When the Yale University Art Gallery first opened in 1953, this magazine included it in a roundup of new art museums. Calling it a “working museum,” the paragraph-long article mentioned the building’s exposed concrete construction and the presence of its unique tetrahedral ceilings. However, the piece did not anticipate that the gallery would come to be thought of as architect Louis Kahn’s first significant institutional project, widely admired not only for its engineering innovations and treatment of materials, but also for its pure geometry, flexible open plan, and handling of light.
Paradoxically, over the decades as Kahn’s reputation grew, the building was much changed by unsympathetic alterations. For example, fixed partitions multiplied to create space for offices, storage, classrooms, and other functions. But, as part of a $44-million renovation of the building, completed in December, Polshek Partnership Architects and its consultants sought to return the exhibition spaces to their original loft-like and light-filled state. The work also included upgrading the building’s infrastructure to meet current museum standards, and replacement of the elegant, but thermally problematic, west and north window walls.
As record noted 50 years ago, one of the building’s most distinctive features is its tetrahedral ceilings, which although muscular, seem to float overhead. These poured-in-place concrete elements integrate the mechanical systems with the building’s structure and make possible expansive and flexible galleries unencumbered by columns.
Replacement of the gallery lighting was a puzzle. The original, a precursor to modern day track systems, had been designed by Richard Kelly and specially fabricated for the gallery by Edison Price. Despite its pedigree, the system was worn out and no longer complied with code.
To replace the obsolete system, the architect and lighting designer specified short and flexible sections of track that could be threaded through the ceiling hollows.
The new lighting design provides more flexibility for the display of artwork and allows curators to maintain proper lighting levels without fixtures that drop below the bottom of the ceiling.
Flexibility and modularity are evident in the lobby’s new media lounge, designed by Yale professor and New York City-based architect Joel Sanders. Here mobile furniture and display cases on casters can be reconfigured to suit a variety of activities, including informal study, receptions, lectures, or films. The spare units, made of ebonized oak, are different from, but sympathetic to the architecture’s powerful forms.
PeopleOwner Architect Principal-in-Charge: Stephen Johnson, AIA Project Manager (design): David Hart, AIA Project Manager (construction): Edward Carfagno, AIA Project Manager (construction): Steven H. Hall, AIA Historic Architect : Stephanie Kingsnorth, AIA Construction Architect: Lalida P Nakatani, AIA Project Team: Architect of record: Partner in Charge: Duncan R. Hazard AIA Design Partners: James S. Polshek FAIA and Richard M. Olcott FAIA Project Manager: Steven C. Peppas AIA Project Architect (Construction Phase): Lloyd L. DesBrisay AIA Project Architect: Robert S. Condon AIA Senior Technical Detailer: Gary L. Anderson AIA Interior Design: Charmian C. Place Lobby Design: Joel Sanders, Architect Lobby Media Design, and Millwork: Art Guild Inc. Conservation Environment Consulting: Garrison/Lull Inc. General contractor: Barr & Barr Inc. Photographer(s): Richard Barnes CAD system, project management, or other software used: Microstation |
ProductsExterior cladding: Metal/glass curtainwall: Wausau Window and Wall Systems Interior Concrete Restoration: Jahn Precast Concrete: Precast Specialties, Inc. Limestone: Alabama Limestone Roofing: Glazing: Doors: Metal doors: Ellison Wood doors: Algoma Hardwoods Upswinging doors, other: Cookson Hardware: Hinges: Rixson, Bommer Closers: Rixson, Norton, LCN Exit devices: Blumcraft Pulls: Fenevations Security devices: Rixson, Von Duprin, Locknetics, ACSI, Deltrex, Folger, Adam Cabinet hardware: Blum, EPCO, Outwater, Doug Mockett, Best, Hafele, Knape and Vogt, Brass Works, Idea, Ives, K & E Hardware, Timberline, Rakks Misc: Rockwood, Zero Interior finishes: Suspension grid: USG Demountable partitions: Custom “Pogo” Panels (designed by Staples & Charles) Cabinetwork and custom woodwork: Legere Group, Ltd. Paints and stains: Martin Senour, Benjamin Moore, Pittsburgh Mesh Ceilings: Expanded Aluminum Mesh Wallcoverings: N/A Paneling: Legere Group, Ltd. Plastic laminate: Formica Special surfacing: “Mini-Block” Concrete Masonry Units, by Smithtown Concrete Floor and wall tile (cite where used): Dal-Tile, American Olean Resilient flooring: Azrock Carpet: Shaw Raised flooring: Maxcess (Canada) Furnishings: Reception furniture: Sofas: Jasper Morrision, Elan Series by Cappellini Diamond chairs and bar stools: Harry Bertoia, by Knoll Reception stools: Kevi counter stool by Fritz Hansen Carpet: Custom Eurotex Tretford rug Banquettes: Chairmasters Chairs: Gordon International Tables: Fixtures, Herman Miller, Thomas Moser Upholstery: Knoll, Sina Pearson Other furniture: Gallery benches – Harry Bertoia lounge bench by Knoll Gallery Diamond chairs: Harry Bertoia, by Knoll Compact Storage Units: Biblio/Montel Paint Storage Screens: Biblio/Montel and Porta-Storage Lighting: Downlights: Lighting Services, Inc. and Zumtobel Task lighting: Nulux, Columbia, Lightolier Exterior: Bega, Design Plan, Exterior Vert Controls: Lutron, Square D Conveyance: Accessibility provision (lifts, ramping, etc.): Hontz Plumbing: Sunroc Additional building components or special equipment:Exterior Signage: Design Communication, Ltd. Exterior LED Signage: Daktronics Stair Railing Mesh: Gantois (France) Granite Setts: Cold Spring Granite Metal Shelving: pH Product Inc. Terrazzo Restoration: Joseph Cohn & Sons Scrims: Mermet Blackout: Mechoshade |
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