Posts tagged with "Gould Evans":
Design-competition television show to feature Gould Evans’s addition to the Kansas City Art Institute
Gould Evans’s recently completed addition to the Kansas City Art Institute will be the star of a forthcoming PBS show. The semiannual Make 48 competition was recently held, and filmed, in the new David T. Beals, III Studio, where 15 teams had 48 hours to plan, prototype, and present their ideas for prices and potential licensing. The event will be edited into eight half-hour episodes, which will be aired sometime this summer.
The David T. Beals, III studio adds 5,000 square feet to the KCAI’s Volker Building, which houses the school’s sculpture department. The simple structure, clad in black matte metal paneling, is intended to stand as a counterpoint to the school’s original home, the 1896 Vanderslice mansion. The new building is filled with bright open studio spaces and the latest in fabricating technologies: laser cutters, engravers, eight types of 3-D printers, CNC routers, cameras, scanners, touchscreen interfaces, and a digital loom allow students to create and collaborate on projects of varying sizes and complexity.
“Our goal in the design process was to create a clean, blank slate with abundant light that would be flexible, both as a daily workspace and over time as educational programming and technology evolves,” explained Mark Wise, project designer at Gould Evans. “The space needed to provide an efficient, comfortable space for students to work, as well as a home for the cutting-edge technology the KCAI offers, so we designed the studio to be scalable, offering ample space around the equipment for students to move and gather in.”
The project also adds a new gallery and critique room to the school. Students at the KCAI study everything from ceramics and sculpture to animation and graphic design. The school, a private independent four-year college of art and design, provides Bachelor of Fine Arts degrees in 13 majors, and a post-baccalaureate program in art education, certificate programs, and continuing education courses. The new building represents the intention of the school, as the oldest arts organization in Kansas City, to prepare its students for the future.
“Building a printing and prototyping studio that specializes in digital input and output means that the KCAI is preparing tomorrow’s workforce,” said Tony Jones, president of the KCAI. “We’re teaching advanced skills, while providing a valuable asset to our local community.”
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Gould Evans designs a new home for “The 13 Original Rules of Basketball” at the University of Kansas
On Friday, May 13, the University of Kansas opened the long-anticipated DeBruce Center, a 32,000-square-foot addition to the university’s historic Allen Fieldhouse arena. The new $21 million structure was built in order to house the two pieces of paper on which Dr. James Naismith outlined “The Original 13 Rules of Basketball” in 1891. University of Kansas alumnus David Booth and his wife, Suzanne Booth purchased the two pages at an auction in 2010 for $4.3 million—a record for sports memorabilia that year—as a gift for the school.
The university hired architecture and planning firm Gould Evans to provide a proper home for the rules. But after researching student traffic, the firm realized that the designated site is a nexus between northeast academic buildings and southwest athletic facilities, and should therefore serve as more than just a game-day museum. Kelly Dreyer, project designer at Gould Evans, told AN, “In order to engage the student body population the majority of days a year, we married two programs that are not typically seen together—one obviously being the museum, and the other, student dining.”
The main feature of the DeBruce Center is an interior pathway that takes students and visitors across three floors that track the development of basketball’s rules, and weaves into an exhibition space, a gift shop, a cafe, a 60-seat restaurant, a 200-seat dining commons, and an athletic nutrition center for men’s and women’s basketball. Rather than utilizing typical museum display cases, Gould Evans integrated the exhibit into the aluminum architecture. Basketball’s current 45,000-word rules are engraved into aluminum scrim and wrap Naismith’s original 450-word document. This contrast gives visitors a unique understanding of how the game of basketball has evolved over the past 125 years.
Electro-chromic glass controls the amount of ultraviolet light that reaches the document and adds a surprise factor to visitors’ arrival at the pages. At the push of a button, “The Original 13 Rules of Basketball” illuminates, and Naismith’s voice tells his story of creating the sport. This exhibition path concludes along an aluminum-clad bridge, which extends into the Allen Fieldhouse arena.
As another nod to its notable neighbor, Gould Evans utilized the same type of maple used on basketball courts throughout custom built-in furnishings in the dining areas. Also, the glass facade structure reflects the adjacent building and surrounding context, while simultaneously making a statement and revealing a destination for students and teachers.
From the exterior, one sees into the movement and dynamics of the space, which is estimated to receive hundreds of thousands of visitors a year. A three-sided courtyard and landscaped plaza are formed by the adjacent parking garage and the new, three-story structure, which glows at night to invite basketball fans and students to the outdoor space and facility.
Providing exhibitions and student dining commons, the sculptural structure connects the University’s Naismith Drive gateway and existing student pathways. The DeBruce Center, was designed as a home for just two pieces of paper, but now engages the entire University of Kansas campus.
With declining public interest in an outdated 1970s exposed concrete library in Lawrence, Kansas, Gould Evans worked closely with residents, downtown neighborhood groups, and the library to establish primary goals for a renovation that sought to cover a broad base of community interests. Out of this extensive dialogue, the project team identified a design concept that promoted better contextual awareness between the library and the city through a new main entryway, a more functional threshold between the library and the surrounding community, and improved energy performance. After an extensive energy modeling and analysis on the existing structure by Syska Hennessy Group, it was discovered that the building lost significant energy and lacked adequate levels of daylight due to the arrangement of exposed concrete fins that acted like a giant radiator during hot days. In response, the architects addressed performative issues and community desires with a “re-skinning” strategy that wrapped a continuous reading room around the original structure. The facade, clad with a continuous insulation barrier and a terra-cotta rainscreen system, was envisioned as a highly contextual element interfacing directly with the city. The new addition opens up to a park on the north side, while providing a new community plaza along the south elevation. Along the west facade, access to an aquatic center across the street allows the library to be easily accessed by children before and after swim meets. The main entrance is located along the east of the building, which fronts a pedestrian-oriented urban context. Formal bends, folds, and apertures of the facade assembly facilitate the structure. Terra-cotta was employed as the predominant exterior finish material by the project team to provide a modern update to adjacent historic red brick facades of Lawrence dating back to the late 1800s. The one-by-five-foot terra-cotta rainscreen panels are hung off an aluminum clip system in front of a continuous insulation barrier and trimmed cleanly at the perimeter with one-fourth-inch aluminum plate. Contrary to the imperfections of brick modules, terra-cotta is engineered with a high tolerance through controlled machining processes. Gould Evans showcases this precision through its facade design, which specifies panels in two textures: smooth and grooved. A sense of variation and depth is produced from shadow lines generated by the textured panel, which appears slightly darker than the smooth panel despite their precisely similar coloration. Windows fit compositionally into the panelization of the facade, and include terra-cotta baguettes that perform as solar louvers. Particularly notable is how the new addition interfaces with the existing structure. Utilizing the mass of the concrete building, the new addition literally hangs off of the old library along the west facade where a new column-free book deposit drive through window is located. A primary steel framework sits above the existing roof plane, creating a continuous row of clerestory windows opposite the primary exterior facade. Opening up opposing walls to natural daylight minimizes glare—essential to the reading function of the space—by creating an even distribution of light. The original facade, a series of concrete fins now along the interior of the building, is codified with a cladding of a tongue and groove ash wood. Where the public interfaces with library services, such as account assistance, stacks, children's cubbies, private meeting spaces, and the central sorting machine, the ash is selectively removed to expose an underlying concrete structure. The project is currently undergoing LEED certification. After expanding the library by 50 percent, the design team reduced energy loads on the building by nearly half. This achievement is all the more impressive when considering the original systems of the building were left in place to reduce the embodied energy of a full replacement. The building has recently been recognized with a Landmark Libraries Award by Library Journal, as well as the Honor Award for Excellence in Architecture by AIA Kansas.
Terra cotta rain screen transforms brutalist eyesore into energy-efficient community space.Considered an aesthetic and functional failure almost since its construction in 1974, the old public library in Lawrence, Kansas, was overdue for a renovation four decades later. Gould Evans' challenge was to transform the low-slung brutalist behemoth, a poor environmental performer lacking both adequate daylighting and a sense of connection to the community, into an asset. "The desire was to try to come up with a building that basically reinvented the library for the community," said vice president Sean Zaudke. Rather than tacking an addition on to one end of the existing structure, the architects elected to wrap a 20,000-square-foot reading room and open stacks area around the old facade. In so doing, they altered the exterior for the better, swapping bare concrete for an earth-hued terra cotta rain screen punctuated by plentiful glazing. They also significantly enhanced the library's environmental performance, with early estimates suggesting that the new Lawrence Public Library will see a 50 percent reduction in energy usage despite a 50 percent increase in square footage. The decision to entirely enclose the old building within the addition was a critical component of the architects' sustainability strategy. "It allowed us to come up with a continuous facade utilizing a continuous insulation system," explained Zaudke. "It helped a lot with energy performance." Gould Evans chose a terra cotta rain screen from NBK to better tie the library to its surroundings. The building is located in an interstitial zone, immediately adjacent to buildings constructed in the 1950s but not far from Lawrence's thriving historic downtown. "We selected terra cotta because it could play by both sets of rules," said Zaudke. "It has an historic connotation, but it's also a much more modern-looking material." Daylighting was another of the architects' key concerns. "Because there were so few windows in the old library, wherever you went there was a sort of phototropic behavior," said Zaudke. "People just gathered around the windows. The rest was not as utilized." Gould Evans significantly altered the user experience by creating an open reading room within the wraparound addition, all of which is exposed to daylight. Other library functions are contained within the core, which in turn is lit both by a continuous clerestory and a series of Solatubes. The clerestory also prevents glare within the reading room by illuminating the inside of the facade. Gould Evans used prescriptive data to determine the overall balance of terra cotta to glass on the new facade—about 60/40—as well as on each exterior wall. To reduce thermal gain on the east and west faces, the architects placed terra cotta baguettes over each horizontal slit window. Together, the baguettes and the depth of the wall act as sunshades. As for Lawrence Public Library's old concrete facade, "we didn't want to just pretend it wasn't there," said Zaudke. Instead, Gould Evans partially overlaid it with a tongue-in-groove system of unstained wood. "The concrete had a harsh feel to it," explained Zaudke. "By wrapping it with wood and revealing it in places, there's this nice dialog that occurs. Everywhere it opens up is where some core function reveals itself—it's an interesting dynamic." At the library entrance, the architects brought the wood outside, encased in glass to protect it from the elements, said Zaudke. "That vocabulary of cracking open the library, of making it accessible, is present at the entry."