History of the Museum of Contemporary Art, Cleveland
MOCA was founded in 1968 in a former frat house by Marjorie Talalay, Agnes Gund, and Nina Castelli Sundell- then named The New Gallery to showcase important developments in contemporary art. MOCA immediately attracted attention by introducing works of emerging, soon-to-be vanguard artists to Cleveland, such as Andy Warhol, Roy Lichtenstein, and Cindy Sherman for the first time.
In 1974, the New Gallery became a non-profit, and in 1984, changed its name to Cleveland Center for Contemporary Art, Northeast Ohio’s only museum dedicated to showing contemporary art. In 1996, the center moved to the second floor of a former Sears department store for six years.
In 2002, the organization’s name was changed to Museum of Contemporary Art (MOCA) Cleveland to celebrate its rich history, and recognize its impact on NE Ohio’s art scene. In 2006, MOCA announced relocation plans, and in 2011, broke ground for its new building. In the fall of 2012, MOCA’s new home, which is often re-
nounced relocation plans, and in 2011, broke ground for its new building. In the fall of 2012, MOCA’s new home, which is often referred to as a “gem” in Cleveland, a beautiful, innovative, hexagonal space, was completed to meet the needs of growing exhibitions, programs, and audiences, in an evolving comopolitan neighborhood among universities, medical institutions, cultural centers, and in close proximity to many Cleveland schools.
The display of contemporary art
The following sheets present an analysis of the display needs of 250 works of contemporary art. They show that contemporary art ranges in scale from the nano to the giga, in weight from light to extremely heavy, and in climatic requirements from no special needs to air-conditioning. They also show the different gallery surfaces that such artworks occupy: some are displayed on walls, others use the floor or the ceiling or a combination of all of these. There are also different acoustic needs: some artworks require silence while to others it makes no difference.
Spaces for the display of contemporary art must therefore be able to accommodate a range of scales and load-bearing conditions, environments that are totally air-conditioned as well as those which are open-air, and rooms which are not reliant solely on walls. The white cube gallery – generally regarded as the ultimate model for flexibility – is not only unable to address such extraordinarily diverse needs but can also, for many artworks, have redundant characteristics.
The unprecedented level of flexibility required of non-collecting museums is at odds with their need to generate funds by introducing ancillary commercial and educational programmes. Dedicated spaces for the ancillary programmes are commonly introduced around the galleries. This inflates the size of the building and separates the ancillary programmes from the artistic experience, turning the museum into an institution rather than combining the two into a single, flexible organisation.
Instead of a fixed organizational structure containing art spaces and non-art spaces, MOCA treats the social, educational and commercial spaces of the museum as events within the building with no permanent space, just like the art on display. The arrangement of the entire museum, and not just the galleries, is accordingly centred on the idea of transience: an assemblage of parts which act, individually or in groups, as agents in people’s engagement with MOCA, whether for experiencing art or for experiencing the museum as a social, educational and commercial venue.
Abramovic, Marina _ Luminosity (1997)
Abramovic, Marina _ Rhythm 0 (1974)
Abramovic, Marina _ Rhythm 10 (1973-1993)
Abramovic, Marina _ Seven Easy Pieces
Abramovic, Marina _ The Artist in Present (2010)
Abramovic, Marina and Ulay _ Imponderabilia (1977)
Abramovic, Marina and Ulay _ Relation in Time (1977)
Abts, Tomma _ Meko (2006)
Ahtila, Eija - Liisa _ The House (2002)
Ahtila, Eija-Liisa _ Okay, Me/We, Gray (1993)
Aitken, Doug _ Electric Earth (1999)
Akerman, Chantal _ From the East (1993)
Allora & Calzadilla _ Stop, Repair, Prepare (2008)
Almarcegui, Lara _ Bauschutt Hauptraum Secession (2010)
Althamer, Pawel _ Brodno 2000 (2000)
Althamer, Pawel _ Self-Portrait (1993)
Alys, Francis _ The Loop (1997)
Anatsui, El _ Dusasa I and II (2007)
Andre, Carl _ Lament for the Children (1976-1996)
Antoni, Janine _ Lick and Lather (1993)
Artschwager, Richard _ Untitled (1995)
Assael, Micol _ Chizhevsky Lessons (2007)
Ataman, Kutlug _ Kueba (2005)
Baghramian, Nairy _ La Lampe dans l’horloge (2008)
Balka, Miroslaw _ How It Is (2009)
Ball, Barry X _ Sleeping Hermaphrodite (2008)
Banner, Fiona _ The Nam (1997)
Barney, Matthew _ Chrysler Imperial (2002)
Barney, Matthew _ Cremaster Cycle (1994-2002)
Benglis, Lynda _ Quartered Meteor (1969)
Benning, Sadie _ Play Pause (2006)
Bhabha, Huma _ Bumps in the Road (2008)
BLUMENTHAL, HESTON _ CHOCOLATE FACTORY FEAST
Boetti, Alighiero _ Map (1989)
Boltanski, Christian _ La Vie Possible (1984)
Boltanski, Christian _ Lessons of Darkness (1988)
Boltanski, Christian _ The Life of C.B. (2010)
Bonvicini, Monica _ I Believe in the Skin of Things as in that of Woman (1999)
Bourgeois, Louise _ Arch of Hysteria (1993)
Bourgeois, Louise _ Maman
Bove, Carol _ The Night Sky Over Berlin, March 2, 2006, at 9pm (2006)
Bowery, Leigh _ Untitled (1988)
Bradford, Mark _ Enter and Exit the New Negro (2000)
Brisley, Stuart _ Beneath Dignity (1997)
Bruce High Quality Foundation, The _ We Like America, America Likes Us (2010)
Bruguera, Tania _ The Burden of Guilt (1997)
Bulloch, Angela _ RGB Spheres (2005)
Campbell, Jim _ Digital Watch
Cattelan, Maurizio _ Dynamo Secession (1997)
Cattelan, Maurizio _ Him (2001)
CATTS, ORON AND ZURR, LONAT _ VICTIMLESS LEATHER
Celmins, Vija _ Blackboard Tableau
Celmins, Vija _ Untitled (Ocean) (1990)
Chamberlain, John _ Foam Sculptures (1997)
Chamberlain, John _ Privet (1997)
Chan, Paul _ 1st Light (2005)
Currin, John _ Girl in Bed (1993)
Cytter, Keren _ Four Seasons (2009)
Deacon, Richard _ Red Sea Crossing (2003)
Dean, Tacita _ Disappearance at Sea (1996)
Demand, Thomas _ Bathroom (1997) diCorcia, Philip-Lorca _ Vittorio (1989)
Dijkstra, Rineke _ The Buzzclub, Liverpool, UK/Mysteryworld, Zaandam, NL, 1996-1997 (1996)
Djurberg, Nathalie _ Tiger Licking Girl’s Butt (2004)
Doig, Peter _ 100 Years Ago (2000) Donnelly, Trisha _ The Redwood and the Raven (2004) Douglas, Stan _ Hors-champs (1992) Durham, Jimmie _ Self-Portrait (1987) Edefalk, Cecilia _ Echo (1992)
Eliasson, Olafur _ Beauty (1993)
Eliasson, Olafur _ Multiple Shadow House (2010) Eliasson, Olafur _ The Weather Project (2003)
Eliasson, Olafur _ Wall Eclipse (2004)
ELLISON, RALPH _ INVISIBLE MAN Emin, Tracey _ I Promise to Love You (2010) Erkmen, Ayse _ Sculptures on Air (1997) Erlich, Leandro _ Swimming Pool (2008)
Evans, Cerith Wyn _ Against Nature (2003)
Evans, Cerith Wyn _ Joanna (Chapter One) (2010)
Evans, Cerith Wyn & Throbbing Gristle _ A=P=P=A=R=I=T=I=O=N (2008)
Farocki, Harun _ I Thought I Was Seeing Convicts (2000) Feldmann, Hans Peter _ Lips (2010) Feldmann, Hans-Peter _ 100 Years (1996) Feyzdjou, Chohreh _ Product of Chohreh Feyzdjou (1988) Finch, Spencer _ Sunset (South Texas 6/11/03) (2003) Fischer, Urs _ You (2007)
Fischli, Peter & Weiss, David _ The Way Things Go (1987)
Fischli, Peter & Weiss, David _ Visible World (1987) Flavin, Dan _ Blue Intensity (2007) Floyer, Ceal _ Door (1995)
Foerster, Gonzalez-Dominique _ Beaches (2001) Fraser, Andrea _ Museum Highlights: a Gallery Talk (1989) Fraser, Andrea _ Untitled (2003) Friedman, Tom _ Untitled (2000) Fudong, Yang _ Seven Intellectuals in a Bamboo Forest (2003)
Gego (Gertrude Goldschmidt) _ Reticularea Cuadrada (19712011)
Genzken, Isa _ Fuck the Bauhaus (2000)
Genzken, Isa _ I Love New York, Crazy City (1995)
Gillick, Liam _ The What If? Scenario (1996)
Gober, Robert _ Untitled (1991)
Gonzalez-Torres, Felix _ Untitled (Placebo) (1991)
Gordon, Douglas _ 24 Hour Psycho (1993)
Gordon, Douglas _ Play Dead; Real Time (2003)
Gordon, Douglas & Parreno, Philippe _ Zidane: A Twenty First Century Portrait
Gowda, Sheela _ And Tell Him Of My Pain
Graham, Rodney _ The Phonokinetoscope
Grimonprez, Johan _ Dial H-I-S-T-O-R-Y
Guggenheim Museum _ YouTube Play (2010)
Gursky, Andreas _ Siemens Karlsruhe
Haacke, Hans _ Blue Sail (1964-1965)
HAACKE, HANS _ CONDENSATION CUBE
Haacke, Hans _ Germania
Hamilton, Richard _ Unorthodox Rendition
Harrison, Rachel _ Voyage Of The Beagle
Hassan, Kay _ Flight
Hatoum, Mona _ The Light At The End
Hausswolff, Carl Michael Von _ Red Hayes, Sharon _ Everything Else Has Failed! Don’t You Think It’s Time For Love? (2007)
Heilmann, Mary _ The Third Man (1999)
Hemmer, Rafael Lozano _ 33 Questions Per Minute (2000)
Hemmer, Rafael Lozano _ Please Empty Your Pockets (2010)
Hill, Gary _ Tall Ships (1992)
Hirschhorn, Thomas _ Bataille-Monument (2002)
Hirst, Damien _ A Thousand Years (1990)
Hoeller, Carsten & Trockel, Rosemarie _ A House for Pigs and People (1997)
Höller, Carsten _ Test Site (2006)
Holzer, Jenny _ Lustmord (1993)
Holzer, Jenny _ Projections (2008)
Horn, Roni _ a.k.a. (2008)
Horn, Roni _ Opposite of White (2006)
Hsieh, Tehching _ One Year Performance (Cage Piece) (2009)
Huyghe, Pierre _ The Third Memory (2000)
Huyghe, Pierre & Parreno, Philippe _ No Ghost Just A Shell
Izquierdo, Emilia _ Mouth Series
Jaar, Alfredo _ The Sound of Silence (2006)
Jacir, Emily _ Where We Come From (2001)
Joreige, Lamia _ Objects of War (1999)
Julien, Isaac _ Looking for Langston (1989)
KAC, EDUARDO _ EDUNIA
KAC, EDUARDO _ GFP BUNNY
Kapoor, Anish _ Svayambh (2007)
Kawara, On _ Date Painting (Today)
Kawara, On _ I got up at Kawara, On _ I went and I met
Kawara, On _ One Million Years
Kelley, Mike _ Educational Complex (1995)
Kelley, Mike _ More Love Hours Than Can Ever Be Repaid (1987)
Kelly, Ellsworth _ Ground Zero Proposal (2003)
Kentridge, William _ History of the Main Complaint (1996)
Kielnhofer, Manfred _ Interlux Chair (2010)
Kippenberger, Martin _ Untitled (1988)(1995)
Koons, Jeff _ Puppy (1992)
Koons, Jeff _ Rabbit
Kraus, Kitty _ Untitled (Spiegellampe) (2006)
Kruger, Barbara _ Untitled (Your Body is a Battleground) (1989) land Foundation, the _ the land (1998)
Lassnig, Maria _ Lady in Plastic (2005)
Lawler, Louise _ Grieving Mothers (Attachment) (2005) Leckey, Mark _ Fiorucci Made Me Hardcore Leonard, Zoe _ Tree + Fence (1998)
Levine, Sherrie _ La Fortune (After Man Ray) (1990) Ligon, Glenn _ Untitled (“I am an invisible man”) (1991) Lucas, Renata _ Crossing (2003) Lucas, Sarah _ Au Naturel (1994)
Lucier, Mary _ The Plains of Sweet Regret (2002-2007) Majerus, Michel _ what looks good today may not look good tomorrow (1999)
Manders, Mark _ Inhabited for a Survey (First Floor Plan from Self-Portrait as a Building) (1986)
Manders, Mark _ Unfierd Clay Figure (2005-2006) Marclay, Christian _ The Clock (2010) McCall, Anthony _ You and I, Horizontal III (2007) McCarthy, Paul _ Bossy Burger (1991) McNamara, Ryan & Robert Geller _ You Can Dance (2010) McQueen, Steve _ Bear (1993)
Meireles, Cildo _ Mission/Missions (How to Build Cathedrals) (1987)
MEIRELES, CILDO _ RED SHIFT
Mengbo, Feng _ Long March: Restart (2008)
Montano, Linda _ 7 Years of Living Art (1984-1998)
Morales, Sebastian Diaz _ The Means of Illusion (2006-2007) Morris, Robert _ Bodyspacemotionthings (2009)
Morris, Sarah _ Capital (2000)
Nauman, Bruce _ Violent Incident: Man-Woman Segment (1986)
Nauman, Bruce _ World Peace (Projected) (1996)
Neshat, Shirin _ Turbulent (1998)
Neshat, Shirin _ Women Without Men (2004-2008)
Neto, Ernesto _ Navedenga (1998)
Neuenschwander, Rivane _ Involuntary Sculptures (Speech Acts) (2001)
Noland, Cady _ Oozewald (1989)
Ofili, Chris _ The Upper Room (2002)
Ondak, Roman _ Measuring the Universe (2007)
Orozco, Gabriel _ La DS (1993)
Ortega, Damian _ Cosmic Thing (2002)
Owens, Laura _ Untitled (2002)
Panayiotou, Christodoulos _ Wonderland, Neverland, I Land
Pape, Lygia _ Web I, C (2002)
Parker, Cornelia _ Cold Dark Matter (1991)
Parker, Cornelia _ Perpetual Canon (2004)
Parrino, Steven _ Skeletal Implosion #3 (2001)
Pfeiffer, Paul _ Long Count, The (Rumble in the jungle) (2001)
Phillips, Richard _ Spectrum (1993)
Ping, Huang Yong _ The History of Chinese Painting and the History of Modern Western Art Washed in the Washing Machine for Two Minutes (1987)
Piper, Adrian _ Cornered (1988)
Polke, Sigmar _ Axial Age (2005)
Price, Seth _ Dispersion (2002)
Prince, Richard _ Untitled (Cowboy) (1989)
Raad, Walid _ Hostage: The Bachar Tapes (1993-2002)
Raad, Walid _ The Atlas Group Archive (1999)
Rainer, Yvonne _ Trio A (1965)
Ray, Charles _ Fall ‘91 (1991)
Rehberger, Tobias _ Seven Ends of the World (2003)
Richter, Gerhard _ Cologne Cathedral Window (2007)
Richter, Gerhard _ Grau, Grey
Richter, Gerhard _ October 18, 1977 (1988)
Rist, Pipilotti _ Pour Your Body Out (7354 cubic meters) (2008)
Rist, Pipilotti _ Sip My Ocean (1996)
Roth, Dieter _ Solo Scenes (1997)
Rothko, Mark _ Untitled (1971)
Ruscha, Ed _ Then&Now
Sala, Anri _ Intervista (1998)
Salcedo, Doris _ Shibboleth (2007)
Saraceno, Tomas _ Venice 2024 2400 (2000)
Schmidt, Michael _ U-NI-TY (1991)
Schneemann, Carolee _ Interior Scroll (2003)(1995)
Schneider, Gregor _ Totes Haus u r (2001)
Schuette, Thomas _ United Enemies (1993)
Sehgal, Tino _ Instead Of Allowing Somethings To Rise Up To Your Face
Sekula, Allan _ Fish Story (1988)
Serra, Richard _ A Matter Of Time
Sherman, Cindy _ Untitled
Shonibare, Yinka _ How Does A Girl Like You Get To Be A Girl
Like You
Simpson, Lorna _ Guarded Conditions (1989)
Singh, Dayanita _ Sent a Letter (2008)
Smith, Josh _ Untitled (2007)
Spero, Nancy _ Black and the Red III (1994)
Sprinkle, Annie _ Public Cervix Announcement (1990)
Starling, Simon _ Shedboatshed (2005)
Starling, Simon _ Wilhelm Noack oHG (2006)
Starn, Doug & Mike _ Big Bambu (2008)(1995)
Stelarc with Podborsek & Sung _ Ear On Arm (2008)
Struth, Thomas _ Pergamon Museum Berlin (2001)
Sze, Sarah _ Just Now Dangled Still (2008)
Taaffe, Philip _ Intersecting Balustrades (1987)
Tan, Fiona _ Saint Sebastian (2001)
Taylor Wood, Sam _ The Last Century
Tayou, Pascale Marthine _ Game Station (2002)
The Serpentine Garden _ Sanaa Pavilion (2009)
Tillmans, Wolfgang _ Corinne on Gloucester Place (1993)
Tillmans, Wolfgang _ paper drop (gold) (2006)
Tiravanija, Rirkrit _ untitled 1992 (free) (1992)
Trecartin, Ryan _ Any Ever (2007-2010)
Trecartin, Ryan _ I-BE AREA (2007)
Trockel, Rosemarie _ Untitled (Made in Western Germany)
Turrell, James _ Roden Crater (2001)
Turrell, James _ Sustaining Light (2007)
Tuymans, Luc _ Gas Chamber (1986)
Valie Export _ Tap and Touch Cinema (1968) Vezzoli, Francesco _ Ballets Russes Italian Style (2009) Villareal, Leo _ Field (2007)
Walker, Kara _ Gone: An Historical Romance of a Civil War as It Occured Between the Dusky. Thighs of One Young Negress and Her Heart (1994)
Walker, Kelley _ Black Star Press (Rotated 180 Degrees) (2006)
Wall, Jeff _ Dead Troops Talk (1992) WALL, JEFF _ THE DESTROYED ROOM
Warren, Rebecca _ Helmut Crumb (1998)
Wearing, Gillian _ Drunk (1999) Wei Wei, Ai _ Fairytale (2007)
WEIWEI, AI _ DROPPING A HAN DYNASTY URN (1995) Weiwei, Ai _ Sunfl ower Seeds (2010)
Whiteread, Rachel _ Embankment (2005) Whiteread, Rachel _ House (1993) Wilson, Fred _ Mining the Museum (1992) Wojnarowicz, David _ Close to the Knives: A Memoir of Disintegration (1991)26
Wool, Christopher _ Untitled (1990) Yang, Haegue _ Sadong 30 (2006) Young, La Monte and Marian Zazeela _ Dream House (1990) Yun, Chu _ Constellation Zaatari, Akram _ This Day
Zmijewski, Artur _ Democracies (2009)
This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space, was completed to meet the needs of growing exhibition This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space, was completed to meet the needs of growing exhibition
The world is defined by diversity: different ideas, people and things. Borders between countries that have become sites of contention during the last two decades – such as the border between Mexico and the USA, between Spain and Morocco, between China and North Korea, between Iran and Pakistan, between India and Burma, between Kuwait and Iraq – intend to eliminate diversity by blocking free movement. And there are many proposals for new borders – between Morocco and Algeria, between Hungary and Serbia, between Hungary and Croatia, between Turkey and Syria, between Turkey and Iran, between Brazil and Argentina, between Russia and Ukraine, between Malaysia and Indonesia and between the United Kingdom and.
Research
(Year 1)
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p. 148–152
Site
Strategies (Year 1)
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p. 148–152
Envelope (Years 1–5)
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p. 148–152
Stairs (Years 2–5)
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p. 148–152
Materiality and color (Year 5)
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pp. 148–152
Ceilings (Years 2–5)
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p. 148–152
Climate and Lighting (Year 5)
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p. 148–152
Prototypes (Year 6)
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p. 148–152
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There are many variations of passages of Lorem Ipsum available, but the majority have suffered alteration in some form, by injected humour, or randomised words which don’t look even slightly believable.
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1
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There are many variations of passages of Lorem Ipsum available, but the majority have suffered alteration in some form, by injected humour, or randomised words which don’t look even slightly believable.
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Level
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This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space, was completed to meet the needs of growing exhibition
This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space, was completed to meet the needs of growing exhibition
This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space, was completed to meet the needs of growing exhibition
This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space, was completed to meet the needs of growing exhibition
This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space, was completed to meet the needs of growing exhibition
This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space, was completed to meet the needs of growing exhibition
The world is defined by diversity: different ideas, people and things. Borders between countries that have become sites of contention during the last two decades – such as the border between Mexico and the USA, between Spain and Morocco, between China and North Korea, between Iran and Pakistan, between India and Burma, between Kuwait and Iraq – intend to eliminate diversity by blocking free movement. And there are many proposals for new borders – between Morocco and Algeria, between Hungary and Serbia, between Hungary and Croatia, between Turkey and Syria, between Turkey and Iran, between Brazil and Argentina, and Ukraine, between Malaysia and Indonesia and between the United Kingdom and Europe.
Moca, Cleveland
Agents 1 & 2 (Reconfigurability)
Envelope Shape and Entry Floor – One of the principal agents is the building envelope, which is composed of the following elements, or ‘small agents’: its shape, its entrances, its rainscreen cladding, its fireproof paint and structure, and its windows. The shape of the envelope, generated by a compact hexagonal entry floor rising to a rectangular roof, is the best fit, after a circle, for the museum’s triangular corner site. The building is situated at one end of the site, which allows the maximum amount of space for a plaza in front. The shape of the envelope also provides five separate entrances on the different sides of the museum so that it can be subdivided into distinct areas which can be accessed separately.
pp. 45–46
Agent 3 (Inclusivity)
Fourth Floor – The compact footprint generates a four-storey building and an inclusive museum. The paid gallery is located on the top floor, to leave the first three floors free of charge and accessible to all. This gallery has a rectangular floor plan and a long-span structural roof, both of which make it highly flexible and able to be subdivided for smaller exhibitions.
pp. 47–48
Building and its Agencies
This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space, was completed to meet the needs of growing exhibition
This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space, was completed to meet the needs of growing exhibition
This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space, was completed to meet the needs of growing exhibition
This is a short credit text underneath an image the fall of 2012, innovative, hexag-
This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space, was completed to meet the needs of growing exhibition
Agents 1–3
Envelope Shape and Entry Floor
The generated Lorem Ipsum is therefore always free from repetition, injected, or non-characteristic words. There are many variations of passages of Lorem Ipsum available, but the majority have suffered alteration in some form, by injected humour, or randomised words which don’t look even slightly believable
This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space, was completed to meet the needs of growing exhibition
This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space, was completed to meet the needs of growing exhibition
The generated Lorem Ipsum is therefore always free from repetition, injected, or non-characteristic words. There are many variations of passages of Lorem Ipsum available, but the majority have suffered alteration in some form, by injected humour, or randomised words which don’t look even slightly believable
Moca, Cleveland
Agent 4.1 (Curatorial Continuity)
Floors – The museum offices, the classroom and the workshops are interspersed across the two transitional floors between the hexagonal entry floor and the rectangular top floor gallery, flanked by a grand stair to enable vertical curatorial continuity and reveal the process of exhibition-making to visitors as they climb the stairs to the top-floor gallery.
pp. 62–68
Agent 4.2 (Floor Plans)
The building mass is therefore not presented as a closed volume but as the transition of four floors with distinctive shapes that were chosen for the experience each provides visitors once they have entered the building.
pp. 69–73
Agent 5 (Non-linear circulation)
Double-Decker Stair – One of the egress stairs is beneath the public stair. This “double-decker” stair inverts the typical linearity of there isn’t anything embarrassing hidden in the middle of tex formgoing to use a pas stairs by providing visitors with ten different ways to ascend the four floors of the museum.
pp. 74–78 Building and its
This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space, was completed to meet the needs of growing exhibition This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space, was completed to meet the needs of growing exhibition
Moca, Cleveland Building and its Agencies
The generated Lorem Ipsum is therefore always free from repetition, injected, or non-characteristic words. There are many variations of passages of Lorem Ipsum available, but the majority have suffered alteration in some form, by injected humour, or randomised words which don’t look even slightly believable
This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space, was completed to meet the needs of growing exhibition
Agents 4–5
Floors and Stairs
This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space, was completed to meet the needs of growing exhibition
Moca, Cleveland
This is a short credit text underneath an image the fall of 2012
This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space.
Microagent 14.1 (Scalelessness, Lightness)
Envelope exterior cladding – The building envelope is designed as a stainless steel rainscreen surface, arranged diagonally from one face of the envelope’s prismatic form to another. The diagonal banding generates a sense of lightness. A running bond pattern is used to reinforce this banding, and panels are bent around the corners to eliminate seams. Seventy per cent of the panels have the same length – 9’ 2” – which helps to maintain a sense of continuity. The widths of the remainder of the panels are adjusted to maintain the continuity of the banding across the faces. Windows are arranged as long diagonal strips which follow the direction of the diagonal metal strips, irrespective of the floor levels within. Just as the presence of the floors is concealed from the exterior, so is any sensation of load. Consequently, the exterior of the envelope transmits scalelessness and lightness.
pp. 75–82
Agent 14.2 (Black mirror stainless steel)
Exterior cladding – To introduce the dimension of time, or a sense of transition, the metal cladding strips are designed in black mirror stainless steel.
pp. 76–84
This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space
Completed to meet the needs of growing exhibition This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space, was completed to meet the needs of growing exhibition
Cleveland
This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space, was completed to meet the needs of growing exhibition This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space, was completed to meet the needs of growing exhibition
The generated Lorem Ipsum is therefore always free from repetition, injected, or non-characteristic words. There are many variations of passages of Lorem Ipsum available, but the majority have suffered alteration in some form, by injected humour, or randomised words which don’t look even slightly believable
Microagent 14.1 (Scalelessness, Lightness)
Envelope exterior cladding – The building envelope is designed as a stainless steel rainscreen surface, arranged diagonally from one face of the envelope’s prismatic form to another. The diagonal banding generates a sense of lightness. A running bond pattern is used to reinforce this banding, and panels are bent around the corners to eliminate seams. Seventy per cent of the panels have the same length – 9’ 2” – which helps to maintain a sense of continuity. The widths of the remainder of the panels are adjusted to maintain the continuity of the banding across the faces. Windows are arranged as long diagonal strips which follow the direction of the diagonal metal strips, irrespective of the floor levels within. Just as the presence of the floors is concealed from the exterior, so is any sensation of load. Consequently, the exterior of the envelope transmits scalelessness and lightness.
pp. 75–82
Agent 14.2 (Black mirror stainless steel)
Exterior cladding – To introduce the dimension of time, or a sense of transition, the metal cladding strips are designed in black mirror stainless steel.
pp. 76–84
This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space, was completed to meet the needs of growing exhibition This is a short credit text underneath an image the fall of 2012, innovative, hexagonal space, was completed to meet the needs of growing exhibition
The generated Lorem Ipsum is therefore always free from repetition, injected, or non-characteristic words. There are many variations of passages of Lorem Ipsum available, but the majority have suffered alteration in some form, by injected humour, or randomised words which don’t look even slightly believable
