DATUM POINTDATUM POINT

VERTICAL FOAM WALLS9" THICK - 3D

L.2-16-16-MDF

L.16-140-12-TOP-B

B

L.12-103-7-MID-A

L.12-103-7-MID-B

DATUM POINT

L.11-96-7-MID-BL.7-76-5-MID-B L.9-86-5-MID-B

B

L.3-32-16-LOW-A

L.4-48-12-LOWA.B

L.8-81-5-MID-B

L.10-91-5-MID-A

A

C

L.3-32-16-LOW-C

DATUM POINT

L.2-16-16-LOW-A

L.5-69-9-LOWA.B

DATUM POINT

DATUM POINT

L.10-91-5-MID-BL.6-69-7-MID-B

L.5-60-9-LOW-C

DATUM POINT

L.6-69-7-MID-A

A

L.7-76-5-MID-A L.11-96-7-MID-AL.9-86-5-MID-AL.8-81-5-MID-A

D

L.3-32-16-LOW-B

L.2-16-16-LOW-C

DATUM POINT

B

D

C

F

A

L.13-110-9-TOP-A L.16-140-12-TOP-AL.15-128-12-TOP-AL.14-119-9-TOP-A

B-POT-21-821-51.LB-POT-9-911-41.LB-POT-9-011-31.L

C-POT-21-041-61.LC-POT-21-821-51.LC-POT-9-911-41.LC-POT-9-011-31.L

L.9-86-5-MID-E L.12-103-7-MID-EE-DIM-5-67-7.LE-DIM-7-96-6.L

L.12-103-7-MID-F

L.5-60-9-LOW-F

L.10-91-5-MID-EL.8-81-5-MID-E

L.4-48-12-LOW-C

L.2-16-16-LOW-B

DATUM POINT

L.4-48-12-LOW-E

L.2-16-16-LOW-F

DATUM POINT

DATUM POINT

DATUM POINT

L.3-32-16-LOW-E

DATUM POINT

L.2-16-16-LOW-E L.5-60-9-LOW-E

DATUM POINTE

F

L.11-96-7-MID-FF-DIM-5-68-9.LF-DIM-5-18-8.L

DATUM POINT

L.10-91-5-MID-F

L.3-32-16-LOW-F

F-DIM-5-67-7.LF-DIM-7-96-6.L

L.11-96-7-MID-EF-POT-21-041-61.LF-POT-21-821-51.LF-POT-9-911-41.LF-POT-9-011-31.L

L.11L.6L.4

MID SECTIONS

L.12L.10L.3 8.L2.L L.7 L.9L.5

L.16-140-12-TOP-GL.14-119-9-TOP-GL.13-110-9-TOP-G L.15-128-12-TOP-G

L.13-110-9-TOP-E

E

L.16-140-12-TOP-EE-POT-21-821-51.LE-POT-9-911-41.L

TOP SECTIONS

L.14 L.16L.15L.13

G

H

H-POT-21-041-61.LH-POT-21-821-51.LH-POT-9-911-41.LH-POT-9-011-31.L

E

D

C

LOW SECTIONS

DATUM POINT

L.4-48-12-LOW-F

L.1-0-16-MDF

SEXOB DOOWYLPFDML.1-0-16 vertical wall - 3D

LEVEL - HEIGHT WITHIN SCULPTURE (") - HEIGHT OF MATERIAL (") - HORIZ.GROUP - SECTIONEXAMPLE: L.6_69_7_MID-BLABELLING SYSTEM

10

Exhibition designers in the museum setting areoften called upon to strike a balance between thearchitecture of the gallery and the presentation ofits contents. Frequently, the architecture performsa supporting role for the art objects it aims todisplay. When effectively executed, the builtelements in the gallery become a subconsciouslyperceived background that fall away to promotethe significance of the art within and enhance theviewer’s experience.

At the other end of the designspectrum is an endeavor such asZaha Hadid: Form in Motion. In this exhibition, the galleryspace transforms to become anart object in its own rite, and asynergistic relationship is createdbetween the exhibition architec-ture and the objects within.

Rather than becoming a subtle backdrop, thegallery is re-imagined as an environment, its designand architecture as thoughtful and evocative as itsresident objects. The exhibition is comprised of twodistinctly different but interrelated architecturalelements: a 3500 square foot continuous vinyl floorgraphic that undulates and converges with amonolithic sculptural wall. These two elements, in conjunction with the furniture, industrial andproduct designs on view, act together to transportthe visitor beyond the gallery, and into a worldwhere the delineation of two and three dimensionalspace is blurred through the manipulation of form,perspective, surface, and lighting.

Zaha Hadid: Form in Motion beckons the viewer to ask the question of how such an environment isconceived. However, to answer this question, onemust delve deeper into the account of how theexhibition is constructed. At its most fundamentallevel, the exhibition comes to life through a criticalworking relationship between designers andfabricators, and at the heart of this partnership, isthe ability for both parties to share information andideas through the use of computer aided designand technology. To be more specific, the use of 3Dcomputer modeling permeates every aspect of thisexhibition from conception to installation. Theprocess of working with digital models in the designand production phases of the project creates uniqueopportunities for innovative material applications,and for the use of complex fabrication techniquesthat rely on computer assisted machining.Ultimately, technology plays a pivotal role increation of the architectural forms and surfacetreatments, but of particular interest is the makingand assembly of the expansive contoured wallfeature in this exhibition.

The design process begins with the computermodeling of the existing Special Exhibitions Galleryin the Ruth & Raymond G. Perelman Building at the Philadelphia Museum of Art. The model isdeveloped to address inherent spatial parametersand limitations, and to establish the look and feelof what will become the re-invented gallery space.Renderings are generated to study views andperspectives that inform the location of art objectsin relation to the architecture. The digital modelbecomes an easily adaptable tool that aids informulation of the overall context and narrative ofthe exhibition with which visitors will observe andinteract. >

Exhibition | A Symbiotic Process – Zaha Hadid: Form in Motion

JEFFREY E. SITTON, ASSISTANT INSTALLATION DESIGNER

PHILADELPHIA MUSEUM OF ART

2011 Collab Journal 11

MODEL DRAWINGS (WALL STRUCTURE)

ASSOCIATED FABRICATIONColor-coded 3D image of the wall structure showing the breakdown of parts; piece drawing representing the production methodology and labeling of the foam parts

As the design phase moves into production, theworking digital model allows for vital discussionsbetween designers and fabricators regarding thebuilding of architectural components. In this case, the wall structure has numerous, often conflictingrequirements. The forms must be very light, yet self-supporting. They must cantilever and span distanceswith minimal support and anchoring. They must also be small enough to fit into the gallery throughexisting doorways, but large enough to minimizeinstallation time in situ. Finally, the forms must berobust enough to survive transportation, and theymust be affordable to accommodate an exhibitionbudget. With these requirements, the fabricators

settle on a somewhat unorthodox material forconstruction: expanded polystyrene foam (EPS).

For its many applications, EPS foam is less commonlyused as a structural and sculptural element in anexhibition setting. The contours of the sculptural wall are made up of large foam blocks at varyingthicknesses. The same digital files that enableddesigners to study and develop the exhibition layoutare reinterpreted to create cutting templates for thevast assortment of curvilinear forms. Once thesepiece drawings are produced, the foam is cut using aComputer Numerical Control (CNC) hot wire cutter.Through computer assisted machining, each piece is

generated to the exact size and proportionspecified by the designers. Then, throughmeticulous attention to labeling and registration,the cut foam pieces are glued together in largerchunks, coated with a urethane hardener, pre-finished and sized appropriately for transportationand installation in the gallery. Once on site, thepieces fit together like a giant puzzle withoversized finger joints that disappear to createwhat appears to be a single stacked andcontinuous form. Through this method ofmachining and pre-fabrication, the seeminglyinfeasible sculptural element is constructed,installed and finished in a matter of days.

While technology helps bring this type of intricateexhibition to fruition, I would like to acknowledgethe tremendous amount of work put forth by manyindividuals with respect to the design, fabrication,and coordination of Zaha Hadid: Form in Motion.On behalf of the Philadelphia Museum of Art staffin collaboration with Zaha Hadid Architects andAssociated Fabrication on this project, we wouldlike to thank all of the designers and fabricatorsinvolved for their diligent efforts that have result-ed in a truly unique and inspiring exhibition. JS

Installation View of Zaha Hadid: Form in Motionat the Philadelphia Museum of Art

Computer Modeling and Programming: 200 Hours; Shop finishing and floor graphic: 3400 Square feet; Polyurethane coating: 21 Gallons; Spray foam: 20 cans; Foam sheets: 220; Individual foam parts: 432; Total square feet); Wiggle board: 10 4x8 (320 square feet); Shipments: 3 Tractor

assembly:1000 Hours; Site work: 336 hours. TOTAL: 1536 hours; Vinyl Plaster: 250 lbs; Joint compound: 50 gallons; Laminate glue: 10 gallonsvolume: 4096; Plywood sheets: 40 4x8 (1280 square feet); 30 4x8 (960trailers (53’); Box trucks: 3 (26’)

Building Mechanics: Parts needed: 1 hour; Lighting: 31.5 hours; Wiring: scissor lifts: 2 (15’); Paint: 120 gallons; Longest work day: 24 hours; Handlers: 368 hours; Admin (SpEx, installations): 500 hours; Graphics: Conservation: 30 hours; PLUS innumerable hours spent by the Museum’s

10.5 hours; TOTAL mechanical: 43 hours; Carpenters: 13; ElectricConstruction hours: 780; Shipments: Air, truck, sea; Crates: 32; Art 40 hours; A/V + Web: 150 hours; Security: 50 hours; C-tech: 10 hours; curatorial, exhibition, + publishing offices and Zaha Hadid Associates.