The studio focused on developing a language for Architectural Exhibition facilitated by the following:
- conceptualization of Ideas and Methodologies
- analysis of Site, Context and Experience
- translation of Concepts to Form and Program
- implementation of an Architectural Language

Focusing on the “envelope” of the building as a viable and “useful” entity, the studio begs the question, How does the “envelope” or “container” of a space become a device or filter for Exhibition. In so doing, How does it act to contextualize, reveal, educate, frame, collect, occupy, circulate, screen, respond and reflect the experience of the object or information exhibited? And ultimately, How does the language ensure a reciprocity between a building type for Exhibition and the Exhibition of the building itself?

In development of a series of surfaces and spaces where objects and information are incorporated into the “envelope” or “container” in particular ways the architecture begins to understand exhibition of useful objects. Permanent and temporary exhibit opportunities are designed to express such things as:
- The Historical Nature of the Object
- The Cultural Nature of the Object
- The Aesthetic Nature of the Object
- The Conceptual Nature of the Object
- The Physical Nature of the Object
- The Ergonomic Nature of the Object
- The Technological Nature of the Object
- The Environmental Nature of the Object

time: a directional narritive

[architecture of exhibition]

2012 arch-5410

denver, colorado : location

barbara ambach : instructor

10,000 sq.ft. : size

transverse section [a]

time characterized by light

Time is characterized by changing plans, unexpected visions, and sudden opportunities, all with respect to lighting. With the “pin” wall facing south, this wall will be the main driving force with natural daylight inside the museum. Time, in turn, will be perceived through the changing shadows cast upon the flooring and walls. During the night, the museum will reflect itself upon the surround structures. It is proposed that the museum will hold time at a constant during the night in terms of lighting and be ever-changing during the day. Therefore, the museum will be stuck in time at night and resume it’s effect of daylighting during the day.

Light or the absence of light throughout the museum describes how each space is meant to be utilized. For example all gallery spaces are open to natural lighting, where as the community room serving as a theater will be absent from such events. Gallery storage space is contained with the massing walls where observers are presented views to the archived objects creating yet another gallery in itself.

Time characterized by ever changing light.

site plan

section model [top view]


floor level | -1

floor level | 1

floor level | 2

time measured by movement

Time can be perceived by both observers inside the museum and observers outside. The “pin” wall is a machine and time keeping device that marks movement through the gallery spaces. When a passersby comes within a certain distance of the “pin” wall the pins themselves will extend outward. Therefore, seen from the outside the main wall will display the waves of human interaction within the museum. Thus, time can be seen in terms of the museum observers traffic flow. When at slower business hours the wall will be seen as a more static time piece; however, when the galleries are full, the wall in turn changes to represent the high volume of human interaction within the museum.

The museum becomes a display in itself. Like a watch face, the southern facade is the mechanical device that not only displays a time within the museum, but also provided the museum with a direction towards the Cherry Creek and mountains beyond. It is intended that this device dictate all actions throughout the galley space such as, circulation, views, and display opportunities.

Time moves differently in accordance to observer through the museum.
upper large gallery

south elevation

time as an object [time piece]

reciprocate the main “pin” wall/mechanical device, giving the observer an intended direction with limited and scarce perpendicular views. Also, sections of the enclosing glass are to be frosted over to reinforce the previous idea. So, like a meaningful watch, these two elevations are meant to be more like a piece of art and describe the social nature of the objects it is displaying. A Rolex or another high end watch says something about the owner as opposed to a off brand and the envelope of the museum is meant to describe the objects it holds through an aesthetic nature.

As time becomes everlasting, the museum stands in a place where time cannot be measure but only perceived. The observers can perceive the museum in regards to the relative bearing, place, and time of day they are located. So, like time the observers perception on a space will be unique and individual to each observer.

Time is timeless. Time displays the social aspect of aesthetics.

mont blonc


franck muller

baume mercier


east elevation
west elevtaion

facade study model

facade study model

time as a display

Time is set within each massing wall separating gallery space and storage space. This is accomplished by the roof apertures being reflected through each wall during special measured times such as the summer solstice, fall equinox, and winter solstice. During each of these moments the light will flow through the roof skylights directly into a set window/display case in the wall.

During the night the same idea will be in effect, except the other way around. Located in the storage space are lighting elements that will reciprocate the light back through the wall aperture towards the skylight in the roof. Therefore, lighting is dictated by time and how an observer perceives the space is always in flux.

There are two other concepts of time are brought into the museum. One: The centralized pendulum is a means of display that offers direction. Two: The sundial located outside nearthe cafe measures time with the movement of light.

Time is measured by merging certain events together.

transverse section [b]