapid
development. This plan calls for the construction of new
educational facilities, sports facilities, retail space, residential,
parks and outdoor recreation facilities, and office spaces in the
Northeast, East and extreme West portions of the city, along
with some minor re-development of the Southeast portion of
El Paso.
Of these areas the Northeast and East portions of El Paso
are growing the fastest. In response to this the site chosen for
the Sun City Science Museum and Exploratorium is located in
the extreme Northeast portion of El Paso which is currently
Fiq-20
under residential development.

Site Analysis:
The site chosen for the Science museum is located at the
intersection of McCombs street and the newly constructed
North-South freeway. (Fig 20) This 231 acre site is on flat
undeveloped land located on Public Service Board property
which has been master planned for development. The site is
adjacent to a proposed town center which would make for a
compatible mix of retail, commercial, and sports/ entertainment
 52
facilities. These facilities along with the continued residential
development would serve as part of a quality anchor for
emerging development in the Northeast portion of El Paso.
(See Map- 2)

TRAVEL TIME/ DISTANCE ANALYSIS:

In June, 1987, the El Paso City Planning, Research and
Development office did a Travel time/Distance Analysis to all of
the sites scheduled to be developed within the next five to ten
years. The study was to determine the accessibility to each of
the sites. The findings of this analysis showed that the distance
to peripherally located sites was not a major factor. Only once
during the analysis did travel time between sites exceed 30
minutes, which was deemed acceptable for a metropolitan
area of El Paso's size. The longest travel distances were from
the Ysleta to the McCombs/ North-South Freeway site, the total
travel distance was 26 miles. (Table-1)
To relieve some of the extended travel times within the city
two major additions to the traffic circulation system may
improve access to some of the sites being developed. Loop
375, to be completed by 1991, will shorten travel time between
the Lower Valley and the Northeast areas. The North-South
Freeway frontage roads due by 1990 will shorten travel times
city wide.
 53

Distance Time In
Location In Miles Minutes

West to McCombs via 1-10 24 29

to McCombs via TM* 23 29
to Blackie Chesser via 1-10 19 21
to Airport via Yarbrough 19 26

Ysleta to McCombs via 1-10 26 34

Norttieast to McCombs via TM* 6" 10"

* Trans Mountain Road

" Using new North South Freeway

Table- 1

Access to the site is accomplished by two major roads,

McCombs is the major existing street that passes east of the
site running north and south. The newly completed
North-South Freeway passes the site at a diagonal and
intersects with McCombs. (See Map-6)
Further access to the site is provided by Trans mountain
Road which connects with Interstate 10 on the east side of the
Franklin Mountains. It is from these major thoroughfares that
access to the site is made easy and convenient. (SeeMap-3)
 54
VIEWS OFF SITE:
Along with the excellent access and location of the site, this
particular location of Northeast El Paso has a outstanding view
of the Franklin Mountain Range. (SeeFig2i)
This site is located in a manner that allows its primary view to
fall due west, thus the site is framed by the mountain range on
the horizon. The North-South Freeway access being at a
diagonal allows for various orientations for structures on the
site and since access to the site is found off at a diagonal and
due west of the site the primary view of the mountains is
unobstructed. (Fig 22)
While it is evident that 231 acres is far to large for the
Museum, a site of this size does promote various site
developments options that may that may othenwise have been
denied from a smaller site location. The site plot is basically a
flat portion of desert land that has a slight slope rising upward
from the lower right eastern corner (Eiev. 3965) to the upper left
western corner (Eiev. 4020). (SeeMap-4- 5)

\f;

p»iaiii)i»i#fe'

•VtV-l^v

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Fig-22
 56

N
1 " = 1500'

Area Development Map

LbGEND
LOW DENSITY
RESIDENTIAL

m MEDIUM DENSITY
RESIDENTIAL

CnMMFRCIAL
r////A DLVELUPMENT
 CHAPARRAL N M | Db
NEW UtXICO
L
 - ' t / .V.
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3VA^,

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 59

N
1"=1600'

Trafic Circulation Map

LEGEND
OUTBOUND
> TRAFFIC FLOW

INBOUr©
TRAFFIC FLOW
 60

Panoramic Photographs

Due South West

^mmtm^sm
i
Northwest

West North East

Flg-21
 61
BIBLIOGRAPHY

Aloi, Roberto, EsDOSizioni. Architecture- Allestimenti

VIrico Hoepli, Via hoepli 5, Milan,1960

Booth, J.H., Krockover, G.H., Woods, D.R.

Creative Museum Methods and Educational Techniques
Thomas Books, Springfield,lllinois,1980

Champie, Clark, Strangers in the FranklinsGuynes Printing

Company, El Paso, Texas, 1973

Frack, Klaus, Exhibitions. Frerick A. Prager Publisher

New York, 1961

Fitch, James M., Walter Gropius. George Braziller, Inc.

New York, 1960

Fitch, James M., Walter Gropius: Buildings. Plans. Projects

1906-69. Ise Gropius, Lincoln Massachusetts
1972

Gropius, Walter. The New Architecture and the Bauhaus.

Charles T. Branford Company, Boston 59, Massachusetts, 1961
 62
BIBLIOGRAPHY

Impey, Oliver, Macgregor, Arthur. The Origins of Museums.

Calredon Press, Oxford, 1985

Katz, Herbert, Marjorie, Musesums. U.S.A

Doubleday & Company Inc., Garden City, New York,1965

Lucking ham, Bradford. The Urban Southwest

Texas Western Press, University of Texas at El Paso,
1982

Miles, R.S.. The Design of Educational Exhibits

British Museum (Natural History), London, 1988

Moore, Eleanore M.. Youth in Museums. University of

Pennsylvania Press, Philadelphia, 1941

Olofsson, Vila K.. Museums and Children. Unesco. Etienne

Julien, Paris, 1979

Velarde, Giles. Designing Exhibitions. Whitney Library of

Design, New Yori<, 1988

Wittlin, Alma S., The Museum, its History and its Tasks in
Education. Routledge & Kegan Paul Limited, Browadway
house: 68- 74 Carter Lane, E.c4
 63
' Alma 8. Within, PHD, The Museum its History and its Tasks in Education
Routledge & Kegan Paul limited., London 1949. Pg. 1

'Ibid. Pg. 110

' Francis Bacon, Gesta Grayorum The Origins of Museums (1594)

Oliver Impey and Arthur Macgregor Clarendon Press., Oxford 1985
Page (Introduction)

* James Smithsonian. Extracted quoted from will

'Jeanette Hauck Booth, Gerald H. Krockover, Paula R.

Woods, Creative Museum Methods and Educational Techniques
Charles C. Thomas Publisher., 1982 Pgs. 6-33

'Herbert and Majorie Katz, Museums U.S.A. History and Guide

Doubleday ., 1965 Pg. 23

' Ibid. Pgs. 209-221

' R.S. Miles, MB. Alt, D.C. Gosling, B. N. Lewis, A. F. Tout,
The Design of Educational Exhibits
Unwin Hyman Ltd., 1988 Pgs. 6- 7

•Architecture; August 1988 Vol. 77, NO. 8 Pgs. 82- 83

'°lbid. Pg. 83

" Ibid. Pg. 83

''Architectural Record; May 1982 Vol. 170. NO. 6 Pg.83

''Ibid. Pg. 86