Potash | Thesis Proposal

Performance-Driven Architecture: designing a museum for the indianapolis motor speedway

Daniel S. Potash, Assoc. AIAM.Arch 1 | 2014Ball State UniversityCollege of Architecture and Planning

Daniel S. Potash

Performance-D

riven Architecture: designing a museum

for the indianapolis motor speedw

ay2014

Performance-Driven Architecture: designing a museum for the indianapolis motor speedway

Copyright © 2014

Daniel S. PotashCollege of Architecture and PlanningBall State University. Muncie, Indiana

All rights reserved by the author, who are solely responsible for their content, the College of Architecture and Planning, and Ball State University.

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Hall of Fame Museum | iii

Daniel S. PotashAssoc. AIA

[email protected]

Hall of Fame Museum | v

AcknowledgmentsI would like to thank the following people, who without their time and guidance this project would not be possible:

Ellen Bireley // Director IMS Hall of Fame MuseumEllen has been a guiding force throughout the project. From the beginning she provided ideas and insight into the current museum and what needs changed. I thank her for taking time out of her busy schedule to sit down with me to discuss my project and the ideas behind it.

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Thesis AdvisorsAbstractFinal Project ProposalSite Analysis

Precedent StudiesMethodologiesLiterature ReviewAppendix

Contents

Hall of Fame Museum | 1

Thesis Advisors


Timothy GrayMajor Advisor // Associate Professor of ArchitectureTimothy Gray serves as Associate Professor of Architecture at Ball State University where he has taught since 2003, having taught previously at UC Berkeley, the California College of the Arts, and as an invited Professor at Dalhousie University in the summer of 2005. Timothy’s subject areas include building design, sustainable design and building technology, and Timothy has pursued these interests with students on a number of large-scale design-build projects.

In addition to teaching Timothy has an active practice that was established in 1995 and has completed a broad range of projects for clients such as MTV Networks, Levi Strauss and Eli Lilly Corporation. The work of the firm has been recently recognized with an AIA Indianapolis Citation Award for Design Excellence and has been recognized with a “Phoenix Award” from the Environmental Protection

Agency. Current projects include the Katz Residence, a innovative 5,600 sq.ft. home in Fort Wayne, Indiana, seeking to achieve LEED Platinum certification, and the Hotel Broad Ripple, a boutique hotel currently under construction in the Broad Ripple neighborhood of Indianapolis.

Timothy’s work as faculty director of the “Straw Bale Eco Center”, a student designed and constructed zero carbon facility, was recognized with both a State of Indiana AIA Award for Design Excellence and an Award of Merit fro the American Architectural Foundation in 2008, and was one of four recipients of the prestigious NCARB prize in 2009. Timothy was the recipient of the Ball State University “Outstanding Creative Endeavour Award” in 2008; the first member of his College to be so recognized.


Kevin KlingerMinor Advisor // Associate Professor of ArchitectureKevin R. Klinger is Director of the Institute of Digital Fabrication at Ball State University, Associate Professor of Architecture, and Director of the Post-Professional Master of Architecture program in the College of Architecture and Planning. Kevin has also served as a two-term President (03-05) of the Association of Computer Aided Design in Architecture (ACADIA), an international organization devoted to studying the advances in architecture resulting from influences of digital technology. Kevin R. Klinger was an author and coeditor of the book by Routledge entitled: Manufacturing Material Effects: Rethinking Design and Making in Architecture developed in collaboration with Branko Kolarevic. The book assembles leading thinks, designers, and makers from around the world to discuss experimental processes of material exploration through examining various levels of engagement and new forms of architectural production that bring designers deeper into the complexities of making, assembly, and material

formulation. In coursework and through partnerships with the institute, Professor Klinger encourages explorations in digitally driven design, deploying techniques of digital fabrication. The Institute of Digital Fabrication operates with an ethic to “connect globally, and make locally,” as it strives to both contribute to the discourse on the impact of the digital technological shift, while playing a role in identifying opportunities to engage local industry and community partners. The digital exchange of information is central to this innovative process of architectural production, and demands new forms of collaboration with industry for the future of the discipline – where designers and makers are much more engaged in the total design through production process. As such, the Institute for Digital Fabrication is devoted to project-based collaborations that result from the intersection of emerging technology with students, industry, community, and research partners.


Abstract


Home to the Indianapolis Motor Speedway, Indiana is known worldwide as the racing capital of the world. Over 100 years ago, Indiana had over 150 automobile manufacturers including Duesenberg, Packard, and Studebaker. The famed oval has historically been a proving ground for automotive technology.

Housed within the confines of the Speedway is the current Hall of Fame Museum. The museum showcases all of the Indy 500 winner’s cars and allows visitors to see how racing technology has evolved over time. However, the museum fails to embody the spirit of the track. More so, it does not demonstrate to its visitors the performance of the cars displayed inside.

The brickyard is known for a series of firsts: rear-view mirror, safety belts , four-wheel hydraulic brakes, and front-wheel drive just to name a few. Why shouldn’t the building that houses these historic cars also be known for innovations in architecture? Why shouldn’t the building

allow visitors to experience the richness of the history and in itself embody the same principles? I propose to allow the architecture of the museum to emerge from the legacy of the cutting edge technology. Allowing the architecture to emerge from this legacy of cutting edge innovations opens up new possibilities for the Hall of Fame Museum.

I propose a project where the goal is not only to allow the building to reflect the ideals of the track, but to allow it to become its own testing ground of sorts. As technology advances, the building will adapt and change much like the race cars housed within. Through the use of new technology, new construction methods, and new tools, the museum itself becomes a testing ground for architects. These new technologies allow the architecture of the museum to become as performance driven as the cars housed within. The new Hall of Fame Museum is not only a museum of history; it is a museum for the future. The future of racing. The future of Indiana.


Final Project Proposal

Figure 5-1 A view of the famed oval from the golf course in the

midfield. The Bombardier Pagoda is also visible.


The Indianapolis Motor Speedway is well known as a testing grounds for automotive technology. Over the course of history, many firsts have driven over its famous bricks: the rear-view mirror, safety belts, four-wheel hydraulic brakes, and front-wheel drive just to name a few. I am proposing a project where the architecture of the Museum can also embody the idea of technological breakthroughs.

These breakthroughs have historically been performance driven. While there are existing buildings that exhibit the concept of performance driven architecture, the current Museum is not one. Performance driven architecture is revolutionizing the building industry due to advances in digital building fabrication techniques and construction technologies. The buildings themselves are becoming a testing ground and are becoming more accepted.

I am proposing that the Hall of Fame Museum should incorporate the ideas of these technologies; the disconnect boundary the artifacts and the building should disappear. Visitors should not only be able to learn about

the displayed cars, but also learn from the built form around them.

The design will be able to, through the use of new technologies, adapt and evolve to the ever changing conditions in Indiana. These adaptations will occur through new and innovative techniques in architecture. New and innovative building materials will also be explored to increase the performance of the building.

The visitor experience is not only influenced by the architecture, but also by the ways in which the cars are displayed. Currently the cars are displayed behind a velvet rope, discouraging interaction and exploration. A series of precedent studies on different automotive museums has helped lead to a new understanding of display opportunities and museum design. By allowing visitors to explore the cars from all angles it further enhances the understanding of the issues behind automobile performance. It allows the visitors to connect the innovations of the display items with the innovations of the architecture around them.


Site Analysis

16 | Hall of Fame Museum

Figure 6-1 The Indianapolis Motor Speedway and the Hall of Fame

museum are located West of Indianapolis within the I-465 loop.


The Indianapolis Motor Speedway was constructed in 1909 and was originally designed as a testing facility for the local automobile manufacturers. Carl Fisher, an entrepreneur at the time, saw a need for the rapidly growing automobile industry around central Indiana.

“Indiana roads were generally not yet developed, and automotive technology had increased so rapidly that many passenger vehicles had become capable of greater speeds than any dirt road would permit” (“Ownership,” 2013).

Fisher joined with local businessmen James Allison, Arthur Newby and Frank Wheeler. Together, all 4 men began to search for available land outside of Indianapolis. After a ride about 5 miles northwest of the city, they found four 80-acre tracts of land available for sale. Within a short time the land was purchased and the process began to construct the new test track.

A civil engineer from New York, P.T. Andrews, was brought it to look at the proposed design. “Andrews suggested an outer track of 2.5 miles would fit perfectly. The road course section was abandoned soon after grading began

at the site in march 1909, leaving the 2.5 miles that because the Indianapolis Motor Speedway, The Greatest Race Course In The World” (“Ownership,” 2013).

The first race to occur at the newly created track was actually not with automobiles, but instead with hot air balloons, see Figure 6-4 for an example.

The track was purchased in 1927 by American World War I flying ace Captain Eddie Rickenbacker. Rickenbacker was a regular participant in the balloon race the track had become famous for. Due to America’s involvement in World War II, the track closed and fell into disrepair between 1942 and 1945.

The Indianapolis Motor Speedwaythe racing capital of the world

Figure 6-2 First owner and track builder Carl Fisher, shown here in 1909 when the track first

opened. (“Carl G. Fisher,” Carl G. Fisher)


Tony Hulman purchased the track from World War I American flying ace Eddie Rickenbacker after World War II.

MORE TEXT TO COME ABOUT HISTORY OF THE TRACK HULMAN FAMILY

Figure 6-3 A 1909 advertisement attracting attention to the new testing and racing track. (Otis, Indianapolis motor speedway, greatest race course in the world)

Figure 6-4 Tony Hulman and Karl Kizer ride in a 1909 Stoddard-Dayton

car with hot air balloon in the background. (Satterlee, Tony hulman and karl kizer in stodard-dayton car)

The Bombardier PagodaThe Bombardier Pagoda is arguably one of the most recognizable structures within the grounds of the Speedway. The current Pagoda started construction in 1998 and was designed by Browning Day Mullins Dierdorf Architects in Indianapolis, Indiana. “It has nine tiers or viewing levels and reaches a height of 153 feet, equal to a 13-story building” (“Pagoda,” 2013).

The Pagoda is not only used for viewing the track, but actually houses race control facilities, safety, timing and scoring, and radio broadcast booths. As seen in Figure 6-5, the structure has taken on many different forms throughout the life of the track. Carl Fisher, the original builder of the track, had the first Pagoda built in 1913. The day after the race in 1925, it burnt to the ground

(“Pagoda,” 2013). A replacement structure was erected shortly after that stood until the second half of the 20th century.

When Tony Hulman purchased the track after World War II, he began to modernize both the track and all facilities within its grounds. It was at this time that a steel and glass tower was constructed. This version of the Pagoda stood until 1998 when the present structure was constructed.

The Pagoda is built directly on the start and finish line. A portion of the famed brick travel under the structure and re-emerges on the back side in the Pagoda Plaza. “Behind the new Pagoda tower is the Pagoda Plaza area, a focal point for spectators who wish to take a break from viewing

the on-track action. The Pagoda Plaza is fully landscaped with grass and a brick walkway shaped like the oval. The area is an ideal location for spectators and families to relax” (“Pagoda,” 2013).

Figure 6-5 Since the opening of the track, the famed pagoda has taken on many different forms. (“Pagoda,” 2013) Figure 6-6

The current Bombardier Pagoda was constructed in 1998 . It was designed by Browning Day Mullins

Dierdorf Architects in Indianapolis, IN.

Figure 6-7 The Hall of Fame Museum’s main entrance.

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The Hall of Fame Museuma museum devoted to automobiles and auto racing

The Indianapolis Motor Speedway Hall of Fame museum is located within the grounds of the track. The first museum was constructed in 1956 by the late Tony Hulman. At the time the original facility was only large enough to display a few of their historic race cars.

In 1975, Hulman decided to build a much larger facility to house the growing collection of race cars and other racing memorabilia. The new facility houses about 75 vehicles that are on display at all times.

“Constructed of pre-cast cement and Wyoming quartz, the facility encompasses 96,000 square feet of museum and administrative office space. Museum display space measures approximately 30,000 square feet. A glass canopy above the main display floor provides year-round natural light” (“Hall of fame,” 2013).

In addition to housing the race cars from the past races, the museum showcases many other automotive related artifacts. The facility owns more than

Figure 6-8 Inside the current museum’s West wing.

400 different cars that are a part of the Hulman family’s private collection. As seen in Figure 6-8, the collection includes many cars that represent Indiana’s rich history in the automobile industry. The famed Borg-Warner is also showcased as visitors enter in the museum’s doors (“Hall of fame,” 2013).

As the name states, the facility also showcases the racing hall of fame. The current design incorporates

photos or drawings of all living members along with

inscriptions of all the members that have passed.

While the museum has an annual visitor amount of about 200,000, most of the attendance happens during the month of May coinciding with the race season. Many different educational curriculum incorporate the museum into their teaching. Student groups are a common occurrence within the museum. The facility occasional cater to private parties, but a majority of the attendance occurs from daily visitors.

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Figure 6-9 Inside the current museum’s East wing.


Ellen Bireley is the current Director of the IMS Hall of Fame Museum. During an interview, she spoke of the normal attendance schedule the museum receives. “We average about 200,000 visitors a year. About one third of that attendance occurs during the month of May while another majority is in June and August when schools are on break” (Bireley, 2013).

Due to the fact that the museum was built in the 70’s, and with the growing collection of cars, the facility is literally running out of space. “When I walk through the exhibit, I feel like I am in a parking lot,” Bireley speaks about how she feels of the current facility (Bireley, 2013). The museum actually owns more than 400 cars but only has the capability to display roughly 75 at one time.

Moving the cars is also an issue within the current facility. The majority of the collection is stored in the basement. With the only access being a loading dock and a door at the far corner of the first floor, moving cars can only occur during optimal weather conditions. “We either have to wait for it to be nice enough or load the cars in a trailer for the trip around the building. It is a real pain” (Bireley, 2013). That being said, the current facility rotates cars about every 6 months with large rotations happening ever one to one and a half years.

“Our cars are very sensitive to sunlight. If you move one of the leather straps holding an engine cover on, you will see just how much the paint has faded,” Bireley mentions (Bireley, 2013). It is important to note that the current museum does feature a large skylight that divides the East and West wings.

Ellen is interested in getting the public more involved in the other facets of the museum, “Many museums are now allowing visitors to experience the a full restoration process. We do restorations in our facility, but no visitors get to see them” (Bireley, 2013). Besides allowing visitors to experience a restoration she wants them to experience the race cars in new ways.

The museum is exploring ideas to build additions to their current facility to allow some of these ideas to come to fruition. LEED is an important consideration that will take place throughout this process. The speedway itself is having a solar farm installed close to turn 3 in the near future. As the future becomes the present, the Hall of Fame Museum is ready to move into what is to come.

Discussing The Current Museuman interview with ellen bireley


Figure 6-10 The Speedway and the current museum are both listed on the National Register of Historic places.

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A National Historic Landmarkshould it be re-built?


Precedent Studies

Figure 7-1 The Porsche Museum designed by Delugan Meissl

Associated Architects in Germany. (“Porsche museum,” 2013)


Porsche MuseumDelugan Meissl Associated ArchitectsStuttgard-Zuffenhausen, Germany

The Porsche Museum in Germany is a facility designed not only to showcase the history of the brand, but to showcase the brand itself. The designers set out to design a building that “reflects the authenticity of Porsche products and services as well as the company’s character, while also reshaping Porscheplatz with an unmistakable appearance,” (“Porsche museum,” 2013).

At first glance the exhibition space seems to be detached from the folded topography below; this was in fact a goal of the designers. They wanted to open the space between the streetscape and the exhibition. This was achieved by not only separating the two areas, but also by placing reflective material on the underside to allow more light to enter the created spaces.

“Here, speed and passion find their spatial equivalents and can be impressively retraced in the sensual experience. Experience and the opportunity to experience were the primary design parameters through respective spatial allocations in the basic architectural concept,” (“Porsche museum,” 2013).

The entire design is based no only on the cars housed within, but is also based on the experience the cars give to their users. This experience is reflected within the design and was an important aspect from the very beginning of the design process.

Figure 7-2 The Porsche Museum was designed by Delugan Meissl Associated Architects in Germany. (“Porsche museum,” 2013)

Figure 7-3 Here, the stainless steel track can be seen that defines

the thematic islands. (“Porsche museum,” 2013)

The architect of the Porsche Museum developed a concept of thematic islands to display the automobiles. “The presentation area of each island is defined by stainless steel tracks which are mounted flush into the floor and which are used for the fixing of such exhibition elements as panels of text, screens and floor markings,” (Merz, 2010). A simple diagram can be seen in Figure 7-4 on page 33.

Not only does this system allow for visitors to quickly and easily understand where the exhibits are located, it also allows for quick changes to the vehicles on display. When an exhibit is changed, all the appropriate signage can be swapped out as easily as the vehicles themselves. The stainless steel tracks pull reference to the starting grid

race cars use at the beginning of each race.

Due to the fact that these island are located on floor level, visitors are welcome to experience the car from all angles. While this does open opportunity for new experience, visitors can easily distinguish where exhibit begins and walkway ends.

These thematic island are often associated with other methods of display information. Most are associated in a “triad” which is discussed in the next section.

Thematic Islands

Figure 7-4 A diagrammatic explanation of the thematic island approach to displaying the cars. (Merz, 2010)

The Display Triad

Each thematic island is not only an individual island of learning, it is an island associated with a triad of information. These triads “offer the visitor various levels of information and details, tailored to their level of prior knowledge and intersect. The visitor who knows little of the subject is offered an insight into a wealth of fascinating exhibits and stories in which the expert visitor will also find a rich seam of more complex information and previously unknown connections,” (Merz, 2010).

As the visitors travel along the product history wall, they approach a reference exhibit. As seen in Figure 7-6 on page 35, this example uses the exhibit of lightness. The reference exhibit showcases a few cars that begin to speak of the design concept of lightness.

The visitor then approaches a display case which again showcases the concept previously introduced in the reference cars. Directly after the display case is a speaking image, which showcases further the idea first introduced in the reference with unique display elements. As a visitor looks behind them, a thematic island demonstrates all the ideas previously discussed in the triad.

The entire museum is composed of this concept to easily guide guests through its exhibits.

Figure 7-5 Modern cars are displayed in a “break-away” fashion

to better describe the automotive technologies. (“Porsche museum,” 2013)

Figure 7-6 Here, it can be seen how the visitor experiences an exhibit utilizing the triad method. (Merz, 2010)

Figure 7-7 Here the entire display triad can be seen in the

museum. (“Porsche museum,” 2013)

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Figure 7-8 The BMW Welt designed by Coop Himmelb(l)au in Munich,

Germany. (“Bmw welt,” 2013)


Since its construction in 2007, the BMW Welt has been considered to be the heart of the German automaker. The BMW Welt, or BMW World in English, serves as “the delivery center for new BMW automobiles and a brand experience rolled into one” (“Bmw welt,” 2013). The building not only home to the BMW Group but also serves as the home to its four brands: BMW, MINI, Rolls Royce Motor Cars, and Husqvarna Motorcycles.

“The Junior Campus at BMW Welt gives young visitors an introduction to the world of mobility and is a place they can explore with zeal,” (“Bmw welt,” 2013). The facility prides itself on giving young people a place to not only learn about BMW automobiles, but a place to learn about the art of design. “The design is characterized by high-quality materials, clear shapes and brightly shining colours typical of BMW. It provides the perfect setting in which to showcase technologies, engine construction, the design process and the current BMW models” (“Bmw welt,” 2013).

BMW WeltCoop Himmelb(l)au, architectMunich, Germany

Figure 7-9 The BMW Welt concept designed by Coop Himmelb(l)au in Munich, Germany. (“Bmw welt,” 2013)

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Figure 7-10 Multiple levels allow visitors to experience the automobiles from

unique and altering angles. (“Bmw welt,” 2013)

The Educational Concept

A key concept of the BMW Welt is integrating education into a young guest’s experience. Young children are given insight into “mobility, sustainability, safety, the environment, vehicle technology and design” (“Bmw junior program,” 2013).

Children are given the opportunity to receive the education through multiple available workshops. These workshops are div ided into ago appropriate subject matter that is closely linked to current school curricula (“Bmw junior program,” 2013). These workshops are closely linked to age-specific museum tours.

The available workshops allow children to learn and explore what makes a car move. They can also learn about recycling and designing with sustainablity in mind. There is even a workshop that utilizes photography to demonstrate the history of automobile construction and technology (“Bmw junior program,” 2013).

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Figure 7-11 The cars are displayed on raised pedestals that allow invite visitors to step up and experience the designs. (“Bmw welt,” 2013)

Energy Efficiency

At first glance visitors may not notice the amount of sustainable technology located on and within the BMW Welt, but it is actually a technological innovation. The now iconic Double Cone helps to provide some of the main structural support for the “cloud roof”.

This could roof is home to “an impressive flat roof-integrated PV system made up of 3, 660 solar modules,” (Kriscenski, 2007). This system alone can deliver a minimum of 824kWp (kilowatt-peak). With this system installed, it is estimated that it can reduce the energy demands by about 30%.

“A major goal in designing the systems was to save energy. This aim is achieved by minimizing the mechanical apparatus for ventilation, heating and cooling,” (“Bmw welt /,” 2009). This concept is proven in the main Hall space, where it is naturally ventilated and does not follow standard logic of heating and ventilation. “A natural air supply is generated by thermal currents, wind pressure and turbulences...Air intake and outflow take place through automatically controlled vents” (“Bmw welt /,” 2009).

Due to the nature of the activities taking place in the facility, mainly new car delivery, special ventilation needs were taken into consideration during the design process.


More about the energy efficiency informaiton here. Also to discuss any other sustainable aspects of the design.

http://www.archdaily.com/29664/bmw-welt-coop-himmelblau/

http://inhabitat.com/bmw-welt-solar-powered-masterpiece-in-munich/

http://www.bmw-welt.com/en/exhibitions/welt/bmw_automotive/index.html

Figure 7-12 A roof plan shows the size of the integrated PV array. (“Bmw welt /,” 2013)

Figure 7-13 The BMW Museum designed by Atelier Brückner in Munich, Germany.

(“Bmw museum,” 2013)


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BMW MuseumAtelier Brückner, architectMunich, Germany


Methodologies


An interview was conducted with Ellen Bireley, the current Director of the IMS Hall of Fame Museum. In order to get a better idea of what is going on with the current museum, this interview was done early in the design process.

This interview was arranged and conducted at Ellen’s office and allowed her to give examples of current conditions while walking through the facility. In order to ensure the necessary information was obtained during our meeting, an interview guide was created and utilized. This guide asked many different questions, including:

• What are some pros/cons of the current facility • What would you change in the current facility • When are your peak times • Are outside events held in the facility • Are there initiatives within the oval for sustainablity

While most of the interview was conducted within this guide, the nature of the conversation lead to further

information. It was surprising that she actually had design proposal information for changes to the current facility. This lead to many questions on why they are looking at re-designing the facility.

Ellen kindly agreed to meet again in the future once the design portion of the project begins. She is interested in staying involved throughout the project and wants to see what happens with the design.

The Interviewan interview with ellen bireley


This interview has not yet been conducted, but will early in the design process.

Jonathan Hess is an architect at Browning Day Mullins Dierdorf that designed the Bombardier Pagoda after the fire. I hope to meet with him to gather some further information about the current pagoda design.

The Interviewan interview with jonathan hess

A field study to the Indianapolis Motor Speedway and the current Hall of Fame Museum occurred early during the research process. This visit deemed very beneficial to gather information and document the current conditions.

While at the site, many different activities occurred including:

• Site measurements • Museum interior/exterior photographs • Speedway photographs • Site observations • Interview of the museum director

A rough set of drawings of the current museum were provided by the museum director, but a few measurements were taken to verify the accuracy of the drawings. To allow for minimal disruption during the museum operation, a laser measuring device was utilized.

One of the most important activities that occurred during

the field study was the simple act of observation. The observer saw how people interacted with the current displays and how they were limited by the current setup. It was also observed that the current museum is very short on space in its current setup. This was further verified during the interview with the director.

Another very important activity that occurred during the field study was the act of photographing the speedway oval. I was driven around the and was given unlimited access to photograph the track. These photographs have proven very beneficial for analysis and graphical layout of this research book.

Field Studyvisiting the indianapolis motor speedway and museum

Figure 8-1 A view of the famed oval from the golf course in the midfield. The

Bombardier Pagoda is also visible.


As discussed in the “Precedent Studies” section of this book, multiple existing buildings were analyzed. These designs were analyzed based on their function of a museum. They were also looked at based on aspects of organization and education within the facility. The designs were also analyzed based on their use of sustainable technology. All of the information was then summarized and displayed in the appropriate section of the book.

The buildings were choose based on the specific aspects listed above. The entire building itself was not analyzed, but instead each aspect was looked at closely. It is important to note that I do not necessarily agree with the entire design of each project. Each project was only chosen based on the above listed criteria.

Precedent Studiesseeing what is already out there

Figure 8-2 The Porsche Museum designed by Delugan Meissl Associated Architects in Germany. (“Porsche museum,” 2013)

Figure 8-3 The BMW Welt designed by Coop Himmelb(l)au in Munich, Germany. (“Bmw welt,” 2013)

Figure 8-4 The BMW Museum designed by Atelier Brückner in Munich, Germany. (“Bmw museum,” 2013)


This method has not occurred yet, but it is planned to occur early in the design process.

Based on the research conducted and the analysis taken from the current facility, a questionnaire will be distributed to current museum visitors. This short survey will ask questions both about the current facility and about what improvements can be made.

Before distribution, the questionnaire will have to be approved by the museum director.

The Questionnaireunderstanding what the visitors want


Literature Review


This article studies the connection between the museum and the education field. The authors begin by discussing the disconnect between what the current education systems want to achieve and how they actually go about achieving it.

“Current education systems tend to anchor learning in formal environments, mostly in classrooms and with textbooks,” (Vartiainen & Enkenberg, 2013). They go on to mention “while the overall goal of schooling is to prepare young people to be able to participate responsibly and productively in society, the actual practices through which schooling takes place contradict with the practices that exist beyond the school walls,” (Vartiainen & Enkenberg, 2013).

This learning, the authors believe, most often occurs at museums and science centers. They believe this is due to the fact that the facilities provide a physical environment that is not usual in daily life (Vartiainen & Enkenberg, 2013). However, they discuss that even with advances in

technology and museum design, the museum visit itself has not changed. This is due to the fact that many visits are not planned ahead and little preparation is made. “Consequently, a typical museum visit is organized as a structured, docent-directed, and lecture-oriented tour,” (Vartiainen & Enkenberg, 2013).

Their research has found that there is a pressing need “to provide teachers and museum staff with viable alternatives to their current ways of conducting school excursions, and to apply more student-centered approaches that allow active learning,” (Vartiainen & Enkenberg, 2013).

What can be taken away from this article is the importance of how students interact with the museum. This can bet taken as how they interact with the exhibits but also how they interact with the museum itself. It is possible that the facility needs to adapt to the variety of visitors.

Learning from and with museum objects:design perspectives, environment, and emerging learning systemsHenriikka Vartiainen | Jorma Enkenberg


This book has been briefly reviewed. It seems like a valuable resource if I decided to continue on a path towards utilizing the museum in an educational way. I will keep this book and create a formal write-up if necessary.

The Educational Role of the MuseumEilean Hooper-Greenhill


This book is a go-to guide of information for architects regarding museum design. It is part of a series of books that gives essential information that is designed to be used throughout the design process (Rosenblatt, 2001).

While this book is broken into specific museum typologies, general information can be taken from each section and later applied to better create a holistic design. A very common theme amongst the art museums is to utilize natural lighting while balancing the light to not disrupt the delicate works (Rosenblatt, 2001). This careful balance is often achieved by the use of special films/substrate installations or sensor regulated louvers.

While most of the art facilities are larger, they all seem to utilize specific wayfinding techniques. Some of these include a new trend of automated sound tracks with headphones. All art museums also seem to feature some sort of cafe or food service facility (Rosenblatt, 2001).

Design factors can also be taken from the history museum

typology. Due to the nature of learning history, many of these museums feature education and classroom facilities. They also feature many cinemas and viewing rooms to show historical documentation.

One of the most interesting typologies is the science and natural history museums. With science and technology being a very fast changing field, these facilities need “to anticipate and integrate fast-changing scientific discoveries into the new center,” (Rosenblatt, 2001). Multimedia also tends to play a crucial role in this type of museum.

This book also incorporates a technical note chapter with important information that must be analyzed during the design process. These aspects include notes on: lighting, entrances, galleries, illumination levels, lamp types, MEP information, security, and fire protection. The information presented here will be closely looked at in the design of this project.

Building Type Basics for MuseumsArthur Rosenblatt


Appendix


Figures

Figure 3-1 Timothy Gray, associate professor of architecture. .............................................................................................. 2

Figure 3-2 Kevin Klinger, associate professor of architecture. .............................................................................................. 4

Figure 5-1 A view of the famed oval from the golf course in the midfield. The Bombardier Pagoda is also visible. .......... 12

Figure 6-1 The Indianapolis Motor Speedway and the Hall of Fame museum are located West of Indianapolis within the I-465 loop. ....................................................................................................................................................... 16

Figure 6-2 First owner and track builder Carl Fisher, shown here in 1909 when the track first opened. (“Carl G. Fisher,” Carl G. Fisher) .................................................................................................................... 17

Figure 6-3 A 1909 advertisement attracting attention to the new testing and racing track. (Otis, Indianapolis motor speedway, greatest race course in the world) ......................................................... 18

Figure 6-4 Tony Hulman and Karl Kizer ride in a 1909 Stoddard-Dayton car with hot air balloon in the background. (Satterlee, Tony hulman and karl kizer in stodard-dayton car) ..................................................................... 18

Figure 6-5 Since the opening of the track, the famed pagoda has taken on many different forms. (“Pagoda,” 2013) .......... 20

Figure 6-6 The current Bombardier Pagoda was constructed in 1998 . It was designed by Browning Day Mullins Dierdorf Architects in Indianapolis, IN. ................................................................................................................................ 20

Figure 6-7 The Hall of Fame Museum’s main entrance. ........................................................................................................ 23


Figure 6-8 Inside the current museum’s West wing. ........................................................................................................ 24

Figure 6-9 Inside the current museum’s East wing. ........................................................................................................ 25

Figure 6-10 The Speedway and the current museum are both listed on the National Register of Historic places. .......... 27

Figure 7-2 The Porsche Museum was designed by Delugan Meissl Associated Architects in Germany. (“Porsche museum,” 2013) ................................................................................................................................ 31

Figure 7-3 Here, the stainless steel track can be seen that defines the thematic islands. (“Porsche museum,” 2013) ................................................................................................................................ 32

Figure 7-4 A diagrammatic explanation of the thematic island approach to displaying the cars. (Merz, 2010) ....................................................................................................................................................... 33

Figure 7-5 Modern cars are displayed in a “break-away” fashion to better describe the automotive technologies. (“Porsche museum,” 2013) ................................................................................................................................ 34

Figure 7-6 Here, it can be seen how the visitor experiences an exhibit utilizing the triad method. (Merz, 2010) ....................................................................................................................................................... 35

Figure 7-7 Here the entire display triad can be seen in the museum. (“Porsche museum,” 2013) ................................................................................................................................ 37

Figure 7-8 The BMW Welt designed by Coop Himmelb(l)au in Munich, Germany.


(“Bmw welt,” 2013) ........................................................................................................................................... 38Figure 7-9

The BMW Welt concept designed by Coop Himmelb(l)au in Munich, Germany. (“Bmw welt,” 2013) ........................................................................................................................................... 39

Figure 7-10 Multiple levels allow visitors to experience the automobiles from unique and altering angles. (“Bmw welt,” 2013) ........................................................................................................................................... 40

Figure 7-11 The cars are displayed on raised pedestals that allow invite visitors to step up and experience the designs. (“Bmw welt,” 2013) ........................................................................................................................................... 41

Figure 7-12 A roof plan shows the size of the integrated PV array. (“Bmw welt /,” 2013) ........................................................................................................................................... 43

Figure 7-13 The BMW Museum designed by Atelier Brückner in Munich, Germany. (“Bmw museum,” 2013) ................................................................................................................................ 44

Figure 8-1 A view of the famed oval from the golf course in the midfield. The Bombardier Pagoda is also visible. .......... 53

Figure 8-2 The Porsche Museum designed by Delugan Meissl Associated Architects in Germany. (“Porsche museum,” 2013) ................................................................................................................................................................... 54

Figure 8-3 The BMW Welt designed by Coop Himmelb(l)au in Munich, Germany. (“Bmw welt,” 2013) ...................... 54

Figure 8-4 The BMW Museum designed by Atelier Brückner in Munich, Germany. (“Bmw museum,” 2013) ...................... 54


References

(1909, May 28). Carl G. Fisher [Print Photo]. Retrieved from http://www.loc.gov/pictures/item/2003653845/ (“Carl G. Fisher,” Carl G. Fisher)

Bireley, E. (2013, October 11). Interview by D.S. Potash []. Discussing the current museum. (Bireley, 2013)

Bmw junior program. (2013, October 25). Retrieved from http://www.muenchen.de/int/en/sights/attractions/bmw-welt-munich/junior-program.html (“Bmw junior program,” 2013)

Bmw museum. (2013, September 21). Retrieved from http://www.atelier-brueckner.com/nc/en/projects/museums/bmw-museum-munich-germany.html?tx_photogals_elementid=7&tx_photogals_image=0 (“Bmw museum,” 2013)

Bmw welt / coop himmelb(l)au. (2009, July 22). Retrieved from http://www.archdaily.com/29664/bmw-welt-coop-himmelblau/ (“Bmw welt /,” 2009)


Bmw welt. (2013, September 20). Retrieved from http://www.bmw-welt.com/en/location/welt/concept.html(“Bmw welt,” 2013)

Davidson, D. (2005). Indianapolis motor speedway hall of fame museum. Lawrenceburg, IN: The Creative Company.

(Davidson, 2005)

Hall of fame museum. (2013, October 1). Retrieved from http://www.indianapolismotorspeedway.com/facility/35204-Museum/ (“Hall of fame,” 2013)

Hooper-Greenhill, E. (2001). The educational role of the museum. (2nd ed.). New York, NY: Routledge. (Hooper-Greenhill, 2001)

Kriscenski, A. (2007, November 14). Bmw welt: Solar-powered masterpiece in munich. Retrieved from http://inhabitat.com/bmw-welt-solar-powered-masterpiece-in-munich/ (Kriscenski, 2007)


Merz, H. (2010). Porsche museum. (pp. 185-364). New York, NY: SpringerWienNewYork. (Merz, 2010)

Otis. (Designer). (1909). Indianapolis motor speedway, greatest race course in the world [Print Graphic]. Retrieved from http://hdl.loc.gov/loc.pnp/cph.3g13593 (Otis, Indianapolis motor speedway, greatest race course in the world)

Ownership. (2013, October 1). Retrieved from http://www.indianapolismotorspeedway.com/history/35449-Ownership/ (“Ownership,” 2013)

Pagoda. (2013, October 1). Retrieved from http://www.indianapolismotorspeedway.com/facility/35548-pagoda/ (“Pagoda,” 2013)

Porsche museum. (2013, September 10). Retrieved from http://www.porsche.com/international/aboutporsche/porschemuseum/ test (“Porsche museum,” 2013)


Rosenblatt, A. (2001). Building type basics for museums. New York, NY: John Wiley & Sons, Inc. (Rosenblatt, 2001)

Satterlee, R. (Photographer). (1966). Tony hulman and karl kizer in stodard-dayton car [Print Photo]. Retrieved from http://libx.bsu.edu/cdm/singleitem/collection/SatterleePh/id/783/rec/2 (Satterlee, Tony hulman and karl kizer in stodard-dayton car)

Should ims build a new hall of fame museum?. (2012, October 27). Retrieved from http://openwheelamerica.com/2012/10/27/should-ims-build-new-hall-of-fame-museum/ (“Should ims build,” 2012)

Vartiainen, H., & Enkenberg, J. (2013). Learning from and with museum objects: design perspectives, environment, and emerging learning systems. (Vartiainen & Enkenberg, 2013)

Daniel S. Potash

Performance-D

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