The Building History:
Yale School of Art and Architecture was originally built in 1963 by architect Paul Rudolph. Rudolph was one of the leading architects of his time of so called post-functionalist architecture (later named as Brutalism). He admired works of Le Corbusier and Frank Lloyd Wright, and consequently his works remind of Corbusier's geometry and textures. Rudolph was a fanatic draftsman, and often his textural treatment of concrete resulted from his rendering technique. His signature style was use of bush-hammered concrete.
He was appointed as the chairman of Faculty of Architecture in Yale in 1957. The building that was supposed to solidify his success and educational philosophy, lead to his fall instead.
It has attracted public since its opening, and became subject of both controversy and admiration. Some argued that the building was an extension of Rudolph's aggressive personality. Students complained about studio spaces, while some found it too cold or hot. However, the worst tragedy came in 1969, when the building was severely damaged in fire of suspicious origin. Charles Moore, who became the chairman after, openly disliked the building's original design, and as the result it went through series of unsympathetic renovation works. Double-height studio spaces were closed and merged, the narrow U-channel concrete bridge was removed, and the building geometry was significantly damaged. Not surprising that in 1993 Rudolph flatly stated that the building "no longer exists for me".
In 2000, the interest in the building and Rudolph's teaching philosophy has increased. After $20 million donation from Texas financist Hass, Yale University and faculty authorities decided to renovate iconic building instead of demolishment.
The project was commissioned to
New York firm Gwathmey Siegel, who based renovation on Rudolph’s ideas and
designed a new companion building to house the art history department.
114,000 square foot of A&A building were renovated with addition of 87,000
square foot of new Jeffrey H. Loria Center for the History and Art. The two
buildings are connected at ground level by the new Robert B. Haas Family Arts
library that serves both architecture and art history. The photos of the
building taken in 1965 by Ezra Stoller have greatly assisted in renovation
process.
Interior finishes and
materials:
Now renamed The Paul Rudolph
Building, the seven-storey building consists of 37 different levels. Original
double height open drafting studios were “returned” back with removal of
mezzanines that allowed daylight into the space. Rudolph’s vibrant “paprika”
carpet was re-created from the single survived sample becoming a warm counterpoint
to the building’s rough concrete. Authentic mid-century Modern furniture was
specified and numbers of original pieces were replicated. A replica of original
Minerva’s statues was restored and placed back overlooking the great hall.
1994’s single-pane windows were replaced by vast-glass
sheets developed to reduce head gain and energy consumption. The sheets were
specially ordered to fit size of Rudolph’s windows. Furthermore, to
re-create balance of light and shadows, custom lighting fixtures with metal
halide lamps replicating the appearance of original lights were ordered.
However, new fixtures consume only 37 watts rather than 150.
Upgrades:
One of the biggest challenges was
adaptation of the building to contemporary ADA guidelines and building codes.
Selective changes in the floor levels were made to make all spaces fully
accessible. The new elevator was also added in the adjacent Jeffrey H. Loria
Center for the History of Art. New handrails were designed to match the
original material, colour and geometry.
The Loria also provided an
opportunity for much-anticipated modernisation: a street-level public café, lecture
halls in a range of sizes, industrial-grade 3D fabrication shop, water jet for
cutting metal and marble, and so on.
The new bright-white dropped
ceiling system (providing radiant heating and cooling) were installed instead
of removed asbestos. Though, some found that “its grid of semigloss, square
tiles seems disconcertingly at odds with Rudolph’s tactile surfaces and
language of planes”.
The main critic towards Gwathmey’s
design was the location of his addition. Rudolph has always envisioned the
expansion of the building to the north, deliberately placing vertical
circulation in this direction. However, Gwathmey’s new Jeffrey H. Loria Center
for the History of Art has its own entrance and principal stairs. The decision
was made in order to preserve northern daylight entering to the Paul Rudolph
Building. The Loria’s busy façade of curves and skewed angles, rendered in
limestone and zinc, has been criticised for creation of more distraction to the
original façade.
Sustainability:
The building achieved LEED Gold
certification. The economic and energy costs of demolishing the building were
too high, and it has determined the building’s destiny (RIBA). “Low-e
insulation glass units, high-efficient HVAC systems and controls, daylight and
occupancy sensors, air handling, storm-water management, non potable water
re-use” were incorporated.
Conclusion:
Rudolph expressed his ideas about
re-establishment of the lost grandeur of architecture in his speech for Alumni
day in 1958: “Last on our list [of educational goals at Yale] will be renewed
concern with visual delight. This is indeed the architect’s responsibility, for
toher specialists can do everything else that he does and, quite often much
better”. After 40 years since
its completion, Art and Architecture Building has been finally seen as it was
intended:”a playground of epic volumes and architectural possiblities”. Renovation of monumental icon with respect to its original ideas is a
great challenge. In this case Gwathmey’s restoration can be considered
successful.
References:
(2010, March) Paul Rudolph, Yale Art and Architecture Building, 1963 - Gwathmey Siegel & Associates Architects, Yale University Arts Complex, New Haven, Connecticut, USA 2005-2008. A + U: architecture and urbanism, 1(474), 34-41.
Nobel, P., Stoller, E. (1999). The Yale Art + Architecture Building. New York, NY: Princetion Architectural Press.
Amelar, S., & Lewis, M. J. (2009). Gwathmey Siegel Associates sparks controversy with an addition to Paul Rudolph’s Yale Art and Architecture Building. Architectural Record, 197(2), 55-59, 136.
Millard, B. (2008). Magnificent brute [Art and Architecture Building, Yale University]. RIBA Journal, 115(11). Retrieved January 22, 2012, from http://www.ribajournal.com/index.php/feature/article/Magnificent_brute/
Sanders, R. M., Shepherd, B., Skowronek, E., & Hoffmann, A. (2011). Sustainable Restoration of Yale University’s Art + Architecture Building. APT BULLETIN: Journal of preservation technology, 42(2-3), 29-35. Retrieved January 22, 2012, from http://www.hoffmanarchitects.com/images/userfiles/News71.pdf
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