Am is the team.

David Fitzgibbon associate professor of
architecture Carnegie Mellon University.

He's also the director of
the urban design studio.

And is a member of the urban
Robert Tory faculty.

John has been registered as
an architect from Stanton ninety five.

And in His research focuses on
the methodology is employed in translating

drawings into bird things
apply research and

practice of even longer standing.

Research in academia before he
entered academia as a faculty

member he practiced at H.
O. K. in rushing term and

worked on a member of
the marriage scale cultural and

institutional commissions not only in
the United States but also in Japan.

Africa and Europe and.

These projects took for our north and
quite varied landscapes varied.

Conditions physical and social and
they include the building.

He's going to talk about today for
the Smithsonian Institution.

This is the Smithsonian Institution
National Air and Space Museum.

But after the National Right to
have Federation headquarters and

another fascinating project the United
States embassy compound in Nairobi Kenya.

John and I know each other family prior

jobs as faculty members at
the University of Arizona.

And it's a pleasure to welcome him
here to Georgia Tech Our So when asked

by way of accolades he most recently
was awarded the two thousand and ten.

A C S A national corroborative
practice which was just conferred

in reverence at the annual meeting for
work associated with an urban design

studio pilot project in the small
town of broken spurred Pennsylvania.

So John will be speaking to
us today about designing for.

Smithsonian Institution.

Thank you.

Thanks for the introduction more.

To control rights here.

OK coming down great and the project
that I'm going to talk to you about was

executed while I was a principal of one of
the bottom Kassebaum in a Washington D.C.

office where I was a senior project
architect and senior project designer for

a number of years prior to working with H.
O. K. I have a sordid past.

I worked in Chicago for a number of years.

With a critical regional his
firm there and then went and

worked with Robert ensuring And Tony Scott
Brown for three years in Philadelphia and

then the work in Japan that Laura
mentioned was with that I want office and

talking Oxycontin which is the contracting
agency the ports on those work in soccer.

So.

Those experiences and that influence
the subsequent experience here and we're

also sort of give you a context for which
I'm making comments about the project.

But title of what I've suggested for

this is a rock between gravity buoyancy
and status I hit the pick a pretentious

title I thought that was
a good pretentious title so.

Gravity and
buoyancy I think that the obvious

connection there is with the aircraft
itself and how they're displayed and

then this notion of Stacy this
is something that will come up

in in the context of what Cindy
was talking about that for

me is something that was suggested largely
by the curators in a new definition for

how a building should behave
particularly one of the size.

So the women I'm going
to talk to you about is

the mention in Space Museum for
the Smithsonian Institution.

It's the Stephen F. Woodrow HASI center.

Everybody actually calls
it the Nasm HASI center.

And this is an image which I
absolutely hate the building but

it's the one that they're used
to publish the building and

of course it's got every trick known in
the trade for architectural photography.

If you have visited are planning to
visit it does not look like that.

It doesn't have that women S. and quality
right doesn't really play that way but

nonetheless that's the foot
that the museum puts forward.

The project is unique for the Smithsonian.

It's not unique anymore but at the time
it was unique actually because most of

the emphasis with the Smithsonian is on
the National Mall in Washington D.C. And

because of the size of these artifacts and
the vast vast mists of the class action.

It was impossible for them to expand on
the national mall so they had to look for

an alternative site for the project
the site that they're ultimately selected

is on the property of
Dallas International Airport.

So it's a remote location
away from Washington D.C.

and the National Mall
the museum itself is located on

the downside of port property
in the southern buffer zone.

On a large parcel of land and

I'll be talking about the Premier's
affiliated with that and

because of its location it
demanded that there be some

substantial modifications to the
infrastructure surrounding the airport.

With the highway exchange and
then of course financial and

Space Museum on a man receives about
fourteen million visitors per year.

The estimated visitor ship for this.

For this facility.

At the time we were developing the design.

And through the competition phase the rest
mating that they would get four million

visitors per year there and
getting about six million per year for

the site with that visitation and

because the museum is remote and
that current

There's no public transportation to get
you out there other than a shot a boss.

That's operated by the Smithsonian.

Parking.

And the management of all traffic is a big
issue in the development of this project.

So the scale of the project demand
a collaboration with multiple entities.

Jurisdictional enemies from the F.A.A.

all the way down through
the Virginia Department of Transportation.

I'll be talking about
the relationships with those to

give you a sense of a scale
magnitude of the intervention.

These are your photos this one
taking a look from the north.

This is the family entry.

It was under construction that you
circulate through through the port to

share here past the bus drop off and then
you loop back into the building another

view from sort of the South
rather from the northeast.

Looking back at the museum and
then this building.

If you're looking to actually from
the South back towards sonnets terminal

which is located up here
just beyond the trees you

say the question why why do they need this
facility why was the facility built there.

That's the history with the context for
for the development of this museum.

The first museum that they had
resit converted liberty engine.

Manufacturing testing center that
used to be located on the map

the National man Washington D.C.
was not always.

The pristine environment that it is today

it's had several incarnations
over its life span.

So the first museum opened in one nine
hundred twenty when it was a converted.

Testing facility for liberty engines.

The Space Museum.

Over its lifespan.

They had projected different ways that
they might display the artifacts of a fair

Works Agency in one nine hundred forty
nine about this proposal for a suburban

suburban museum to be located
outside of Washington D.C.

And oddly enough the general
square footage that and

acreage that the wrecking at for
the development of this museum.

It was ironically very close to
the size of this expansion that I'm

going to be talking to you about so they
were looking at a million square feet.

Back then and a parcel of about
one hundred fifteen acres

inside the initial Garber
who see curator at the time

work with the federal Works Agency and
they came up with this scheme so

this is interior moment talks about how
they would describe a lot of facts.

The idea was to place.

A larger aircraft like the BE
twenty nine super fortress

up on a concrete pedestal so that people
could walk around beneath them but

that the aircraft could still be
presented in sort of a point state.

And that the replacement a lot of facts
on Shabbes abaft and that they would

bring in light laterally and then they
also have night coming in from the top.

Now this is going to this this this idea
of the light and how you bring light into

the building is a big issue particularly
in the discussions about the expansion.

That nine hundred fifty.

Nine thousand nine hundred
fifty two to be exact.

There was money appropriate to have the
care meeting right take a look at a study

for an Air and Space Museum to be
located in downtown Washington D.C.

Street Washington D.C. along with K.

Street corridor or
which is a very different context for

the development of this museum type ology.

Say or how many pounds the fax over
the years has been been highly variable.

At first after they moved out of the.

And testing facility they moved to
they moved around a lot of facts like

the Spirit of St Louis into the National
Museum the view taken here from one nine

hundred twenty eight for a long time they
were displaying the artifacts outside

directly on the mantle in front of
the arts and industries building

that image that you're seeing right here
is from one nine hundred seventy three and

then they were using the inside of
the box and industries building

as well which you're seeing that display
in one thousand nine hundred sixty nine.

I mentioned was the first curator for
the Air and Space Museum

understood that they did not have nearly
the amount of space that they needed to

display the artifacts nor
tourists restore them or preserve them.

So he did.

Whereas in the one nine hundred fifty S.

He put together a proposal and
did get congressional funding and

appropriations to the server
here facility which is now

called the Garber Institute and it's
located in suit when Marriott Maryland.

The appropriation at the time
stated that they needed to.

One thousand one hundred and
I'm sorry one thousand three hundred

sixty six aeronautical objects
most of those being airplanes but

there were a lot of engines missiles.

Other testing elements that were
housed in that facility as well.

The inside.

Facilities look somewhat like this
they used to be open to the public

to the buildings were open to the public
the rest of the restoration facilities

records to the public and
that's what it was like now.

You cannot gain access
to this facility and

they're bringing it slowly offline as we
bring a restoration facility into reality

out of the data center and
then nine hundred sixty four.

We have a proposal and say what's
ironic about the chain of events

that I'm going to talk about so one of the
bottom Kassebaum under the direction of

your bought out of St Louis was before
there was a Washington D.C. office and

before that your code became the behemoths
that it is and has been for the past

thirty years as the design for
the got the garbage facility that you were

just looking at they got the commission
for that project that in one thousand nine

hundred sixty four there was a competition
hope here about I won the competition for

the museum on the mass So
here you're seeing the rendering

which indicates what what the proposal
resin one nine hundred sixty four.

But was a Visa been to
the museum on the map.

It was roughly occupy that
sort of Platonic volume or

what's implied by that volume but
there were the spaces.

It was configured as is
very different from that.

The man the building with some.

He has a series of.

Solid exhibit days that are used for

smaller scale are Facts
are facts that require video or

experiences that require a controlled
flight and those are separated

by a series of transparent weights
where they've displayed the aircraft

by suspending them in front of glazing
system so that the base the natural light.

The Construction began in one nine hundred
seventy two the building was opened

in July fourth one thousand nine
hundred seventy six when that opening

they were able to hounds two point
three percent of their collection and

that was the I'm rich.

If you talk about the level of
investment that goes into a museum and

the ability to display.

Artifacts that seems to be a rather
disproportionate investment.

So the thought behind this and

the development behind this
was flawed from the beginning.

The facts as you may be familiar that's

as I was discussing the way that they're
displayed in the museum on the map.

And that's going to figure heavily into
the parameters that are provided for

the competition.

So because of the deficiencies
in the space.

There were several proposals
by major politicians and

by other entities to develop expansion
space for the Air and Space Museum.

This one.

Ironically back card about men
called about and it's a large

commercial real estate developer in
Washington D.C. and the surrounding area

shortly after the museum opened
in one nine hundred seventy six.

They they presented this proposal to the
public for a national space Park and if

you guys are familiar with the title basin
which is where the Jefferson Memorial is

they were proposing supplanting
the Jefferson Memorial for.

Or the space shuttle installation
that looks like the Mellon Arena by

Mitchell and Mitchell and
Ritchie and Pittsburgh and

having a monorail and expanding
the capacity of an expressway there.

So fortunately that didn't happen.

But there were also other proposals
that were developed went to a boy who

was the director throughout
the seventy's and

then on into the early
ninety's he began proposing

an expansion out of Dallas is
early one nine hundred eighty and

what he was doing was commissioning
an artist too and you may recognize this

hand if you've been to the National Air
and Space Museum the one on the Mall.

They use.

They have a certain set of
artists that they use for

the representation of all the article
facts all the artifacts and

flight all the murals utilizing
the talents of those artists.

These versions of rapid expansion might be

man who conceived they're not
really being very creative.

We've got the same thing that
we have on the mall with a.

Tumble in the middle and
you may ask why would a proposing this

Adonis what sort of focus with all
of this well most of the artifacts

that the Smithsonian hands that have
not been restored or preserved and

cannot be house that drop or are housed in
storage facilities out of Dulles Airport.

There are probably close to ten
thousand airplanes still out there in

makeshift sheds and so

then we have other developed

images this one without the rotunda and
minus one bed.

Coming in two years later by the same
artist under the directorship of born

again and then we get to nine hundred
eighty four where Smith's son.

Decides to have
an international competition.

One it's highly publicized and Norman
Foster's office is awarded the commission.

And the one that went through

a serious deficiencies in terms of
how this this competition was run

the most apparent one being that
they had absolutely no funding.

And no political leverage or political
clout to have this expansion realised.

So this proponents are by
force to run by the wayside.

They decided.

Wrong I'll talk about that in a moment
then we have Billy Graham better coming on

the scene proposing his own National Air
and Space Museum expansion for

the space shuttle in one thousand nine
hundred six and looking for funding and

appropriations for that.

And then we got to nine
hundred eighty eight.

And the Smithsonian another
international competition.

Skidmore Owings and Merrill in
New York wins that competition and

if you've noticed anything
about the representation

of the Forrester proposal
in the Cessna one proposal.

I think that one thing that the air
space museum may not get credit for

or at least I've never seen credit for

it is there was a route made over
the competition that moment ran for

the expansion particularly
the early phases where they invited

the invited architects to compete they
sent them a box with a packet a set of

sheets set of information and everything
had to be sent back in the box and

everything had to be represented
in a specific way and

Nasm did that with these first two
international competitions which is

why you're seeing everything sort
of generated in the same hand

with the same views in fact they were
a specific it was citing exactly.

What angle and what elevation you
had to present the views from

so if you look at a pretext for
this project and

look at a pretext summary nine
hundred eighty three a scrap of work

approval to determine
the feasibility requirements for

the National Air and Space Museum going
up but also international airport.

Nine hundred eighty four.

We have a first international
competition for

the design commission nine
hundred eighty eight.

Second you national competition for the
design commission same problems with both

international commissions at
absolutely no ability to implement and

no political clout no political support.

So when they ramp the final competition.

They were not savvy or

they came back at it with a lot
more intention represents Moneta.

And natural introduce the house
H R eight forty seven to

ask as the Smithsonian the planet is
I'm a National Space Museum extension

with an appropriation of
eight million dollars.

That views it so
I'm going to figure in largely

in talking about the trajectory of
this project from that point forward.

Because the Smithsonian again their
interest in using curating and

preserving these objects in
exhibits that appropriation for

eight million covers only part of
the soft costs that are associated

with the living a project the soft costs
are the piece that you pay the architects

the consultants the expenses that
don't go into the actual purchase and

procurement of materials that go into the
building and construction of the building

right up to that point all buildings
that were done by the Smithsonian

were fairly fully financed and
paid for by the U.S. government.

At the time that this appropriation
went out there was a lot of.

Wrangling over the National Museum for
the Native American Indian

on the mantle and so there were
the directorship was going up against

appropriations for that museum which
was having its own problems and

internal struggles with
the development and

the argument was that the Smithsonian
only had a museum on the Mall.

That the taxpayer shouldn't pay for
a second museum.

So what the government did was they
appropriated eight million for

Saw costs and they told the Air and
Space Museum that they had to

finance the construction on this
project which is a huge undertaking for

an entity that had absolutely no
experience doing it at that time.

So in one thousand and seven the third
international competition for

the design commission is how I read the
team that won that from one of our bottom

Kassebaum then what.

Let's talk about are some of the things
that were for most in their mind.

Obviously the shuttle the space shuttle
Enterprise which was a prototype that was

launched off the back of some forty seven
they acquired back in one nine hundred

eighty five hear you saying that
being delivered to Dulles Airport for

the title transfer him or
seen one of these

makeshift Shad's that's on the dance
property and this is actually a very nice.

But nine.

For the way that they
store these artifacts.

We've got a pretty large space.

That's how the story has
it slanted here now.

We've got another plane here
another one tucked under here.

This is the picture that was taken
by the Russian team post to promote

the competition tree
after I was now nst and

you see that now
the shutters up on blocks.

We have atomic bomb casings underneath
that what you've not seen is

that on each wing they have the fuselage
for B. twenty five Mitchell So.

Being on it and
NASA actually had been coming back and

stripping tiles off of the the shuttle so
that they could do tests on it and

stripping it about the equipment
that was inside us our seventy one.

By skunkworks which is for
aviation aficionados.

You know the ability to take a look at one
of these up close was only seen in recent

times and you can take a look at that book
by one of the first US are seventy one

backwards one thousand nine hundred three
that actually had its own dedicated

Shab which is made of long
span steel airport property.

And then they you know OK which they had
in their collection for a long time but

with the facilities that they had
particularly international man.

The most they could display was the front
end of the fuselage they couldn't get

the wings and so
the building that we have the Concorde.

If you've been to the expansion using Have
you also known that there's a seven thirty

seven a seven forty seven and
seven sixty seven in there so

that would give you a sense of
the size of these artifacts.

So the primitive years of the grandmothers

that we've got one hundred one acre site
rescued in the airport seven buffer zone

one point two million square feet of
program space that's going to grow.

One because of a rather stupid decision
that I made during the competition face

and other because they decided to expand
the program because we went through.

We developed the Holocaust budget
of three hundred thirty million.

The purpose project off which
at the front end of the project.

The other competitors thought that
it was a fairly generous back that.

That was until when we understood the
implications of the rest of the Premier's

sites under the jurisdiction of
the Federal Aviation Association.

And the metropolitan Washington D.C.
airport authority so that means no

matter what the curator is like no matter
what any other jurisdiction say those two

governing bodies have final veto power or
whatever happens with the project.

OK From the brief I'm just going to go
through a few of these artifacts must

reside in an environment creamy
of humidity proof humidity.

So one point two million square
feet of humidity free space seventy

percent of that three hundred thirty
million just went to mechanical systems.

So that's where that's the first
deficiency that really

didn't understand our effects cannot
be exposed to any direct natural right.

OK fine.

You've now seen how they've
been storing these and

then how they've been displaying up right.

And now they're saying no natural
right and that sort of thing

was really difficult to reconcile for a
long time in the development of projects.

No.
Sky rights or grass roots.

Artifacts may be suspended.

But no artifact would be
allowed to move once installed.

So initially I thought that meant
the savvy enough to know that buildings.

This has to require a long span structure
long span structures usually move with

the flock in the neighborhood of three to
six inches even in the best case scenario.

But after talking to the curator
Stone says they meant no movement.

If it's happening there no movement so

that became a large restricting
frak fact on a development project

spaces must enable
a thematic organization.

Exhibits will not be encyclopedic.

Right so point back to what Cindy
said I mean education on that

one because I really wasn't understanding
what that meant when I get into.

At the moment.

There are spaces must be flexible and

expand and that's a common
primitive you have with any museum

opened to the public on December
seventeenth two thousand and three.

OK so.

December seventeenth two thousand and
three looking at it from August of

one thousand nine hundred seven
that there's an sound that bad.

Right and riot we hung up on that date

because that's the hundredth anniversary
of the Wright Brothers flight and

they're going to open up on
the hundred anniversary come hell or

high water and that's what happened.

So through a design phase
we started taking a look.

Not one thing that I didn't mention when
I was going through the registration for

registration started and
it became a parameter in the program for

relief that the building was not
to be expressed as a museum.

So it's a museum but
it shouldn't be a museum.

It's supposed to be in a statically
proving hanger saying we started

taking the myth that type taking a look at
the different claim here is taking a look

at the artifacts and work through a model
series of moments that look like this.

These are rather large scale models this
is about ten feet in length here and we

started looking at Betty structures just
getting general massive strategies going.

And then again in the background or
say we're taking a look at how we might

want to spend some of the artifacts
that we know are coming on line.

Throughout the project.

This is the final mile it was executed for
the competition which

gives you a sense of how the building
is massed and then I'll go through.

And actually have to play
briefly what you're looking at

here taking a look from the main entrance.

There's a fan or the entry with support.

You're seeing the arch artifact PAYGO
this is the main exhibit space being.

In this volume.

It's a two hundred sixty foot
when you spend from side to side.

ON IT projects two hundred and
thirty feet in the air at its peak.

There's an observation tower this
was something that I added N.S.A..

An element that was not in
the program which I wish I had

never ever done that
there's a lot of gray.

Here on my head as a result of that and
I mixed.

The administrative waiting for
the Air and Space Museum and

then a series of shops and cafes that
are just on the other side of this.

Clear story element.

It's placed there.

So we take a look at the plan
read it was developed.

You enter what effectively
is the second level of

the main exhibit here space you come
in through the strong perceptual

element which we affectionately
call the fuselage you pass through

the administrative wing there is
classrooms located over here and here.

Here is the IMAX theater.

Then when you come in
they are privileged over

the top of the S R seventy one the answer
seventy one is located right here at

the terminations that fuselage reparatory
survive the taking steps down.

To move rapidly to the base
of the main hangar space or

you can circulate via wrong ramp
that takes you down so that you can

pass through the components of the Vietnam
era exhibit which is located over here.

There's a large space hangar right here
which is space artifacts the centerpiece

of that is the space shuttle Enterprise
that we've been talking about.

So if we take a look at this.

There's a strong hand see a relationship
that's set up right here and

it's based on that sequence of
the artifacts when you come into the space

looking over the star seventy one.

Past that and
then seeing the enterprise beyond

there's a step tower here and
a stair tower here.

And if you ever circulation through
the building that the apparatus is

suspended and the very narrow catwalks
that might break through the collection so

that you can get up close to
the collection without touching it.

And this is a view of
the main gallery floor.

I haven't talked about all of this stuff
over here that's the restoration facility

so there's paint to spray Bruce large
artifacts storage parts storage

compartment placement.

This is State of the art facility and it's
currently under construction right now.

It was not built for the opening.

I'll talk to you about the compressed.

Time in terms of the schedule.

And then here you're seeing
the base of the main gallery.

But that into this there
is a road service and

white shaft that runs along
each one of the primitives.

Which brings in all the natural right
into the building through indirect

strategies by radical indirect strategies.

And then one of the features in the
development of this work is that you've

got to get these artifacts in and
out right.

So that means that sensually
most of the enclosure system

when each one of the cells has
to be removable large doors.

So the doors become
a major design element and

then of course these are drawings which
talk about that we use to develop the.

Core data in the systems you're looking
at to launch a two minute sections

this one percent up right.

This one is upside down

here you sing entry fuselage right here
the exchange into the space hangar.

And this is what the underside of
the planet looks like so we use that to

coordinate all the systems now one of the
things that that young architects to and

students and I have a son would use
every time I ask a student wrong.

Why did you expose all that stuff and
of course the answer from the student is

always because it's a lot less
expensive to expose it right.

It's a lot more expensive to expose it.

The reasons for
exposing systems on a building have to be

much more intelligently considered than
just an extension of static expression.

So the reason for exposing everything
in this building was so that they could

maintain flexibility so I'll talk a little
bit about systems in a moment but these

these types of drawings figured largely
into the development of the project and

here you seeing the town secondary one and

some of these mezzanine ramps
that one through the building.

These are the initial.

Sort of semantic Well it's that
we did based on the artifacts so

what I was telling you
before you come in here.

Here's the answer seventy one
years the space shuttle Enterprise

being OK is located over here and
you can see that you know

as I told you the the Vietnam era stuff
which was originally displayed over here

has been shifted here some of these World
War two artifacts are now over here but

these are to play hands showing you
how you would suspend the aircraft and

strata and
the planes are shown in playing.

The way they displayed is
that actually they climb.

But in cornering the risk that
they're moving through it's

not presented a strategy that way
if you're experiencing the museum.

We worked after we got the commission
we worked with the curators

your images are very fuzzy but.

Look at the curators with
a series of Plexiglas.

Smot and state have those teams in them so
that we could have just the magic.

Organization the project.

Just as they needed it.

So taking that these are the renderings
that were generated for

the competition entry.

This is a transfer section looking south.

You're seeing the main Heyer
here suspended mezzanine and

walkways here we're seeing
a nice open space where you can

consider each one of these aircraft in
isolation of course the reality of this is

this is going to be filled up like God's
own junkyard by the time they're done.

We have the we've got
the space hangar over here and

then this is the fuselage element.

So the idea with this is
that you invite people in.

And you introduce the largest volume of
right at the entrance you slowly diminish

the right amount of circulation path
by using the slope of the roof to come

back in and across the building and
then ultimately to get to the darkest

experience which is in the space where I'm
of course there's artistic license with

the expression of this so that the jury
can refute the competition scheme.

These are views from the outside
This is the entry sequence

from the fuselage of the competition face.

And then you can see.

The rendering which shows sort of want to
know if you have the sequencing of these

artifacts and how these main bases
are the posts across the structure.

And I am going to say this for the
students who are in the audience because.

For me these drawings are only good in
the fact that they tell us a little bit

about the visceral condition and
about the way the building might seem or

appear in the end that it's
really difficult to get to

right where you can master
rendering like that right.

And I personally don't think
these are very good rendering.

That all right what's missing here is

only information that can can can destroy
the conceptual raw fantasy of a project.

So for me when I take a look
at I'm going to show you

construction drawings here in a few
minutes but it's construction drawings

are actually the meat of what an architect
that was and that's where you

prove yourself in terms of your ability
to maintain conceptual authenticity.

There are miles and miles of coronation

that go on between each one of
these base and none of it shows up.

It's just a flat nice white
surface right in this so

we'll talk about that moment so
many talking about the disparity

of the facts the way they might
be placed and then of course.

This history that I gave
you about the project.

I was well aware of what happened with
the trajectory of the project but

I do remember how excited I was
when we won this competition so

when we were in this competition.

I was twenty nine years old.

Heading up the team.

And I said you know we won
the competition this is great.

What celebrate.

We'll get going and
I remember back home with took me aside.

And he said the project.

Nobody's going to start working on this
project until we know it's going hat.

I don't think these people have
a clue what they're doing and

what he meant was you know
the history of the project we

know the history of their procurement
They couldn't we don't know

how to turn from the competition phase
into the realization of the babbling.

So the first thing we did was we got
on the phone with Senator Warren.

And Senator Robb.

And we started setting
up meetings between.

Rod hadn't Langan who was
the director of the museum at

that time and we got them invested
in the project because even.

The eight million had been
appropriated it had to have by and

from the state legislation before it could
be transferred to the common RAF and

then on to the Smithsonian

the other thing we did after working
with them was we held a presentation.

You know offices in Georgetown to
review the design with all of the state

representatives and state senators so
that they knew about the project.

Knew what the profile swore and then we
got them together with the authorities

from the Metropolitan Washington
Airport Authority and the F.A.A. so

that we could get there by and then head
home with not you know sort of brought

me back down to earth and been that
strategic I think we'd be talking about

this is another planet sitting in
the doest because without that political

Brian there was no way that this project
was ever going to get off the ground.

So taking you through the building.

I'm just going to so
these are the images of the building as.

When I took a look at these I see
nothing but the France in this project.

You know decisions that were made
about color palettes second and

third tier choices with regard to how
the structure could be expressed.

Challenges in terms of the time complex.

If you really understood what
was initially intended for

most of these things and
what I actually got realized it's for

me it's a tragedy when I
take a look at the building.

It's very difficult for me to look at so
that's the main entry sequence

here we have a best drop off series
a killer balance to come off against

very slick waste machine to static for
the grants.

This is the entry fuselage
sequence coming into the space.

What the right conditions and spatial
conditions are at the edge of the fuselage

experiment looking up from
the floor of the main hangar space.

This passage and I coming down and

into the space with the artifacts
over here braced on canopy towards.

Writing coming in through the end.

A small lot of facts being
displayed beneath the circulation

elements so about elements again
the idea is to try and keep that

experience of walking on those past not as
something associated with the ground but

as a ribbon that floats through the space
so things are suspended very delicate

structure coming down to hang around and
when they're born from the ground.

Using a one point connection and
granting out.

All right.
It may seem very easy when you're taking

a look at the width of these things
they're about twenty feet away.

And if you look at the ripe road.

Anticipate a visitor ship it's it's
very difficult to actually achieve

this form of construction with
that rubber what they want to see.

And service them slide
loads from inside the main

hangar and

then all of a circulation had
to be developed because of this.

You know I've never really seen
anything like it they come

in they film everything so her idea with
all of this working with the curators was

to make as much space available to
primitive the circulation elements so

that they could set up
with large format cameras.

However they wanted to record the
artifacts so abuse of the main her space.

Side galleries.

And these photos are taken from.

I purposely took photos on Opening Day
which we're putting Simone and

this this is the other
thing too that kills me.

So every step about these
artifacts being so precious.

So one of the most precious
artifacts is the right flyer.

So they put out a museum on the Mall.

They string it up on a series
of cables put John Travolta

in it and we have fireworks going
off inside the main gallery and

then here comes John Travolta flying
in belly first on the white wire.

And things modern all over the place and
when it stops it doesn't come to

a slow God it's like stuck and
it starts moving back and forth.

And this is after everything about

not one you remember a on any
of these artifacts right.

So anyway that's what I thought
you might enjoy that story.

This is the main hanger space
of the space hangar space.

And then views of the ground me if
you go there today Robert planes and

there are a lot more artifacts
they've been restoring artifacts and

bring them on line there.

Their mission is their goal was to bring
in two new artifacts every month which

they've been putting that mark
since we opened in two thousand and

three examples of how I was
artifacts look against event.

And how they're displayed
in the context so

those layers as I was talking to
before they're not really strata.

We understand the organization and
strata but

these are actually brought in there
expressed in very different orientations.

And then what I was talking about before

those things that we talked about just
these big right before it's right.

Well we've got to get right in there.

We have to handle a mechanical systems and

we've got to have access so
that they can add to.

Exhibits with regularity and then when you
expose that you want this to be neutral.

So the playwright reading level of

detail that goes into the manipulation the
coronation that is very time intensive and

then when you put that against a really
tight budget given the mechanical

aspirations of the project very
difficult to manage one thing I would

have been happy with this even though I
can criticize every one of these details

as I think that we are all composition of
this is his held together pretty well and

has served the curators pretty well over
the lifespan of the building so far.

Moment to write one of the things.

To send he mentioned that.

The curators need to educate
York attacks the architects and

that educate the curators
I would say in this case

the curators had absolutely
no problem educating us.

None at all.

They didn't have they weren't
shy about anything so much.

So when we had the first meeting.

They told us how this H OK had already
destroyed most of the artifacts

in the collection and that they were not
happy that we had won the competition.

So we had to work through that and
then we had an open line of communication.

So every one of the design tents
marks the entire staff who was going

to work with the national and Space Museum
was invited to comment on the drawings.

So it was a hundred twenty three
staff permanent staff that work

with the national and Space Museum each
was invited to comment on a submission.

So by the time about
through design development.

I headed for books size of New York
telephone books with comments and

each was registered with a number and
each had to be responded to.

And there were things like I think
a museum should be our I'm stone.

Right.

Sorry that's a valid comment right but

somebody obviously hasn't been we have to
take time to respond to that then you get

other things like I really don't want my
office on the east side of the building.

Can I have green in my office.

I think to spend to Musha and then people
say why I have a cousin who you stainless

steel screws on a piece of sheet metal
like you did and I just know it's going

to rust right through so criticizing
every aspect of the painting and

a lot of that feedback
was very very helpful and

then a lot of it just it didn't
detract from the design but

that time it could be utilized
in developing the design.

So you know it is with
the development of our state.

I contract now at that time
it was not the case and

we were not savvy enough to do it.

Typically there is one point of contact
and that would benefit this project.

Well.

When a zone who is the director.

Had been the source source or

setpoint to contact I think a lot of that
questioning could have been deflected and

we could have been more efficient
in developing a project.

So the mantra right.

The reason why they don't want any
natural right is because the museum

on the map to be quite
honest leaks like a sieve.

So if they've replaced all
Rick Lazio on the roof structure and

enclosure four times since it's open and
they've had nothing but problems with it.

So that's why they don't
want the skylights and

they don't want the light coming in from
a part of the bad experiences with it.

So the natural right to be in is
brought in through these light shelves

it comes in there's a stainless
steel surface here right.

Comes in bounces up and
goes through the Cascades up own roof

structure here we have the artificial
riding cater to the same position.

Adjacent to a spade or panel so

that as the natural right diminishes over
the course of the day they're on sensors

the natural right transitions and there's
no shift in the reading of the space.

These are also the primary
access points and

then you're seeing the supplier docs
running around only want you to do only

and then they return your docs and
this scale is probably very

distinct deceiving this piece of glass
here is about eight feet in height.

OK To get your sense of how big that
is we work with the unspoken rabs

with we did a lot of parametric modeling
in the development of this project.

I'm not going to say that
we're progenitors of it.

It was a personal aspiration of mine to
engage consultants who could do that.

Obviously this technology has been around
since the late sixty's and so when I used

a lot of us technology in the development
I think more celebrated high rises.

Particularly for structural analysis used
to be used to talk about lighting layouts.

With different.

Different artifact configurations and
different occupancies.

These are always drawings I'm showing you
are from design development the C.D.'s

are actually a lot more pay
to read than these I'm just

giving an idea of the different
conditions around the enclosure system.

And thrust box which I'll
get into in a moment.

Transitions in the inclusive.

Plan manipulation security

obviously a major factor
integrating that in with the runs

from

first script detailing was a big big
part of this is we're all here in two.

Going.

Particularly for the things I'm
a big believer that if you're going

to put your hand on something
that needs to be drawn by hand.

And if you drop by hand.

It needs to be drawn at full scale

particularly if you're going
to put your hand on it.

So everybody who worked with me and
my team.

Whenever we looked at a connection.

We did it through layers of
tracer layers of graph paper so

that we could transpose these things and

we would work them intuitively and very
rigorously to get at just the appropriate

profiles that we felt when a society
in a reading and a project.

And then we translate that was
obviously into the digital analysis

and into reality.

And then this observation platform which

was not in the original program
sort of challenge the budget.

And we went through a great deal of
effort with the consultants to make sure

that this was as transparent experience
as one could have been that landscape

the intention was that would be in our
minds to the repetitive Sunnen and

also celebrate the existence of that
significant building on the site and

allow children to stand up here and
look out over the site and

see the planes coming in.

You know post nine eleven.

Because they can't just go to
the terminal anymore and watch them.

You've got to find out
the locations to watch them.

So I think we're pretty
successful with that in terms of

the development of it even though I would
say the conceptual intent was diminished

significantly again but

much to my chagrin if you guys go there
today you will go up into the tower and

you will be invited into a black box
because they put up an exhibit that

blocks out all the grass and it makes you
feel like you're in air traffic control

rather than having to look out the window
to have you look at T.V. monitors.

So there's no natural light that
comes in and you can't see.

So there clearly was a mis communication
misunderstanding between us

on the curators in the way that
they've developed that exhibit.

So I'm going to have a special in a moment
because they had never raise money for

the completion of a project.

Right from a short at the time
a complete reconstruction of documents.

So we shaved two years off
the construction schedule.

And when they show to use off
the construction schedule by because of

the status in the fund raising between the
completion of the C.D.'s and the start of

construction they could not shift back
anniversary of the Wright Brothers flight.

So basically they compressed
the construction schedule on a one at that

time at the end of the set it up being a
one point six million square foot building

with really intensive
systems coordination.

Where the details of where
the spaces are developed

the based on canopy tours you want to try
to wrap this up in five minutes good.

OK it's based on canopy tours again
when you're talking about these stores.

We're talking about something
that has a projected height

of about eighty feet in height.

It kicks out like a garage door can
only door and it gives us free spin.

There are series of elevator shivs
encounter weights that they have a door

open and then of course the door is
balanced on the end Bay like this

where we have this ring of natural light
coming in and is an indirect light source.

To supplement the light at the site.

So this gives you an idea of the how the
door opens out how these balances work and

how the thing kicks out and

I here's an image during construction
is that the war is being opened.

And the way that that works in elevation.

And how all that comes
together in construction.

But one of the things that
I haven't talked about.

Yet it was sort of a regular that was
invested in the process both at the design

phase and carried through into
construction the construction documents

are presented in three D..

This is a base drawing that's used for

the construction documents but
the point that you do that is so

that you ensure that what you're trying
to achieve with the visceral condition is

actually manifest in
the construction that you understand

the implications of details as they pass
through in the development building.

When you talk about
building not moving at all.

So none of those suspended
artifacts moving period.

That means that the structure
has to be incredibly rigid.

And one of the things that we benefited
from this site is some of the best

expansive quake in the state of Virginia.

So if you don't know about expanse of
clay that's probably the worst material

you can have a bearing on for
a building one of the worst.

So we've had a challenge with the site so

the conditions we have these doors that
have to provide the largest post so

that you can get the artifacts
in a now quickly so

that you don't stabilize the environmental
conditions inside for the other artifacts.

You can imagine the amount
of stresses that go in and

the amount of movement that is
induced with a door system like this.

So in taking the wreck with the back
of the structure configuration.

Again the three D. modeling not
just as a visceral condition but

as an analytical tool taking a look
at the current reading scenarios

identifying key points for the transition
so that we rob the building to rock back

and forth in certain zones but
keep it stable and others zones.

How we anchor those down and taking that
back into the two dimensional towing.

So we understand implications taking
it through different writing scenarios

both for extra roads so
say it with environment wind and

snow as well as internal
roads from visitors and

they are facts and then taking a look at
Unity diagrams for every single element

in the building and trying to understand
how we can actually manipulate.

Each element to configure it
to its optimal location and

the development of the structure.

Some of the drawings generated for
the space hangar and then again

taking it down to the connection
right on the development of the base

and then the thing that I haven't talked
to you about that mechanical system.

So there's one utility plant that's
represented by only these buildings here.

There's another utility plant back here.

Another one here and another one here.

Some ballet you of those
utility plants is two hundred

thirty million dollars We ended up

with the final cost on this building
a four hundred four million dollars.

After everything was done and those were
not budget ever run this will actually be

calibrated the budget as we went through
and understood the needs of the client.

Some of the.

Drawings showing the mechanical systems
that are artifact restoration facilities.

And then this is some of
the construction of the utilities

that serve the bedding and
utility structures.

I think a bit of an idea of
what the desiccant plant.

This whole system is based on a cycle
of large sequential desiccant

wheels and
transferring through levels of humidity.

So that reducing humidity and
then be circulating and

it's a very system intensive process
to get that air to that level.

OK And then the construction of the fact.

So I talk to you about the outline
scratcher So if I go through this.

We've got the planning activities which
I've discussed briefly I'm not going to

get into that design activities those
are the ranges of times these were

already compressed and
challenge that the outset.

Given what the aspirations were this was
a very aggressive schedule construction

activities from.

June of two thousand and two.

December of two thousand and three and
then what I want you to take

a look at is the construction documents
are finished in August of ninety nine.

Idea really the big procurement
was supposed to happen.

Concurrent with the end of that
we wanted people to break ground.

You know way to ninety nine right then and
that breaking ground.

So the construction started or wait of
one two years shaved off the clock.

So to get them to move then.

Grass them you want to do is
have them move the artifacts in

while you're constructing the project.

Again.

And the stress on how precious the
artifacts are and then they want to take

them through one of the most I would
say most of the dangerous scenario you

can pick an artifact through is putting it
in a space while it's being constructed.

So we had to compress the schedule had to
look at construction which just sticks and

had to modify the diet
design substantially.

So what you're seeing here is an eighteen
month sequence which allowed us to get

from religion to most of
the shell that required

going back through those parametric models
to give you an idea of the monthly summary

reports that we generated to report to the
client fabs was the general contractor.

There to develop a road a bit better
quicker because initially that

that was to be a very meticulous piece of
jewelry in terms of and the connections.

And that was not going to happen with
this new construction schedule so

in taking a look at that I generally
get these diagrams for hence are facts.

Once when we were in the building face and

what I proposed where I was that instead
of building these up a section which was

what was proposed and it all being
psych instruction with great care.

And plates that we go to
a prefabricated system.

We do a series of base on the ground so

that you can get every cruise on
the ground working that way rather than.

On two sides you flip through

acres app is lefse there's a series
of kickers that go in there and

then you bring the settling in and
raise the centering into the building.

And completely flips and so
these are the images that

talk about that prefabrication at Montreux
and bringing it down to the side of sticks

spinning constructed and
left and brought into place

with trespassing not going
to go into that respect.

We have a series of pictures and
adjustment mechanisms that allow those to

shift in the construction process so
we can stabilize them and.

That's the image that I usually
associate with this project because

that to me implies what it might
have been and not what it is but

it's because we can
project into that anyway.

All conclude with that.

Thank you very much.

That's.

Sort words there

in that there was a major decision
served at bay configuration

that actually was part of
the schematic design the idea is that.

When the building is located.

They can expand to the north and
span to the south as much as they want.

So in fact right.

Yes of the state and that was that her
that showed the door and the separation.

Was that.

And there's a series of bearings
on the bottom of bones that

we have a series of ships and
rails and bays can be moved on whales.

And they can add babies in between.

And since two thousand and three to forty
point four new babies into the building.

So the system is worked out well but

basically it's just going to extend like
a long sausage and the rabbit serves

their needs very well in terms of the
phantom characteristics of the building.

So it's it's not the most elegant form
from the outset by extruding it thing.

The more the more ridiculous it's going to
look it's going to look like something's

hanging off of it but it

gets them the right thing you need in
terms of the spatial development but

that that was a big consideration that's
why you've got that repetitive bassist and

so you can keep extending
the right to question your art and

design sort of bailing on Brett that

instead of strategy the insulation
on the shell of the.

Shell of the main hangar is
that our one twenty which is

that spent and suspenders and
then belt and suspenders again.

And then obviously the biggest
challenge that we have is.

Fuselage element which bisects it

because it's got a lot of grass there's
transitions of different materials

in there that's really the big that's
sort of the big area for concern.

So the only areas where we've really had
problems with the humidity are immediately

where that transition from the entry
sequence comes into the main hangar.

But it did it did affect
the decisions about the enclosure.

You know a lot of places

insulation ends up being a vapor barrier
there's a series a Strat in their roof.

That's to ability hyper on
the roof membrane them and

in fact there's a separation panel three
quarter inch plywood separation panel then

but a twenty twenty
four inch thick zone of

extruded polystyrene built
up in two inch layers.

Staggered then there's another sheet rock

five separation panel it's put in
there and then it's acoustic back and

if you know how to back a set up there's
two layers of metal back that offset and

then there's a series of bats
that are put in there in between.

So it's a it's an expensive
enclosure system as well

not to say he's a really really

think you read what you don't know
we're you know anything so dollars

you know

it's implied how they might move and the
way the exhibits are set up they're put

in clusters so those images that I showed
you when you get down to the ground level.

Is represented in a in a class.

And then that cluster have foot whale

that goes around in a cain
way all around the edge.

So right now that is for a large sector
and it's implied how you move around

a bit of those masses but that's largely
prescribed by the curators that you know.

All right thank you.