t e x a s t e c h n 0 l 0 g i c a l c 0 l l e g e thesis
TRANSCRIPT
T E X A S T E C H N 0 L 0 G I C A L C 0 L L E G E
THESIS:
AN ART MUSEUM FOR FORT WORTH, TEXAS
BY
M I K E R 0 B I N S 0 N
SUBMITTED AS PARTIAL FULFILLMENT OF REQUIREMENTS FOR DEGREE OF BACHELOR OF ARCHITECTURE
IN DEPARTMENT OF ARCHITECTURE AND ALLIED ARTS
MAY, 1966
A C K N 0 W L E 0 G E M E N T
I WOULD LIKE TO EXPRESS MY APPRECIATION TO MY LOVING WI~E,
CAROLYN, WHOSE PATIENCE, SECRETARIAL SERVICES, AND GENERAL
ENCOURAGEMENT MADE THIS THESIS POSSIBLE.
I WOULD ALSO LIKE TO ACKNOWLEDGE GRATE~ULLY THE TI ME AND
ASSISTANCE GIVEN TO ME BY OR. RICHARD FARGO BROWN.
MPR
TABLE OF CONTENTS
I. FoRWARD
I I . PROGRAM AND RESEARCH .
II I •
A. HISTORY o ~ MusEuM
B. TYPES o~ MusEuMs
C . FuNCTIoNs OF MusEuMs •
D. PuRPOSES oF MusEuMs
K I MBELL ART MUSEUM •
A.
B.
CL I ENT:
DIRECTOR:
KAY KI~BELL FouNDATIO~
DR. R I CHARD FARGO BROWN •
c. KI MBELL ART COLLECT I ON .
D. F l NANCES •
E. PoL 1 cy STATEMENT •
F . s ITE •
G. FACIL IT IES INCORPORATED I N MUSEUM DESIGN •
H. S TAFF •
I . GENERAL PERT I NEN T IN~ORMATION
J. CoNCEPT.
IV. EXPLANAT I ON OF DESIGN SOLUT I ON •
A. S I TEWORKe
B. FUNC TI ONS • .. C. GENERAL Bu i LD I NG CoNF I GURAT ION •
P AGES
I v.
1.
1.
3.
5.
6 .
8.
8 .
9 .
11 .
13.
14.
20 .
23 .
• • 26 .
31 .
36 .
98.
•• 38 .
39.
4-1 .
v.
D.
E.
F.
STRUCTURAL SYSTEM •
MECHANICAL, ELECTRICAL AND PLUMBIN G EQUIPMENT
MATERIAL S •
81 BLIOGRAPHY •
• 42 •
• 43.
•• 45.
• 47.
F 0 R W A R D
"THE NEED IS TO UPSET CONVENTIONS IN ORDER TO CLOSE THE
GAP BETWEEN WHAT MUSEUMS ARE DOING AND WHAT THE WORLD EXPECTS
-DR. F.P. KEPDEL PRESIDENT 0~ THE CARNEGIE CORPORATION, IN HIS ANNUAL REPORT TO THE CORPORATION, 1937.
I •
FoR MY THESIS I HAVE CHOSEN TO DO AN ART MUSEUM ~OR
FORT WoRTH, TEXAS. I ~EEL THAT AN EXPLANATION 0~ THE REASONS
WHY I CHOSE THIS PROdECT COULD WELL BE IN ORDER. FIRST, TO ME,
THE DESIGN 0~ AN ART MUSEUM PRESENTS AN EXCITING CHALLENGE. THE
ARCHITECT IS CALLED UPON TO MELD THE GRAPHIC AND PLASTIC ARTS
INTO AND WITHIN AN ARCHITECTURAL WORK 0~ ART, HOPE~ULLY ALL
~UNCTIONING AS ONE UNIT, WITH EACH ART ~ORM COMPLEMENTING AND
ENHANCING THE OTHER.
SECOND, AND 0~ ALMOST EQUAL IMPORTANCE TO ME 1 IS THE ACTU-
ALITY 0~ THE EXISTENCE 0~ THIS PROBLEM. AT PRESENT THERE IS AN
ACTIVE ~ORCE 0~ PEOPLE IN FORT WORTH, WORKING SOLELY ~OR THE DAY
WHEN THIS ART MUSEUM SHALL BE IN OPERATION. FuNDS HAVE BEEN
ALLOCATED, AND THE SEARCH ~OR AN ARCHITECT IS CURRENTLY UNDERWAY.
IV.
THIRD, I HAVE BEEN, AND STILL AM, EXCITED BY THE TYPE AND
QUALITY OF THE MUSEUM THE KIMBELL ART MUSEUM IS GOING TO BEe
AND FOURTH, THIS MUSEUM IS GOING TO BE BUILT IN MY HOME
TOWN, ON A SITE WITH WHICH I AM QUITE FAMILIAR. ~ORT WORTH IS
A CITY WHICH, WHILE PROUD OF THE TRADITIONS OF ITS PAST, IS ALSO
VERY CRITICALLY CONCERNED WITH THE EXPLOITATION OF THE OPPORTUN
ITIES OF ITS FUTURE - IN PARTICULAR THE PROMOTION AND IMPROVEMENT
OF ITS CULTURAL LIFE.
HOME THERE ONCE AGAIN.
SHALL RETURN TO ~ORT WoRTH AND MAKE MY
II •
BECAUSE OF THE EXISTENCE OF A REAL CLIENT FOR MY THESIS, I
HAVE BEEN FORTUNATE (oR UNFORTUNATE) ENOUGH TO WORK WITHIN THE
BOUNDARIES OF SOME VERY REAL ARCHITECTURAL REQUIREMENTS AND LIMI
TATIONS. THESE REQUIREMENTS I HAVE CONSCIENTOUSLY TRIED TO MEET
WITH LITTLE REVISION; BUT I HAVE AMPLIFIED SOME, DE-EMPHASIZED A
FEW, AND (I AM AFRAID) HAVE COMPLETELY RATIONALIZED A VERY FEW
OTHERS. THE LIMITATIONS, THOUGH NOT NUMEROUS, HAVE ALL BEEN TAKEN
INTO ACCOUNT AND, I THINK, MET AS WELL AS POSSIBLE. I TRUST THIS
PROJECT WILL BE WELL RECEIVED AS A WORTHY THESIS.
v.
THE MUSEUM IN GENERAL ITS HISTORY, TYPES, FUNCTIONS, AND PURPOSES
"IN ITS PRESENT MEANING, THE TERM 1MUSEUM 1 REFERS TO A
COLLECTION OF SPECIMENS OF ALMOST ANY CHARACTER AND IS IN THEORY
CONNECTED WITH THE EDUCATION OR ENJOYMENT OF ANYBODY WHO MAY WISH
1 TO AVAIL HIMSELF OF ITS FACILITIES."
I. A BRIEF HISTORY oF THE DEVELOPMENT oF MusEuMs
A. BACKGROUND
1
MAN HAS ALWAYS BEEN BY NATURE A "COLLECTOR",
INSISTING UPON SURROUNDING HIMSELF WITH THE OBJECTS
OF HIS DESIRES. PRIVATE COLLECTIONS OF ARTIFACTS
PROBABLY BEGAN WITH THE CAVE MENo SuCH PRIVATE HOARDS
FLOURISHED AND GREW UNTIL JULIUS CAESER "IN HIS EFFORTS
AT REFORM OF DOMESTIC POLICY ••• CONDEMNED HOARDING BY
PRIVATE INDIVIDUALS AND HI~SELF SET AN EXAMPLE BY
2 DEDICATING HIS OWN COLLECTIONS TO TEMPLES."
CAESER 1S EFFORTS ULTIMATELY FAILED, HOWEVER, AND THE
ENJOYMENT OF WORKS OF ART CONTINUED TO BE AN INDIVIDUAL
THROUGHOUT THE MIDDLE AGES AND THE CENTURIES BEYOND.
WITL!N, ALMAs., PH.D., THE MUSEUM, ITS HISTORY AND ITS TASKS AND EDuCATION (LoNDoN: RouTLEDGE AND KEGAN PAuL LIMITED, 1949), P. f.
2 ~., P. 1.
1.
3
ONLY IN TEMPLES AND CHURCHES COULD THE PUBLIC AT
LARGE SEE WORKS OF ART, AND HERE THE TECHNIQUE OF DISPLAY
3 WAS NOT CONDUCIVE TO UNPREJUDICED OBSERVATION. HOWEVER,
IN THE SIXTEENTH CENTURY LORENZO Dl MEDICI SET A
PRECEDENT BY ALLOWING YOUNG ARTISTS AND VISITORS TO
VIEW THE COLLECTIONS ON HIS GROUNDS AND IN HIS PALACE,
PRIMARILY TO AFFORD TRAINING FOR THE ARTISTS, IN KEEP-
lNG WITH THE RENAISSANCE PATRONAGE POLICY OF THE MEDICI
FAMILY.
IN 1683 THE "AsHMOLEAN MuSEUM", THE FIRST PUBLIC
MUSEUM IN ~UROPE, WAS OPENED AT OXFORD UNIVERSITY, BUT
WAS PRIMARILY INTENDED TO BE A PLACE OF RESEARCH, NOT AN
AID TO THE ENLIGHTENMENT OF THE PUBLIC. FROM THIS TIME ON,
MUSEUMS BEGAN TO SPRING UP AND PROLIFERATE IN EUROPE.
THE BRITISH MUSEUM OPENED TO THE PUBLIC IN 1759. THE
LOUVRE IN FR ANCE OPENED TO THE PUBLIC IN 1793. IN 17TH
CENTURY ITALY, THE VATICAN GROUND S WERE OPENED ON A LIMITED
BASIS TO THE PUBLIC AND THE MUSEIO P10 CLEMENTINO WAS
OPENED IN 1733. DuRING THE NINTEENTH CENTURY PUBLIC
4 MUSEUMS WERE OPENED IN SPAIN, AUSTRIA, GERMANY, AND RuSSIA.
IBID., Po 109.
4 ~•t Po 138-139.
2.
B. EFFORTS AT REFORMATION oF ExiSTING MusEuMs
SINCE THE FIRST MUSEUMS WERE PRIMARILY DISORGANIZED
AND LITTLE ORIENTED TO THE EDUCATION OF THE PUBLIC AT
LARGE, VARIOUS EFFORTS WERE MADE IN RESPONSE TO PUBLIC
DEMAND FOR REFORM. THE REFORMATION PERIODS MAY BE BEST
DIVIDED INTO TWO: ONE BEFORE, AND ONE AFTER WORLD WAR I.
THE FIRST PERIOD SAW MUSEUMS TAKE ON A NEW DIRECTION;
THAT OF EXPRESSION OF NEW NATIONAL PATRIOTISM. ALSO BEGIN-
NLNG TO BE EMPHASIZED WAS THE INSTRUMENTATION OF THE MUSEUM
FOR THE I NVESTIGATION INTO A VARIETY OF SCIENTIFIC PROBLEMS
AND, TO A LESSER DEGREE, FOR THE EDUCATION OF THE PUBLICoS
THE SECOND PERIOD OF REFORM SAW A TREMENDOUS I NCREASE
IN THE ACTIVITY OF THE MUSEUM WORLD. DuRING THIS PERIOD
HUNDREDS OF MUSEUMS WERE BORN; AND THE NEW MUSEUMS BEGA N
TO TAKE ON INDIVIDUAL CHARACTERS AND PURPOSES. SMALL LOCAL
MUSEUMS SPRUNG UP. MoST IMPORTANTLY, MUSEUMS BEGAN TO
SHOW EXPERIMENTAL EXHIBITS, AND ALSO BE GAN TO CO- OPERATE
WITH EAC H OTHER. DuRING THIS PERIOD CAME THE GREAT EX-
PLOSION OF THE AMERICAN MUSEUM, UNIQUE I N THAT IT INTRO-
DUCED THE FIRST REAL CONCEPT OF A MUSEUM DEVELOPED BY, FOR,
6 AND OF THE PEOPLE.
I I. A BRIEF SuRVEY OF THE TYPES oF AMERICAN MusEUMS
THERE ARE BASICALLY TWO TYPES OF MUSEUMS: THE STORAGE
MUSEUM AND THE DISPLAY MUSEUM. THE STORAGE MUSEUM IS EXACTLY
5 6 1BID., P. 168. ~., Pe 171-172.
3.
WHAT THE NAME IMPLIES, A "wAREHOUSE" FOR THE PRESERVATION AND
STORAGE OF WORKS OF ART, AND IS NOT INTENDED FOR THE ACCESS OF
THE PUBLIC. V.HE DISPLAY MUSEUMS, ON THE OTHER HAND 1 ARE PRI
~ARILY JNOENDED FOR THE EXHIBITION OF ART FOR THE ENTER
TAINMENT AND EDUCATION OF THE PEOPLE AT LARGE, OR IN PARTICULAR.
DISPLAY MUSEUMS CAN BE CATEGORIZED AS FOLLOWS, ACCORDING TO
THE TYPE OF VISITOR WHO IS LIKELY TO USE THEM:
A. THE RESEARCH MUSEUM
THIS TYPE OF MUSEUM IF FOUND PRIMARILY IN OR NEAR
UNIVERSITY CAMPUSES 1 AND IS INTENDED FOR USE AS AN AID
IN THE RESEARCHING OF A PARTICULAR FJELD BY STUDENTS.
B. STUDENTS' GALLERIES
STUDENTS 1 GALLERIES ARE USUALLY FOUND WITHIN BUT
SEPARATE FROM THE REST OF LARGE MUSEUMS. THESE GALLERIES
ARE AGAIN USED PRIMARILY FOR RESEARCH AND STUDY SY
STUDENTS AND SERIOUS PATRONS. STORAGE FACILITIES ARE
NORMALLY INCORPORATED INTO EACH EXHIBIT SPACE TO FUR
THER IMPLEMENT RESEARCH.
c. THE MUSEUM OF BASIC FACTS
THE MUSEUM OF BASIC FACTS IS THE TYPE WHICH IS
INTENDED TO EDUCATE THE INTERESTED PUBLIC ON THE PARTIC
ULAR MATTER WITH WHICH THE MUSEUM CONCERt« ITSELF'e ONE
OF' THE MOST POPULAR SUBJECT MATTERS F'OR MUSEUMS OF' THIS
TYPE IS THE ANCESTRY OF MANe
4.
D. THE MUSEUM FOR THE GENERAL PUBLIC
THE MUSEUM FOR THE GENERAL PUBLIC MAY BE LARGE OR
SMALL, AND MAY HAVE ON EXHIBITION ALL TYPES OF OBJECTS
FOR THE ENLIGHTENMENT OF THE POPULACE. THE TREND OF LATE
IS FOR SUCH MUSEUMS TO CONCENTRATE SPECIFICALLY UPON ONE
FIELD OR ONE MOVEMENT WITHIN A CERTAIN FIELD OR ART WORK.
E. THE MUSEUM FOR CHILDREN
THE MUSEUM FOR CHILDREN IS ESPECIALLY DESIGNED SO
AS TO STIMULATE AND EDUCATE THE CHILD BY APPEALING lO HIS
INTELLECT AND EMOTIONS. SUCH MUSEUMS GROW IN COMPLEXITY
WITH THE MATURITY OF THE CHILD, BUT ALL OFFER PROGRAMS
7 OF EXHIBITIONS OF CREATIONS BY THE CHILDREN THEMSELVES.
I I I. THE PRIMARY FUNCTIONSOF A MUSEUM
To THIS WRITER, THE PRIMARY FUNCTIONS OF A MUSEUM ARE
FOUR~FOLD:
A. THE CONSERVATION OF WORKS OF ART
THE MUSEUM THROUGH ITS REPAIR AND RESTORATION FACIL
ITIES PROVIDES A MEANS WHEREBY WORKS OF ART MAY BE MAINTAINED
ALMOST NEARLY IN THEIR ORIGINAL CONDITION, FOR THE ENJOYMENT
OF FUTURE GENERATIONS.
B. THE PRESERVATION OF WORKS OF ART
THE MUSEUM, BY CAREFUL DESIGN 1 PROVIDES THE MOST
DESIRABLE STORAGE FACILITIES FOR THE PRESERVATION OF ART
WORKS 0 8Y CONCIENTIOUSLY CONTROLLING THE ATMOSPHERE IN WHICH
OBJECTS ARE KEPT, SUCH OBJECTS MAY BE PRESERVED INDEFINITLYe
7 IBID., P. 192.
5.
c. THE DISPLAY or WoRKS or ART
THE MUSEUM, BY DEriNITION, IS A PLACE WHERE WORKS Or
ART ARE DISPLAYED TO THE GENERAL ENJOYMENT AND ENLIGHTENMENT
Or MAN. IT PROVIDES A PLACE WHERE THE PUBLIC ~AY COME TO
VIEW AND EXAMINE SUCH WORKSj AND SUCH STUDY WOULD WELL BE
BEYOND THE PRIVILEGE Or THE AVERAGE MAN WITHQUT MUSEUM
rACILITIES.
D. THE AssEMBLAGE or WoRKS or ART
THE MUSEUM, BY NATURE, IS A CONSTANTLY GROWING ORGAN
ISM. IT NORMALLY CARRIED OUT AN ACTIVE PROGRAM Or ACQUI
SITION, TO THE END THAT A MORE COMPLETE SPECTRUM Or ART
MAY BE ENJOYED IN ONE PLACE. SUCH ACQUISITION PROGRAMS
ALSO ArrORT THE MUSEUM VISITOR AN OPPORTUNITY TO VIEW
RESPECTIVE WORKS Or ART IN PROPER PERSPECTIVE WITH HISTORY,
AND ITS CONTEMPORARY WORKS.
IV. THE PRIMARY PuRPOSES or A PuBLIC MusEuM
THE PRIMARY PURPOSES rOR THE EST~BLISHMENT Or A MUSEUM rOR
THE PUBLIC BENEriT ARE THREE-rOLD. FIRST, AND rOREMOST, IS THAT
A MUSEUM PROVIDES A MEANS Or EDUCATION AND ENLIGHTENMENT TO THE
GENERAL PUBLICo SECOND, THE MUSEUM PROVIDES THE INDIVIDUAL
WITH ENJOYMENT AND ENTERTAINMENT; ALTHOUGH THERE SHOULD INDEED
BE NO DIVISION LINES DRAWN BETWEEN EDUCATION AND ENTERTAINMENT.
THIRD, THE MUSEUM SERVES TO STIMULATE MAN 1S INTELLECT~AL CURIO
SITY, AND PROVIDES HIM WITH EMOTIONAL EXPERIENCES, TO THE END
6.
THAT MAN IS IN CLOSER HARMONY WI TH HIMSEL~ AND THE UNIVERSE.
IN OTHER WORDs, THE SOLE PURPOSE ~OR THE EXISTENCE 0~ A MUSEUM
IS THE BETTERMENT 0~ MAN.
7.
THE KIMBELL ART MUSEUM
I. THE CLIENT: THE KIMBELL ART FOUNDATION
THE LATE KAY KIMBELL, NOTED FORT WORTH INDUSTRIALIST,
LE~T . THE EXECUTORS OF HIS VAST ESTATE WITH A DIFFICULT,
THOUGH CHALLENGING TASK. "BUILD A MUSEUM OF THE FIRST
CLASS," HE DIRECTED IN HIS WILLe IT WAS HIS DESIRE THAT
FORT WoRTH SHOULD HAVE AN ART MUSEUM AS FINE AS ANY IN
THE WORLD TO HOUSE THE PRICELESS COLLECTION OF PAINTINGS
8 AND SCULPTURE HE AND HIS WIFE ACQUIRED OVER THE YEARS.
As DIRECTED BY KIMBELL 1s WILL, THE KIMBELL ART FouNDA
TioN WAS FORMED TO EXECUTE HIS DESIRES. THE PURPOSE OF THE
FOUNDATION IS TO OVERSEE THE BUILDING AND GROWTH OF THE
FORTHCOMING KIMBELL ART MUSEUM, AND THE COLLECTION WHICH IT
WILL HOUSE. NAMED AS CO-CHAIRMEN OF THE FouNDATION WERE
MRs. KIMBELL, WIDOW OF THE LATE PHILANTHROPER, AND DR. COLEMAN
CARTER, PROMINENT FORT WORTH RESIDENT. PRESIDENCY OF THE
FouNDATION IS HELD sy MR. A.L. ScoTT.
OPERATING UNDER THE GUIDANCE OF THE KIMBELL ART
FOUNDATION, AND MORE CLOSELY IN CONTACT WITH THE OPERATIONS
OF THE FORTHCOMING MUSEUM IS THE BOARD OF TRUSTEES, COMPOSED
0~ CITIZENS PROMINENT IN THE ART AND BUSINESS WORLDS. DIRECTLY
8 FoRT WoRTH STAR-TELEGRAM, NovEMBER 8, 1965, P. 1.
a.
RESPONSIBLE TO THE BOARD Or TRUSTEES, AND IN THE POSITION Or
CHIEr ADMINSTRATIVE LEADERSHIP IS THE DIRECTOR Or THE .FOUNDA-
TION.
I I. THE DIRECTOR: OR. RICHARD FARGO BROWN
ON NOVEMBER 8, 1965, ArTER AN EXHAUSTIVE YEAR-LONG
SEARCH BY THE KIMBELL ART FouNDATION, OR. RICHARD F. BROWN
WAS OrriCIALLY NAMED DIRECTOR Or THE FOUNDATION AND MUSEUM.
OR. BROWN 1S RESPONSIBILITIES LIE IN OVERSEEING THE EXTENSIVE
COLLECTION Or ART WORKS ALREADY OWNED BY THE FOUNDATION, THE
c• ADDING Or WORKS Or ART TO THE COLLECTION, AND THE DESIGN AND
CONSTRUCTION Or THE MUSEUM BUILDING{s).
BROWN TERMINATED HIS POST AS DIRECTOR OF THE Los ANGELES
CouNTY ART MUSEUM, AND ASSUMBED THE DUTIES OF HIS NEW POSITION
JANUARY 1, 1966. HE HAD HELD HIS DIRECTORSHIP IN Los ANGELES
SINCE 1961, AND rOR SEVEN YEARS PRIOR TO THAT HAS SERVED THE
9 SAME INSTITUTION IN THE CAPACITY OF CHIEF CuRATOR.
MRs. KIMBELL, SPEAKING rOR THE FouNDATioN's BoARD, SAID
THAT "FoRT WORTH IS FORTUNATE IN SECURING A MAN WITH SUCH EX-
TENSIVE TRAINING AND EXPERIENCE AS A SCHOLAR AND MUSEUM ADMIN-
10 ISTRATOR. 11 PARTICULARILY PERTINENT TO BROWN 1S NEW POSITION
IS HIS EXPERIENCE IN BUILDING THE HIGHLY SUCCESSFUL NEW
9 ~., P. 1.
10 ~., P. 1.
9.
Los ANGELES CouNTY MusEuM or ART, WHICH OPENED IN MARCH,
1965. THIS NEW MUSEUM IS THE LARGEST ONE CREATED IN AMERICA
SINCE THE NATIONAL GALLERY OPENED IN 1940. THE FORT WoRTH
STAR-TELEGRAM STATES, "IT IS GENERALLY ACKNOWLEDGED THAT
THERE IS NO MORE TALENTED AND CAPABLE MUSEUM DIRECTOR IN THE
11 UNITED STATEs."
BoRN IN NEw YoRK IN 1916, BRowN's rATHER 1s EXPORT-
IMPORT BUSINESS GAVE HIM AN OPPORTUNITY TO TRAVEL AND LIVE
ABROAD IN~UROPE 1 MEXICO, AND SOUTH AMERICA. THIS EXPERIENCE
ALSO GAVE BROWN A riRST-HAND KNOWLEDGE Or SEVERAL rOREIGN
LANGUAGES AND rAMILIARITY WI TH THE MAJOR ART COLLECTIONS
12 ABROAD.
BROWN WAS EDUCATED AB BUCKNELL UNIVERSITY, THE INSTITUTE
OF FINE ARTS AT NEW YORK UNIVERS I TY, AND RECEIVED BOTH HIS
M.A. AND PH.D. AT HARVARD. A PHI BETA KAPPA, HE HAS THE
"ARTS AND LETTERS" DECORATION FROM FRANCE. HE HAS BEEN A
TEACHING FELLOW AND VISITING PROrESSOR AT HARVARD UNIVERSITY,
10.
13 AND A RESEARCH SCHOLAR FOR THE FRICK COLLECTION IN NEW YORK CITY.
HIS EXPERIENCE AT THE FRICK, ON THE FINEST COLLECTIONS
11 1. I 8 I D. t Po
12 IBID., Po 1.
13 1. !!.!.E.. t Po
OF OLD MASTERS IN THE WORLD, PARTICULARLY PROVIDES HIM WITH
THE KNOWLEDGE NECESSARY FOR THE DIRECTION OF THE ACQUISITION
OF THE HIGHLY IMPORTANT ART WOR"Ks THE KIMBELL ART FoUNDATION
PLANS TO ADD TO ITS COLLECTION .
AN INCOMPLETE LIST OF OTHER POSITIONS HELD BY BROWN READS
AS FOLLOWS: PRESIDENT OF THE CoLLEGE ART ASSOCIATION OF
AMERICA, SECRETARY-TREASURER Or THE AMERICAN ASSOCIATION Or
MUSEUM DIRECTORS, MEMBER OF THE BOARD OF DIRECTORS OF THE
AMERICAN ASSOCIATION OF MUSEUMS, PAS T PRESIDENT (1957-1959)
Or THE WESTERN ASSOCIATION OF ART MuSEUMS, AND MEMBER OF THE
BoARD OF TRUSTEES OF THE AMoN CARTER MusEuM OF WESTERN ART,
WHOSE MUSEUM BUILDING IS ADJACENT TO THE SITE OF THE FORTH-
14 COMING KIMBELL ART MUSEUM.
ONE Or THE MOST PERSONABLE MEN IN THE WORLD OF ART,
BROWN HAS AN EASY INFORMALITY, QUICK WIT, AND CHARMING PERSON-
ALITY TO BACK UP HIS DEDICATION, ZEAL, AND CAPABILITY.
I I 1. THE KIMBELL ART CoLLECTioN
CURRENTLY THE KIMBELL COLLECTION CONS ISTS MAINLY Or
SOME 200 PAINTINGS ACQUIRED OVER A PERIOD OF 35 YEARS BY
KIMBELL AND HIS WIFE, WITH THE AID OF BERT M. NEWHOUSE OF
NEW YORK, WORLD REKNOWNED ART DEALER. THE COLLECTION NOW
EMPHASIZE S 17TH AND 18TH CENTURY ART. REPRESENTED ARE
GAINESBOROUGH, REYNOLDS, REMBRANDT, ROMNEY, BEECHEY, LAWRENCE,
CANAL ETTo, CoRoT, VAN DYcK, HAL S , EL GREco, AND GoYA, AMONG
OTHERS. WoRKS OF NOTED AMERICAN ARTISTS, INCLUDING JoHN
11.
SINGLETON CoPL~Y, THOMAS MoRAN, CHARLES RussELL AND FREDRICK
15 REMINGTON ARE ALSO INCLUDED IN THE COLLECTION.
SAID TO BE UNEQUALED IN THE SOUTHWEST, THE KIMBELL
ART COLLECTION IS ALSO CONSIDERED BY EXPERTS TO BE ONE Or
THE BEST Or THE 18TH CENTURY COLLECTIONS ANYWHERE.
NEWHOUSE OUTLINED THESE MAJOR PAINTINGS FOR THE
STAR-TELEGRAM: "SusANNA RANDOLPH" BY CoPLEY, "ANN WARD"
BY REYNOLDs; "SELF-PoRTRAIT" BY MARIE LouiSE ELIZABETH
VtGEE-liBRUN; TWO WORKS OF SIR HENRY RAEBURN; " THE ROMNEY
CHILDREN" BY RoMNEY; "ST. JoHN" BY EL GREco; "MRs. CHAMPioN"
AND "Mess LLovo" BY GAINESBoRo;ANO TWo LAWRENCEs.
ALSO IN THE CURRENT COLLECTION ARE: TWENTY-TWO
GAINESBOROUGHS; THREE REMBRANDTS; "THE ROMMELPOT PLAYERS"
BY FRANS HALS; "MRs. ANN BuRNEY" BY WILLIAM HOGARTH; AND
16 A MADONNA BY GIOVANNI SANTI, THE FATHER OF RAPHAEL.
DRo BROWN HAS EMPHASIZED THAT, IN KEEPING WITH THE
OFFIC I AL POLICY Or THE MUSEUM, ONLY THE FINEST OF THESE
PAINTINGS WILL BE SHOWN. HE STATED THAT THE SAME CRITERON
OF EXCELLENCE FOR ALL FUTURE ACQUISITIONS WILL BE STRICTLY
APPLIED TO THOSE WORKS OF ART ALREADY IN THE COLLECTION.17
15 ~., Pe 2.
16 ~•t Po 2.
17 INTERVIEW WITH DIRECTOR oF FouNDATioN, MARCH 28, 1966.
12.
ALSO IN KEEPING WITH THE OUTLINED GOALS OF THE MUSEUM,
A VIGOROUS PROGRAM OF ART ACQUISITION IS NOW UNDERWAY, WITH
NEGOTIATIONS IN PROGRESS FOR THE PURCHASE OF PAINTINGS BY
SUCH NOTABLES AS REMBRANDT, DEGAS, AND TINTORETTO.
IV. FINANCES OF THE PROPOSED MusEUM
THE KIMBELL ART MuSEUM WILL BE ONE OF THE FEW SUCH
INSTITUTIONS IN THE WORLD WITH NO FORESEEABLE FINANCIAL
PROBLEMS. THE FOUNDATION IS THE RECIPIENT OF THE ENTIRE
KIMBELL GROCERY, GRAIN, OIL, INSURANCE, AND INVESTMENT ESTATE.
BuT IT IS AT LEASE SEVERAL MILLION DOLLARS.
DR. 8ROWN ASSURES THIS WRITER THAT THE INVESTMENTS
OF THE LATE KAY KIMBELL, WHICH ARE QUifE DIVERSIFIED, WILL
PROVIDE MORE THAN AMPLE ANNUAL INCOME FOREVER, BARRING UN-
FORSEEN MAJOR CATASTROPHIES IN THE WORLD MARKETS. FOR THIS
REASON NO SUCH FUND-RAISING MEASURES AS CAMPAIGNS, ADMISSION
PRICES, OR DONATIONS NEED BE COUNTED UPON TO ASSURE THE
18 LONGEVITY OF THE PROJECT.
THE FUNDS ARE EARMARKED INTO THREE CATEGORIES: THE
MUSEUM CONSTRUCTION FUND, THE ART ACQUISITION FUND, AND
THE OPERATING EXPENSES FUND. As PREVIOUSLY STATED, THE TOTAL
SUMS ARE UNKNOWN, BUT A PUBLISHED FACT IS THAT SOME FIVE
MILLION DOLLARS IS AVAILABLE FOR THE CONSTRUCTION OF THE
19 MUSEUM. DR. BROWN INDICATES THAT, AT THE LEAST, THIS IS
20 A CONSERVATIVE EST1MATE.
18 le1o. 19FO;T WoRTH STAR-TELEGRAM, OP. CIT. 2QINTERVIEW 1 OP. CIT.
T~XAS TECH LIBRARY
13.
v. MusEUM PoLICY STATEMENT
OR. BROWN HAS BEEN KINO ENOUGH TO RELEASE THE FINAL
DRAFT OF THE POLICY STATEMENT FOR THE KIMBELL ART MUSEUM
TO THIS AUTHOR. IT IS TO BE CAREFULLY POINTED OUT THAT
THIS STATEMENT IS NEITHER NECESSARILY COMPLETELY ACCURATE,
FINALIZED, NOR HAD IT BEEN APPROVED BY THE BOARD AT tHE
TIME OF THIS WRITING. HOWEVER, IN THE CONFIDENCE THAT IT
SHALL BE ADOPTED ALMOST IN ITS ENTIRETY, IT SHALL BE IN
CLUDED IN ITS ENTIRETY.
A. GENERAL AIMS
1. PURPOSE
THE KIMBELL ART MUSEUM
POLICY STATEMENT
THE KIMBELL ART MUSEUM IS DEDICATED TO THE EDUCATION,
INCREASED ENJOYMENT AND CULTURAL ENRICHMENT OF THE
PUBLIC THROUGH THE DISPLAY AND INTERPRETATION OF
WORKS OF ART. THE QUALITY OF THE PERMANENT COLLECTIONS
OF ART IS THE GOVERNING FACTOR IN ALL POLICY.
2. ScoPE
THE MUSEUM AIMS TO FORM COLLECTIONS OF THE HIGHEST
POSSIBLE AESTHETIC QUALITY, QERIVEO FROM ANY AND ALL
PERIODS IN MAN 1S HISTORY, AND IN ANY MEDIUM OR STYLE.
THE ENTIRE PROVINCE OF ART IS CONSIDERED APPROPRIATE
AS THE SOURCE OF MATERIAL FOR THE COLLECTIONS.
14.
3. PRINCIPLE
THE DOMINATING PRINCIPLE IS THAT THE MUSEUM 1S STATURE
DEPENDS MORE UPON THE NUMBER OF MASTERPIECES IT CONTAINS
THAN ON THE HISTORICAL COMPLETENESS OF ITS COLLEC
TIONS. THE BASIC TEST IS NOT SIZE BUT EXCELLENCE.
ADDITIONS TO THE COLLECTIONS, THEREFORE, ARE NOT MADE
WITH THE AIM OF COMPREHENSIVENESS, BUT BECAUSE OF THE
DEFINITIVENESS OF THE ART OB~ECT FROM THE STANDPOINTS
OF AESTHETIC QUALITY AND TYPICALITY. THE EXHIBITION
OF KEY WORKS OF A MASTER, PERIOD, SCHOOL OR STYLE IS
THE GOAL.
B. ACQUISITIONS
1. STAFF FUNCTION
SINCE THE PRIMARY FUNCTION OF THE MUSEVM IS THE ACQUISI
TION AND MAINTENANCE OF ART AT THE HIGHEST LEVEL OF
AESTHETIC QUALITY, THE PRINCIPLE EFFORTS AND TIME OF
~HE PROFESSIONAL STAFF IS APPLIED TOWARD THIS END.
No MATTER HOW QUALIFIED THE STAFF, THE MUSEUM IS NOT
EFFECTIVELY WORKING TOWARD GREATNESS IF THIS IS NOT
THE CASE.
2. METHOD
A. THE SPECIALIZED TRAINING, EXPERIENCE, KNOWLEDGE,
RESEARCH ACTIVITIES AND TRAVEL OF THE PROFESSIONAL
STAFF IS FOCUSSED MAINLY ON TWO COROLLARY ASPECTS
OF THE MuSEUM PROBLEM: A. AN ALERT AND UP-TO
DATE KNOWLEDGE OF THE HISTORY OF ART AND OF THE
ART MARKET j B. AN UNCEASING AND INTIMATE SURVEY
OF THE MuSEUM 1S OWN COLLECTIONS TO DETERMINE
NEEDS VERSUS STRENGTHS.
B. WHEN RECOMMENDING OBJECTS FOR ACQUISITION, THE
STAFF MEMBERS RELY, NOT ONLY UPON THEIR OWN
RESEARCH, BUT UPON THE ADVICE, OPINION AND AID
OF THE BEST AVAILABLE AUTHORITIES IN THE SPECIAL-
IZEO FIELD CONCERNED WITH THE OBJECT.
3. PROCEDURE
A. BASED ON THEIR FINDINGS, THE STAFF, THROUGH THE
DIRECTOR, RECOMMENDS PURCHASES TO THE ACQUISITIONS
COMMITTEE OF THE BOARD OF TRUSTEES FOR THEIR
APPROVALo
B. SINCE SUCCESSFUL NEGOTIATION FOR THE BEST IN ART
OFTEN REQUIRES COMMITMENT AND ON-THE-SPOT DECISIONS
THAT PRECLUDE TIME-CONSUMING REFERRAL BACK TO THE
COMMITTEES, THE TRUSTEES, UPON SPECIAL OCCASION
(SUCH AS AUCTIONS), AND AFTER APPROVED OUTLINE
REQUEST FROM THE DIRECTOR, PROVIDES INDIVIDUAL
STAFF MEMBERS FROM TIME TO TIME WITH AUTHORITY
'TO SPENO ACQUISITION FUNDS UP TO SPECIFIED LIMITS,
DEPENDIN G UPON THE OCCASION.
16.
C. THERE IS NO WAY OF PREDICTING WHEN THE MOST
DESIRABLE OBJECTS WILL BE DISCOVERED OR MADE
AVAILABLE. THE MOST SUCCESSFUL COLLECTING IS
ALWAYS TO A LARGE DEGREE OPPORTUNISTIC. IT
FOLLOWS THAT THE MUSEUM CAN HAVE A SUCCESSFUL
ACQUISITIONS PROGRAM ONLY IF THERE IS A CON
SIDERABLE CAPITAL FUND AVAILABLE FOR THIS
PURPOSE. THE MAINTENANCE OF SUCH A FUND IS AN
ESSENTIAL CONCOMITANT OF THIS POLICY STATEMENT.
4. GIFTS, BEQUESTS AND LoNG TERM LoANS
Ao THE ACCEPTANCE OF GIFTS OR BEQUESTS OF OBJECTS
IS GOVERNED BY THE SAME HIGH STANDARDS AS THOSE
OUTLINED FOR ACQUISITION BY PURCHASE.
Bo GIFTS AND BEQUESTS ARE ACCEPTED ONLY IF THE
MUSEUM IS LEFT COMPLETELY FREE, BV ACCEPTANCE,
FROM ANY GUARANTEES IN PERPETUITY CONCERNING
THE ATTRIBUTION, DISPLAY, EXCHANGE OR SALE OF SUCH
DONATIONS.
C. THE STAFF MAY CONSULT WITH AND ADVISE POTENTIAL
DONORS CONCERNING THE VALUE OF ART OBJECTS, BUT
THE STAFF DOES NOT MAKE OFFICIAL APPRAISALS FOR
THE PURPOSE OF GIVE AND TAX DEDUCTIBILITY.
17.
D. LONQ TERM LOANS (THOSE NOT INCLUDED IN TEMPORARY
SPECIAL EXHIBITIONS) MAY BE ENTERTAINED, BUT WITH
COMPARABLE STANDARDS AS THOSE WHICH APPLY TO DONATIONS.
C. PROGRAM
1. SCOPE
CONSISTENT WITH THE EDUCATIONAL, INTERPRETIVE AND
RECREATIONAL PURPOSE 0~ THE MUSEUM, A PROGRAM 0~
RESEARCH, PUBLICATIONS, SPECIAL CHANGING EXHIBI
TIONS, SCHOLARLY LECTURES AND SYMPOSIA, VISITING
SCHOLAR CON~ERENCES AND RESEARCH PROGRAMS, AND
EVENTS IN THE OTHER ARTS RELATED TO THE MUSEUM 1S
COLLECTIONS AND SPECIAL EXHIBITIONS IS CARR)ED OUT.
2. liMITATION
IN RECOGNITION 0~ THE PRIMARY AI MS OF THE MUSEUM
TO ACQUIRE, DISPLAY AND MAINTAIN ~OR PUBLIC BENE~IT 1
COLLECTIONS OF THE HIGHEST AESTHETIC STANDARDS, THE
ADMINISTRATION HOLDS SUCH SPECIAL PROQRAMS IN AN
APPROPRIATE PLACE OF SECONDARY IMPORTANCE.
3. FACILITIES FOR IMPLEMENTATION ·
Ae THE MUSEUM BUILDING 18 WORK 0~ ART ITSELF, AND
IT IS DESIGNED, CONSTRUCTED AND MAINTAINED
ACCORDING TO THOSE SAME CONCEPTS OF HIGH AESTHETIC
STANDARDS THAT GOVERN THE COLLECTIONS WHICH IT
HOUSES. IT IS A CREATIVE CONTRIBUTION TO THE
EVOLVING HISTORY OF THE ART 0~ ARCHITECTURE, AS
WELL AS BEING A FUNCTIONAL INSTRUMENT FOR THE
CARE, STUDY AND EXHIBITION OF THE OTHER ARTSo
18.
Bo OUR KNOWLEDGE AND UNDERSTANDING 0~ THE HERITAGE
0~ CIVILIZATION IS LARGELY DEPENDENT UPON THE
CONTINUED SURVIVAL 0~ THE KINOS 0~ ART OBJECTS
COLLECTED BY THIS MUSEUM. IT ~OLLOWS THAT THE
PARAMOUNT DUTY OF THE MUSEUM IS TO PRESERVE
~OR ~UTURE GENERATIONS WHAT HAS BEEN ENTRUSTED
TO ITS CARE. EvERY OTHER ASPECT 0~ THE MuSEUM 1S
PROGRAM PAYS OBEISANCE TO AN, WHERE NECESSARY,
GIVES WAY TO THIS TRUST. A CONTINUING SECURITY
AND CONSERVATION PROGRAM, AND THE ~UNDS, SPACE,
~ACILITIES AND TECHNICAL EQUIPMENT TO MAINTAIN
IT ARE PROVIDED.
c. THE MUSEUM MAINTAINS A REFERENCE LIBRARY. IT IS
PRIMARILY A STA~F LIBRARY SO THAT THE TOTAL PRO
GRAM 0~ THE MUSEUM MAY BE CARRIED OUT WITH ECONOMY
AND E~~~CIENCYo IT IS NOT A LENDING LIBRARY, AND
IT IS NOT ~OR THE GENERAL PUBLIC 1S USE, ALTHOUGH
QUALIFIED SCHOLARS, TEACHERS, CURATORS AND STU
DENTS ARE WELCOME TO USE IT AT THE DISCRETIONS 0~
THE LIBRARIAN AND THE DIRECTOR. THE CONSTANT
GROWTH AND INCREASED E~FICI~NCY 0~ THE LIBRARY IS
A MAJOR CONCERN 0~ THE MusEUM.
Do IN ADDITION TO THE PUBLIC GALLERI~S ~OR DISPLAY
OF THE PERMANENT COLLECTION, AND IN ORDER TO
19.
IMPLEMENT THE TOTAL PROGRAM, THE FOLLOWING
FACILITIES ARE PROVIDED AND MAINTAINED: A
SPECIAL EXHIBITION GALLERY, AN AUDITORIUM,
BOOKSHOP, AUTOMOBILE PARKING SPACE, A PUBLIC
RESTAURANT, PHOTOGRAPHIC STUDIO, MAINTENANCE
AND PREPARATORIAL SHOPS, ADEQUATE STORAGE
FACILITIES, •••••
Eo SINCE A LIMITED SPECIAL EXHIBITION PROGRAM IS
A PART OF THE MUSEUM 1S FUNCTION, IT IS RECOGNIZED
THAT RECIPROCITY IN LENDING OBJECTS OF ART IS
A NECESSITY. HoWEVER, LENDING TO OTHER INSTI-
TUTIONS IS CONTROLLED STRINGENTLY UNDER THE
POLICY WHEREBY SUCH A PROGRAM IS CONSIDERED
VERY SECONDARY TO THE CONTINUED PUBLIC DISPLAY
OF THE PERMANENT COLLECTIONS.
VI. SITE
FoRT WoRTH WAS ESTABLISHED AS A PIONEER POST IN 1849.
THROUGH IT RAN THE HEAVIEST TRAFFIC OF THE OLD CHISHOLM
21 CATTLE TRAILo THE TOWN BECAME A NATIONAL CATTLE CENTER,
AND US ING THIS BASE HAS PROSPERED AND DEVELOPED INTO AN
IMPORTANT MEAT PACKING, FINANCIAL, COMMERCIAL, GRAIN PRO-
21TEXA6 ALMANAC, (DALLAS: 1965-1966), P. 87.
2o.
CESSING, AND AEROSPACE CENTER WITH A POPULATION OF 356,268
22 IN THE 1960 CENSUS. FORT WORTH, THE COUNTY SEAT OF THE
TARRANT CouNTY, RANKs 34TH IN THE u.s. CENsus BuREAU PoP u-
LATION TABLES.
IN NOVEMBER OF 1964, PERMISSION WAS OBTAINED FROM THE
FoRT WoRTH CITY COUNCIL FOR THE USE OF CITY LAND FOR THE
PROPOSED KIMBELL ART MuSEUM. No RESTRICTIONS WERE PLACED
ON THE USE OF THE LAND FOR THE ERECTION OF THE MUSEUM BUILD-
lNG OTHER THAN THE NORMAL CITY BUILDING CODE.
THIS PLOT OF APPROXIMATELY 9~ ACRES IS ROUGHLY IN THE
SHAPE OF A TRUNCATED RIGHT TRIANGLE-THE APEX OF WHICH
POINTS DUE WEST AND THE BABE OF WHICH IS A LINE RU NN ING DUE
NoRTH AND SouTH. IT IS BOUNDED TO THE NORTH BY CAMP BOWIE
BOULEVARD, A FOUR-LANE BRICK THOROUGHFARE WITH GRASSY
ESPLANDADES IN THE CENTER. THE EASTERN BOUNDARY IS ARCH
ADAMS STREET, A MINOR ROAD. BOUNDING THE SITE ON THE SOUTH
IS WEST LANCASTER AVENUE, A SIX-LANE MAJOR THOROUGHFARE
CONNECTING THE WEST SIDE OF FORT WoRTH WITH THE DOWNTOWN
AREA, AND THE MAJOR HIGHWAYS EAST TO DALLAS. To THE WEST,
THE BOUNDARY IS WEST DRIVE, A LITTLE-USED STREET. AeRO~- ~
WEST DRIVE IS THE AMON CARTER MUSEUM OF WESTERN ART. DIR-
ECTLY ACROSS WEST LANCASTER IS THE WILL ROGERS MEMORIAL
AUDITORIUM AND COLISEUM COMPLEX. SPLITTING THE SITE ALMOST
22 ~., P.123.
21.
CENTRALLY IS EAST DRIVE, A NORTH-SOUTH ROAD CONNECTING
WEST LANCASTER AND CAMP BoWIE BouLEVARD. EAST DRIVE,
23 LIKE ITS COUNTERPART WEST DRIVE, IS A SELDOM USED STREET.
THE SITE LIES ON THE WE~T SIDE OF FORT WORTH IN AN
AREA USUALLY CALLED "AMON CARTER SQUARE"• THIS AREA OF
THE CITY IS WHAT MAY GENERALLY BE TERMED THE "CULTURAL CENTER"
oF FoRT WoRTH. IN oR NEARBY LIE CASA MANANA THEATRE, THE
FoRT WoRTH ART MusEuM, THE FoRT WoRTH CHILORENS 1 MusEuM,
AS WELL AS THE FORE-MENTIONED AMON CARTER MUSEUM OF WESTERN
ART AND THE WILL RoGERs MEMORIAL AuDITORIUM AND CoLISEuM.
IT IS GENERALLY BELIEVED THAT THE ADDITION OF THE KIMBELL
ART MuSEUM To AMON CARTER SQUARE WILL MAKE IT ONE oF THE
TRUE FOCAL POINTS OF ART AND CULTURE IN THE NATION.
NEARBY MAJOR THOROUGHFARES CONNECT THIS SITE EASILY
WITH DOWNTOWN, WHICH IS APPROXIMATELY A THREE-MINUTE AUTO
MOBILE DRIVE AWAY. ACCESS TO THE AREA IS SIMPLE AND DIRECT
FROM ALL PARTS OF THE CITY, DUE TO AN EXCELLENT FREEWAY
SYSTEM WHICH SHOULD DELIVER ANY FORT WORTH RESIDENT TO THE
MUSEUM DOOR IN 15 MINUTES OR LESS.
AT PRESENT THE SITE SLOPES GENTLY DOWN FROM WEST TO
EAST ABOUT 18 1 THROUGH THE 630 1 CENTER-LINE. THERE IS
APPROXIMATELY A 51 DROP FROM SOUTH TO NORTH. THE LAND IS
NOW COVERED WITH GOOD BERMUDA GRASS, AND LIVE OAK TREES
23 SEE ANY FoRT WoRTH CITY MAP.
22.
BORDER THE BOUNDING STREETS.
THE AMON CARTER MUSEUM 0~ WESTERN ART, TO THE WEST 0~
THE PLOT, IS BUILT SO AS TO A~~ORD AN EXCELLENT VIEW 0~
DOWNTOWN FoRT WoRTH ~ROM ITS ENTRANCE TERRACE. HEREIN
LIES ONE VERY IMPORTANT DESIGN LIMITATION ~OR THE KIMBELL
ART MUSEUM. IT IS HIGHLY PROBABLE THAT THE BUILDING SHALL
LIE IN THE SIGHT-LINE 0~ THE DOWNTOWN AREA ~ROM THE AMON
CA,RTER MUSEUM. THIS VIEW MUST NOT BE BLOCKED UNDER ANY
CIRCUMSTANCES, ACCORDING TO BlO' TH THE CITY COUNCIL AND
OR. BROWN. FuTHERMORE 1 IT IS DESIRABLE THAT THE VIEW 0~
T-HE KIMBELL ART MUSEUM ~ROM THE AMON CARTER MusEuM BE ONE
24 THAT ENHANCES, RATHER THAN DETRACTS, ~ROM THE CURRENT VIEW.
VI I. FACILITIES TO BE INCORPORATED IN THE MusEuM DESIGN
FROM AN INTERVIEW WITH OR. BROWN THE ~OLLOWING ~ACILITV
25 REQUIREMENTS WERE OBTAINED, AND LISTED AS DESIRABLE.
A. ON-SITE PARKING AND AREAS OTHER THAN THE BUILDING(S)
ITSEL~
1. PARKING ~OR 100 AUTOMOBILES AND FOUR BUSSES. rHE
PARKING AREA IS NOT TO DETRACT ~ROM THE SITE IF
POSSIBLE.
24 INTERVIEW, OP.CIT.
25 IBID.
23.
2. PASSENGER LOADING AND UNLOADING AREA
3. ELEGANT GROUNDS TO BE USED AS SCULPTURE AND
~OUNTAIN DISPLAY AREAS. THE GROUNDS MUST BE REASON
ABLE SIMPLE TO MAINTAIN, AS THE PRIMARY ~UNCTION
0~ THE MUSEUM IS THE DISPLAY 0~ ART WORKS, AND NOT
GROUNDS MAINTENANCE AND SUPERVISION
4. SERVICE DRIVE
B. MusEuM BuiLDING PuBLIC FACILITIES
1. ENTRANCE LOBBY WITH REGISTRATION ~ACILITIES
2. DISPLAY GALLERY OR GALLERIES ~OR THE PERMANENT
COLLECTION 0~ THE MUSEUM. THESE GALLERIES ARE TO
HOUSE THE PRIMARY REASONS FOR THE EXISTENCE 0~ THE
MUSEUM.
3. DISPLAY GALLERY OR GALLERIES ~OR CHANGING EXHIBITIONS
4. AUDITORIUM TO SEAT 400
5. SCULPTURE COURT(s)
6. SEATING AREAS WITHIN OR NEAR EXHIBITION AREAS
7. SNACK BAR TO ACCOMMODATE 35 TO 40 PEOPLE
8. ELEVATORS
9. RESTROOMS
C. MusEuM BuiLDING SEMI-PRIVATE AREAS
1. GENERAL OF~ICES ~OR STA~~ MEMBERS LIKELY TO COME
IN CONTACT WITH PUBLIC, WITH APPROPRIATE RECEPTION
AND SECRETARIAL ~ACILITIESo
24.
2. MuSEUM LIBRARY - TO BE PRIMARILY A STAFF FACILITY,
BUT ALSO OPEN TO QUALIFIED SCHOLARS AND TEACHERS.
THE LIBRARY WILL HOUSE 1000 VOLUMES.
3. MEETING ROOMS - SHALL INCLUDE SPACE FOR MEETING OF
CLUBS, ET~, AND SHALL NUMBER THREE.
D. MusEuM BuiLDING PRIVATE FACILITIES:
1. SPECIAL OFFICES FOR MUSEUM STAFF MEMBERS WHO ARE
UNLIKELY TO COME INTO CONTACT WITH THE PUBLIC.
2. SMALL KITCHEN-BAR COMBINATION TO SERVICE SNACK BARe
3. STORAGE FACILITIES - SHALL INCLUDE PROVISIONS FOR
THE STORAGE OF RAW MATERIALS, LIGHTING EQUIPMENT,
CRATES, FURNITURE, AND BULKY OBJECTS.
4. BoARD OF DIRECTORS ROOM - SHALL BE LARGE ENOUGH TO
ACCOMMODATE THE BoARD OF TRUSTEES, THE ENTIRE PRO
FESSIONAL STAFF, AND SEVERAL OUTSIDE PARTIES.
S. PHOTOGRAPHIC STUDIO
6. SECURITY OFFICE
7. JANITORIAL FACILITIES
8. MECHANICAL EQUIPMENT ROOM
9. FREIGHT ELEVATOR
10. EMPLOYEE 1S RESTROOMS
E. MusEuM BuiLDING ToP SECURITY FACILITIES
1. RECEIVING AND SHIPPING AREA FOR INCOMING AND OUTGOING
CRATED WORKS OF ART
25.
2. PACKING AND CRATING AREA
3. TEMPORARY STORAGE ~OR ART WORKS PRIOR TO THEIR
DISPLAY
4. LOCKED STORAGE 0~ A PERMANENT NATURE ~OR ART
WORKS
5. CoNSERVATION LABORATORIES AND ~ACILITIES ~OR THE
RESTORATION AND REPAIR 0~ WORKS 0~ ART
VII I. STA~~ o~ THE KIMBELL ART MusEuM
THE ~OLLOWING DATA ON THE ~UTURE STA~~ 0~ THE ~OATH
COMING KIMBELL ART MUSEUM WAS OBTAINED BY THIS AUTHOR IN
AN INTERVIEW WITH OR. RICHARD F. BROWN, MARCH 28, 1966.
OR. BROWN INDICATED THAT THE EXACT SIZE AND INDIVIDUAL
RESPONSIBILITIES 0~ THE PRO~ESSIONAL AND SERVICE STA~~S
HAVE NOT BEEN ~INALIZED. HOWEVER, THE FOLLOWING BREAKDOWN
WAS GIVEN AS BEING A REASONABLE ASSUMPTION 0~ THE SCOPE
AND DUTIES 0~ THE STAF~. IT IS IMPORTANT TO NOTE THAT THE
VARIOUS O~~ICIAL POSITION TITLES MAY NOT NECESSARILY INDI
CATE THE ~ULL SCOPE 0~ THE DUTIES 0~ THE POSITION HOLDER,
AS ~UNCTIONS MAY WELL OVERLAP.
THE HIERARCHY 0~ THE ADMINISTRATION 0~ THE KIMBELL ART
MuSEUM WILL 8~ APPROXIMATELY AS ~OLLOWS:
A. THE KIMBELL ART FOUNDATION
THE FOUNDATION IS THE PARENT GROUP, ~ORMED BY DIRECTIVE
FROM THE WILL 0~ THE LATE KAY KIMBELL.
26.
B. THE BoARD oF TRUSTEES oF THE KIMBELL ART FouNDATioN:
THE BoARD OF TRUSTEES IS RESPONSIBLE FOR OVERSEEING
THE OPERATIONS OF THE MUSEUM AND ITS PROGRAM.
C. DIRECTOR oF THE FouNDATioN:
OR . RICHARD FARGO BROWN IS THE MAN WITH CHIEF ADMINI
STRATIVE LEADERSHIP RESPONSIBILITIES TO THE FOUNDATION.
HE SHALL ALSO SERVE AS DIRECTOR OF THE Mu SEUM.
0. PROFESSIONAL STAFF:
1. MusEuM DIRECTOR
OR. BROWN SHALL OVERSEE THE ENTIRE OPERATION OF
THE MUSEUM, BEING THE FINAL ARBITER OF EXECUTIVE
DECISIONS. AT PRESENT HE IS SERVING ALSO AS THE
CHIEF CURATOR FOR THE MUSEUM, AND HAS INDICATED
THAT HE WILL CONTINUE TO DO SO UNTIL A SUITABLE
CURATOR IS FOUND.
2. ASSISTANT DIRECTOR
THE ASSISTANT DIRECTOR SHALL SERVE AS DIRECTOR IN
THE ABSENCE OF OR. BROWN, AND SHALL MOST LIKELY BE
THE PERMANENT REGISTRAR FOR THE MUSEUM.
3. REGISTRAR
THE DUTIES OF THIS POSITION CONSIST MAINLY IN KEEPING
OF PERMANENT RECORDS OF THE COMINGS AND GOINGS OF
ART WORKS BELONGING TO THE MUSEUM, AND ART WORKS
ENTERING AND LEAVING THE MUSEUM ON TRAVELING EXHIBI-
27.
TIONSo THE REGISTRAR ALSO SERVES AS INSPECTOR Or
INCOMING AND OUTGOING WORKS Or ART, AND HANDLES
INSURANCE PROBLEMS AS THEY ARISE. THIS POSITION,
AS MENTIONED ABOVE, WILL BE HELD BY THE ASSISTANT
DIRECTOR.
4. CHIEr CuRATOR
THIS POSITION ENTAILS ALL ACTIVITIES RELEVANT TO
THE ACQUISITION Or NEW WORKS Or ART rOR THE PERMANENT
COLLECTION. THE CURATOR IS RESPONSIBLE rOR INrORMATION
AS TO THE AVAILABILITY Or WORKS Or ART, VERiriCATION
Or THEIR AUTHENTICITY, THE RESEARCHING Or PERTINENT
INrORMATION ABOUT THE ART, AND WITH THE APPROVAL Or
THE DIRECTOR AND THE · BoARD Or TRUSTEES THE PURCHASE
Or SUCH WORKS.
5. BUSINESS MANAGER
THE BUSINESS MANAGER KEEPS RECORDS Or riNANCES Or THE
MuSEUM, AND ADVISES THE DIRECTOR AND THE BoARD IN
MONEY MATTERS. THE BUSINESS MANAGER SHALL ALSO SERVE
AS DIRECTOR Or PROMOTIONS, OR PUBLICITY AGENT rOR THE
MusEuM.
6. EXHIBITION DESIGNER
THIS POSITION ENTAILS THE RESPONSIBILITY rOR THE DESIGN
AND TECHNIQUES Or DISPLAY Or ART WORKS THROUGHOUT THE
MUSEUM. IT IS LIKELY THAT THE EXHIBITION DESIGNER
28.
AND HIS ASSISTANTS WILL WORK CLOSELY WITH THE
DIRECTOR.
7. LIBRARIAN
THE LIBRARIAN IS IN CHARGE OF THE MUSEUM L 1BRARYo
8. DIRECTOR OF PROMOTIONS
THE MuSEUM PUBLICITY AGENT IS IN CHARGE OF ALL
PRINTED MATTER CONCERNING THE PROMOTION Or MUSEUM
EXHIBITS. HE WILL BE IN CONTACT WITH THE LOCAL
NEWSPAPERS, rURNISHING THEM WITH A CALENDAR Or EVENTS,
AND OTHER INFORMATION DESIGNED TO KEEP THE MUSEUM
IN THE PUBLIC 1S ATTENTION. THE BuSINESS MANAGER
WILL ACT IN THIS CAPACITY.
9. RESEARCHERS
THESE POSITIONS ARE FILLED WITH MEN WHOSE SOLE
OCCUPATION IT IS TO RESEARCH WORKS Or ART. RESEARCHERS
WORK CLOSELY WITH THE CURATORS OF VARIOUS DEPARTMENTS.
10. CoNSERVATioNIST
THE CONSERVATIONIST IS A HIGHLY SKILLED TECHNICIAN
WHOSE RESPONSIBILITY IT IS TO REPAIR AND RESTORE
DAMAGED OR AGED WORKS Or ART.
11. PHOTOGRAPHER
THE MUSEUM PHOTOGRAPHER 1S CHIEF DUTY IS TO PHOTOGRAPH
CRATES AND WORKS OF ART, BOTH INCOMING AND OUTGOING,
THUS PROVIDING THE MUSEUM AND INSURANCE COMPANIES
29.
WITH VERIFICATION OF THE CONDITION OF ART WORK PRIOR
TO AND AFTER SHI?PING. THE PHOTOGRAPHER WILL ALSO
WORK WITH THE PUBLICITY AGENT.
12. VARIOUS ASSISTANTS
MANY OF THESE PROFESSIONAL POSITIONS REQUIRE THE
SERVICES OF ASSISTANTS, INCLUDING SECRETARIAL
PERSONNEL, AND PROVISIONS SHALL BE MADE FOR THEIR
ACCOMMODATION.
13. DocENTS
A MUSEUM DoCENT SERVES AS A TOUR GUIDE, LECTURER,
AND CONDUCTOR OF SYMPOSIA. THE DOCENTS SHALL BE
UNPAID VOLUNTEERS, AND SHALL WORK CLOSELY WITH ALL
MEMBERS OF THE STAFF.
E. SERVICE STAFF
1. SECURITY GUARDS
THE MUSEUM SECURITY GUARDS ARE RESPONSIBLE FOR THE
SAFEKEEPING OF EXHIBITED OSJECTS. THEY SHALL BE
POSTED THROUGHOUT THE BUILDING AT ALL TIMES OF DAY
AND NIGHT. No EXPENSE SHALL BE SPARED TO ASSURE
THAT THE SECURITY STAFF OF THE KIMBELL ART MuSEUM
IS OF SUFFICIENT SIZE AND SKILL TO ASSURE COMPLETE
SAFETY IN THE PRESERVATION AND DISPLAY OF PRICELESS
OBJECTS.
2. BUILDING MAINTENANCE CREW
30.
THE JAN I TORIAL STArF SHALL BEAR THE RESPONSIBILITY
OF KEEPING THE BUILDING CLEAN AND MAINTAINING ITS
MECHANICAL EQUIPMENT IN TOP WORKING CONDITION.
3. GROUNDS MAINTENANCE CREW
THE GROUNDS MAINTENANCE CREW SHALL BEAR SIMI~AR
RESPONSIBI~ITES OUTSIDE THE BUILDING.
4. CoNCESSIONAIRE AND CooKs
THE CONCESSIONAIRE SHALL OPERATE THE DINING rACI~ITIES,
AND OVERSEE THE VARIOUS KITCHEN HELP.
IX. GENERAL INrORMATION PERTINENT To DESIGN BACKGRouND
A. PROJECTED USERS OF THE MusEUM
POTENTIAL USERS OF THE FACILITY HOPEFULLY INCLUDE
THE ENTIRE POPULATION OF FORT WoRTH AND TH E S URROUNDING
AREA, AS WELL AS INTERESTED PARTIES FROM THE GENERAL
GEOGRAPHIC AREA, SERIOUS STUDENTS AND PATRONS THROUGH
OUT THE NATION, AND VISITORS FROM ALL OVER THE WORLD.
B. LIFE ExPECTANCY Or THE PROJECT
IT IS LOGICAL AND DESIRABLE THAT AN EDIFICE
HOUSING ANCIENT AND PRICELESS ART TREASURES SHOULD BE
OF SUCH DESIGN AND CONSTRUCTION AS TO ENOURE AS LONG
AS THE TREASURES THEMSELVES. To TH I S END NO EFFORT SHALL
BE SPARED TO INSURE THE PERMANENCY OF THE DESIGN AND THE
THOROUGHNESS OF ITS MAINTENANCE.
C. ExPANSION
IT IS AN EXPRESSED GOAL THAT THE FINAL DESIGN,
31.
CONSTRUCTION, AND MAINTENANCE 0~ THE MUSEUM SHALL RESULT
26 IN THE CREATION 0~ A WORK 0~ ART IN ITSEL~. IN THIS
SENSE THE STRUCTURE SHALL BE CONSIDERED AS COMPLETED
WHEN CONSTRUCTION CEASES. OR. BROWN HAS STATED THAT IT
IS THE DESIRE Or THE FOUNDATION TO INCLUDE IN THE ORIGINAL
BUILDING PROVISIONS ~OR ALL PROSPECTIVE GROWTH Or THE
27 MuSEUM COLLECTION. THUS, THE DESIGNER MUST TAKE INTO
ACCOUNT THIS "INTERNAL EXPANSION" PREMISE, AND MUST
PROVIDE SUITABLE AND APPROPRIATE SPACES ~OR THE EVENTUAL
COLLECTION, WITHOUT RELEGATING THE - OPENING DAY COLLECTION
28 TO SPACES rAR TOO VAST rOR ITS ErrECTIVE EXHIBITION.
o. STRUCTURAL SYSTEM
No PRE~ERENCES HAVE BEEN STATED BY THE KIMBELL ART
FoUNDATION, OR BY OR. BROWN AS TO THE NATURE AND TYPES
Or STRUCTURAL SYSTEM rOR THE ~ORTHCOMING MUSEUM. IT Is
LOGICAL, HOWEVER, THAT THE CHOSEN SYSTEM SHALL CONrORM TO
MUNDANE AND AESTHIC STANDARDS AS SET BY THE CITY BUILDING
CODE, AND THE riNAL AND MOST DESIRABLE CONriQURATION Or
THE STRUCTURE INVOLVED. SPECIAL ATTENTION MUST BE GIVEN
26 INTERVIEW.
27 IBID.
28 ~·
32.
TO THE PERMANENCY AND RIGIDITY Or THE CONSTRUCTION,
AS WELL AS IT AESTHETIC SENSIBILITY.
E. MATER I ALS
THE SELECTION Or MATERIALS IS BEING LErT TO THE
INTELLEGENCE AND SENSITIVITY Or THE ARCHITECT, WHO MUST
KEEP IN MIND THAT THE STRUCTURE(s) SHALL BE A "WORK Or
ART", BUT THAT ITS PRIMARY rUNCTIONS ARE THE BArE
KEEPING, EXHIBITION, AND ENHANCEMENT Or MASTERPIECES OF
PAINTING AND SCULPTURAL ART.
F. CoNsTRUCTION PROCEDURE
THE KIMBELL ART FOUNDATION DEEMS IT MOST DESIRABLE
THAT THE ENTIRE rACILITY BE COMPLETED BErORE THE OFriCIAL
OPENING. THUS ALL BUILDING, LANDSCAPING, PAVING, AND
riNISHING SHALL BE COMPLETED BErORE JUNE 1, 1970.
x. DESIGN REQUIREMENTS
THE FOLLOWING STIPULATIONS WERE SET BY OR. BROWN rOR THE
MOST DESIRABLE AND ErFICIENT MUSEUM MEETIN G THE FOUNDATION 1S
REQUIREMENTS. THESE REQUIREMENTS ARE FEW, AND CAN HARDLY
BE CONSIDERED LIMITATIONS.
OR. BROWN STATED THAT THE riNAL MUSEUM BUILDING, INCLU
DING ALL PRE-MENTIONED rUNCTIONAL FACILITIES, SHALL BE A
STRUCTURE OF APPROXIMATELY 100,000 SQUARE FEET WITH A DIS-
29 TRIBUTION OF APPROXIMATELY 60-40% IN FAVOR OF PUBLIC AREAS.
THE FINAL PLANS SHALL BE AS SIMPLE AS POSSIBLE. THE
ARCHITECTURE SHALL BE SUBSERVANT TO THE TRUE PURPOSE OF THE
33 .
MUSEUM, WHICH IS THE PRESERVATION AND EXHIBI~ION OF MASTER-
PIECES, DR. BROWN EXPRESSED NO PRE-DISPOSITION TOWARD ANY
ONE PARTICULAR STYLE OR SHAPE Or BUILDING, BUT EXPRESSED
THE HOPE AND ASSURANCE THAT THE FINAL FORM WILL ARISE FROM
AND BE A PART OF THE FUNCTION. BROWN FURTHER STATED THAT,
IN KEEPING WITH THE FOUNDATION 1S DESIRE FOR A MUSEUM WHICH
SHALL ITSELF BE A WORK OF ART, THE MUSEUM SHALL GAIN ITS
ARCHITECTURAL EXCELLENCE FROM A DESIGN WITH ELEQANT SIMPLICITY,
30 AND EXQUISITE DETAILING.
FURTHER REQUIREMENTS ARE THAT THE AFORE-MENTIONED
"INTERNAL EXPANSION" POLICY BE CARRIED OUT BY THE DESIGNER.
ALSO THE RECEIVING, UNPACKING, ETC. ACTIVITIES MUST TAKE
PLACE IN ASSEMBLY-LINE FASHION, TO PROMOTE THE SIM PLEST,
SAFEST, AND MOST EFFICIENT CIRCULATION Or PAINTING THROUGH-
31 OUT THE ~UILDINGo
DR. BROWN DOES NOT BELONG TO ANY "SCHOOL" OF DISPLAY
PHILOSOPHY, BUT RATHER FEELS THAT PAINTINGS SHOULD BE DIS-
PLAYED TO THEIR INDIVIDUAL ENHANCEMENT, IN SURROUNDINGS
WHICH ARE "wARM" AND "FRIENDLY". THE PREVAILING nsCHOOLS 1
Or DISPLAY MAY BEST BE DESCRIBED AS "STARK" VS. "NATURAL".
30tBID.
31 IBIO.
~-
UNDER THE "sTARKn SCHOOL, OBJECTS OF ART ARE DISPLAYED IN
COLD, USUALLY BLACK OR WHITE, AREAS, WITH THE PURPOSE OF
ELIMINATING ALL SUPERFLUITIES AND DISTRACTIONS FROM THE
VIEWER's MINDo THE "NATURA~1 SCHOOL IS AT THE OTHER END
OF THE SPECTRUM, WITH THE PHILOSPHY THAT A PAINTING IS
BEST EXPERIENCED IN SURROUNDINGS WHICH MOST NEARLY DUPLI-
CATE THOSE WHEREIN IT MIGHT HAVE HUNG UPON ITS COMPLETION.
80TH "sCHOOLS" ARE OBVIOUS COMPROMISES TO THE EXCELLENCE
OF A WORK OF ART, AND THE KIMBELL A~T MUSEUM SHALL SEEK
A M1DDLE GROUND, RELYING HEAVILY UPON ITS EXHIBITIONS
DESIGNER TO CREATE THE MOST PROPER SETTING FOR EACH WORK OF
ARTo FLEXIBILITY IN DISPLAY TECHNIQUES IS OF EXnREME
32 IMPORTANCE ~0 THE SUCCESS OF THE MUSEUM 0
A FURTHER STIPULATION AS SET BY BROWN IS THAT MUSEUM
VISITORS NOT BE ENCLOSED FROM NATURE. HE EXPRESSED DESIRES
THAT THE VISITOR SHALL FEEL A RELATING EXPERIENCE TO THE
MANIFESTATIONS OF NATURE AND THE UNIVERSE WHILE EXPERIENCING
THE ART OF THE MASTERS INSIDE THE MUSEUMo To THIS END, GLASS
SHALL BE EMPLOYED WHERE APPROPR IATE, AND SCULPTURE COURTS
33 SHALL BE fNCLUDED INS IDE AND OUTSIDE THE STRUCTURE.
FINALLY, THE MUSEUM SHALL BE SO DESIGNED AND CONSTRUCTED
AS TO ENHANCE RATHER THAN DETRACT FROM THE SURROUNDING
32~.
33 Jato.
35.
BUILDINGS AND AREAS. DR. 8ROWN STATED THAT HIS IDEAS 0~
ENHANCEMENT WERE MOSTLY ALONG THE LINES 0~ GENERAL IMPROVEMENT
34 Or THE AREA BY CREATING A NEW AND BETTER AREA.
XI. CoNCEPT FOR THE DESIGN Or THE MusEUM
KEEPING IN MIND THE DESIGN, rUNCTIONAL, AND AESTHETIC
REQUIREMENTS Or THE KIMBELL ART MUSEUM, THIS WRITER PRO-
POSES THE rOLLOWING CONCEPT FOR THE FINAL CONFIGURATION OF
THE BUILDING• IT IS IMPORTANT TO EMPHASIZE THAT THIS CONCEPT
IS JUST THAT, AND IS NOT INTENDED TO BE EITHER A COMPLETE
EXPLANATION OF THE SOLUTION, OR A JUSTIFICATION OF THE FINAL
DESIGN.
I PROPO SE THREE INTER-CONNECTED FIVE LEVEL TOWERS; IN
FRONT OF THE TOWERS SHALL RESIDE THE AUDITORIUM. THE TOWERS
SHALL BE CROSS-SHAPED IN PLAN, EACH HAVING A HOLLOW-CORE
WHICH S HALL BE USED AS A SCULPTURE COURT AND CIRCULATION
WAY BETWEEN GALLERIES. TRE FOREMOST TWO TOWERS SHALL BE
CONNECTED ON THE FIRS T LEVEL BY AN ENTRANCE LOBBY, AND AT
THE SECOND AND FORTH LEVELS BY A SEATING AND ELEVATOR LOBBY.
AT THE THIRD LEVEL DOORWAYS SHALL CONNECT THE VISITORS WITH
THE LOWER LEVEL ROOF, WHICH IN TURN SHALL BE DESIGNATED AS
SCULPTURE, DISPLAY, AND MEDITATION GARDENS. THE THIRD TOWER
S HALL HOUSE THE ADMINISTRATIVE OFFICES AND STArr FACILITIES.
36.
CIRCULATION BETWEEN LEVELS SHALL BE ACCOMPLISHED BY
ELEVATORS THROUGH THE LOBBIES, AND BY STAIRWAYS AROUND THE
EXTREMETIES OF THE HOLLOW CORE. ENTRANCE TO THE AUDITORIUM
SHALL BE ACCOMPLISHED FROM THE STREET OR BY CONNECTING
TUNNEL TO THE MUSEUM ENTRANCE LOBBY.
EACH GALLERY, WHICH IS FORMED BY THE ARMS OF THE CROSS,
IS DIRECTLY RELATED TO THE CENTRAL COURT, WHICH AFFORDS THE
VISITOR A VERY REAL AND PLEASANT SPATIAL EXPERIENCE, AS WELL
AS SERVING AS A METHOD OF ORIENTATION FOR THE VISITOR. THE
GLASS WALLS ABOVE AND BELOW EACH GALLERY LEVEL SERVE TO IN-
TRODUCE NATURAL LIGHT DIRECTLW TO THE CENTRAL COURT, _AS WELL
IN-AS DIRECTLY TO THE GALLERIES. THESE SAME GLASS WALLS SHALL
ALSO SERVE TO RELATE THE VISITOR TO THE OUT-OF-DOORS, THE
SKY ABOVE, AND THE ROOF GARDENS BELOW.
FEEL THAT THIS CONFIGURATION EFFECTIVELY SOLVES THE
UNIQUE PROBLEMS AND REQUIREMENTS OF THE KIMBELL ART MuSEUM,
AND WILL INTRODUCE A NEW AND BETTER EXPERIENCE IN MUSEUM
VISITATION.
37.
'· SITEWORK
A. PARKING FACILITIES
SURFACE PARKING FACILITIES FOR 104 AUTOMOBILE HAVE BEEN
PROVIDED AT THE NORTHWEST ED GE OF THE SITE, ADJACENT TO
THE WEST S IDE OF THE BU ILDING. THE WEST-TO-EAST SLOPE
OF THE SITE HAS BEEN CUT AND FILLED TO ACCEPT THE
PARKING LOT ON THE SAME LEVEL AS THE ENTRANCE LOBBY TO
THE MUSEUM . THIS LOCATION OF THE LOT WILL NOT INTERFERE
WITH THE VIEW OF DOWNTOWN FROM THE SCULP TURE COURTS AT
THE THIRD LEVEL OF THE MUSEUM .
B. Bu iLDING LocATION
THE MUSEUM BUILDING HAS BEEN LOCATED IN THE APPROXIMATE
CENTER OF THE S ITE, WITH THE CHIEF EMPHASIS BEING PLACED
ON THE PRESERVATION OF THE VIEW OF THE SKYLINE OF FORT
WoRTH FROM THE TERRACE OF THE AMON CARTER MU SEUM OF
WES TERN ART IMMEDIATELY TO THE SOUTHWEST. PUBLIC ACCESS
TO BUILDING IS THROUGH THE PARKING LOT OFF WEST DRIVE, OR
BW THE ENTRANCE DRIVE OFF WEST LANCASTER. STAND ING SPACE
FOR TA XICA BS • HAS BEEN PROVIDED.
C . SERVICE ACCESS
SERVICE VEHICLES GAIN ACCESS TO THE BASEMENT OF THE BUILD
I NG BY A GENEROUS SERV I CE DRIVE SLOPING DOWN FROM THE
EASTERN EDGE OF THE PARKIN G LOT. AN UNDERGROUND SERV I CE
38 .
APRON AND PULL-Orr SPACE HAS BEEN PROVIDED rOR VEHICLES
SERVICING THE ADMINISTRATIVE TOWER; AND AN AMPLE UNDER
GROUND SERVICE APRON AND TURN-AROUND SPACE HAS BEEN
PROVIDED rOR VEHICLES ERVICING THE GALLERY TOWERS.
D. GROUNDS
THE MUSEUM GROUNDS HAVE BEEN DESIGNED ALONG SIMPLE L I NES
TO PROVIDE OUTDOOR DISPLAY Or SCULPTURE. COARSE
AGGREGATE IN CONCRETE WALKS HAVE BEEN PROVIDED, WITH
SCULPTURE LOCATED AT THE APPROPRIATE rOCAL POINTS.
TREES AND SHRUBS ARE INCORPORATED TO ENHANCE THE BUILDING
AND THE SCULPT URES.
I I. FJNCTIONS IN THE MuSEUM AS ExPRESSED IN PLAN
A. SERVICE FACILITIES
SERVICE FACILITIES rOR THE MuSEUM LIE UNDERNEATH THE
GALLERIES AT BASEMENT LEVEL. IN THIS MANNER ALL rUNCTIONS
Or THE GALLERIES NOT DIRECT~Y RELATED TO THE DISPLAY Or
ART ARE SEPARATE. A LOADING DOCK LEADS TO THE RECEIVING
AND SHIPPING AREA; AND rROM THERE THE ART WORKS ARE
CHANNELLED TO THE REPAIR LABORATORy, STORAGE rACILITIES,
OR DIRECTLY TO THE GALLERIES VIA rREIQHT ELEVATOR. THE
rREIGHT ELEVATOR CONNECTS AND OPENS INTO EACH LEVEL Or
THE BUILDING. MECHANICAL AND ELECTRIAL EQUIPMENT,
39.
JANITORIAL rACILITIES, ALL STORAGE, AND APPROPRIATE PERSONNEL
ARE LOCATED IN THE BASEMENT.
B. AUDITORIUM
THE AUDITORIUM HAS A CAPACITY OF 400, WITH CONTINENTAL
SEATING. IT IS OF RELATIVELY STRAIGHT~FORWARD DESIGN,
BEING USED PRIMARILY FOR LECTURES, SYMPOSIA, ETC. THE
FLOOR SHALL BE CARPETED, AND THE CEILING COMPOSED OF
ACOUSTICAL PLASTER.
c. ENTRANCE LEVEL
PUBLIC ACCESS IS GAINED FROM THE ENTRANCE TERRACE
FORMED BY THE AUDITORIUM ROOF. AN ENTRANCE LOBBY IS
CENTRALLY LOCATED BETWEEN THE BASES OF THE TWO GALLERY
TOWERS. INFORMATION AND REGISTRATION FACILITIES, AS
WELL AS TWO PUBLIC ELEVATORS ARE PROVIDED IN THE LOBBY.
AT EITHER END OF THE LOBBY ARE THE SCULPTURE COURTS
FORMED BY THE HOLLOW CORES OF THE TOWERS. INSIDE THESE
GLASS-ENCLOSED COURTS STAIRS LEAD UP TO THE BALCONIES AND
GALLERIES ABOVE.
D. GALLERY LEVELS
DISPLAY GALLERIES ARE LOCATED AROUND THE HOLLOW CORES,
AND ARE REACHED BY BALCONIES. INCANDESCENT ILLUMINATED
CEILINGS ARE PROVIDED, WITH SUPPLEMENTARY SPOTLIGHTS
LOCATED ON CEILING TRACKS. WALLS ARE ANTIQUED WHITE
REDWOOD PANELING, TO IMPART WARMTH. GALLERY FLOORS ARE
CARPETED IN DULL SHADES OF REO, ORANGE, AND BROWN. FREE
STANDING MOVEABLE DISPLAY PARTITIONS ARE PROVIDED IN
40.
~OUR ~OOT SECTIONS.
BETWEEN GALLERY TOWERS ARE LOCATED ELEVATOR LOBBIES,
WITH SEATING AND REST ROOM ~ACILITIES. SUPPLEMENTAL
SEATING IS ALSO PROVIDED IN EACH GALLERY.
E. THIRD LEVEL ScuLPTURE CouRTS
Roo~ DECK SCULPTURE COURTS ARE PROVIDED BETWEEN THE
SECOND AND ~OURTH LEVEL GALLERIES. THUS THE MUSEUM
VISITOR PASSES THROUGH A LEVEL 0~ LIGHT, AIR, AND
NATURE BETWEEN GALLERIES. AT THE THIRD LEVEL ALL
ENCLOSING WALLS ARE GLASS, ALLOWING LIGHT INTO THE
MUSEUM BUILDING. THE GLASS WALLS EXTEND ABOVE THE
~OURTH LEVEL ROO~~INE, ~ORMING CLERESTORIES.
F. THE ADMINISTRATIVE TOWER
THE THIRD TOWER, BEHIND BUT CONNECTED TO THE GALLERY
TOWERS, HOUSES THE ADMINISTRATIVE ~ACILITIES 0~ THE
MUSEUM. CONSTRUCTED IN THE SAME MANNER AS THE ~OREMOST
TOWERS, IT HOUSES ALL O~~ICES, THE MUSEUM LIBRARY,
DINING, AND MEETING ~ACILITIES.
II I. GENERAL BuiLDING CoN~IGURATION
THE MUSEUM IS DESIGNED TO BEST DISPLAY WORKS 0~ ARTo
IT IS ALSO DESIGNED TO PROVIDE THE MUSEUM VISITOR AN IN
TERESTING AND ENLIGHTENING EXPERIENCE. THE GENERAL CHAR
ACTER AND ~EELING 0~ THE MUSEUM, BOTH INSIDE AND OUTSIDE
IS ONE WHICH IS CALCULATED TO INTRIGUE AND STIMULATE THE
VISITOR.
41.
Two TOWERS ~OR DISPLAY ARE PROVIDED TO ALLOW ~LEXIBILITY,
AS WELL AS ORGANIZATION IN ARRANGEMENT 0~ DISPLAYS. A
CONSTANTLY CHANGING AND EXCITING ENVIRONMENT IS PROVIDED
TO KEEP THE VISITOR INTERESTED. CANTILEVERED GALLERIES GIVE
SUBS TANCE TO THE EXTERIOR OF THE BUILDING, AS WELL AS PRO
VIDE INTERIOR SPACES UNCLUTTERED WITH STRUCTURE ~OR THE DIS
PLAY 0~ ART 0 THE CANTILEVERS ALSO PROVIDE SHELTERING EAVES
~OR THE ROOF COURTS, WITHOUT RESTRICTING OUTWARD VISION OR
ENCOURAGING A CLOSED-IN ~EELING BY THE MUSEUM VISITORS.
THE CROSS-SHAPED PLANS OF THE TOWERS A~FORDS A LOGICAL
ARRANGEMENT FOR THE GALLERIES AROUND THE CENTRAL HOLLOW
COURT; AND BY GUIDING THE VISITOR BACK TO THIS CORE BETWEEN
EACH GALLERY, CONFUSION IN ORIENTATION IS ELIMINATED. THUS
THE VISI·TOR, FROM ANY POINT IN THE MUSEUM CAN SEE WHERE ~E
IS, WHERE HE WANTS TO GO, AND WHERE HE HAS ALREADY BEENo HE
MAY LOOK UP AT THE SKY, OUT AND ACROSS TO ANYOTHER GALLERY,
AND DOWN TO THE SCULPTURE COURT BELOW.
IV. STRUCTURAL SYSTEM
THE BUILDING IS OF CONCRETE WITH ELEMENTS ADDEO TO MAKE
IT APPEAR BEIGE IN COLOR. SMALL AGGREGRATE SHALL BE EXPOSED.
MASSIVE COLUMNS AT THE INTERIOR CORNERS OF THE COURT~ SHALL
SUPPORT THE WEIGHT OF THE S TRUCTURE, WHILE THE CANTILEVERED
WALLS SHALL ACT AS BEAMS BEING TIED TO THE COLUMNS AND OPPOSING
CANTILEVERS BY STRESSING STEEL CONTINUOUS THROUGHOUT THE S TRUC-
42.
TURE AT THE POINTS OF MAXIMUM SHEAR. CROSS-BEAMS AT THE
ROOF AND BELOW THE FLOOR OF EACH QALLERY PROVIDE STRUCTURAL
RIGIDITY TO THE BEAM-WALLS. CoNCRETE SHALL BE POURED IN
PLACE, ONE COMPLETE LEVEL AT A TIME, SO AS TO AFFORD THE
STRUCTURAL COUNTER-BALANClSG OF THE CANTILEVERS INITIALLY.
SECONDARY STRUCTURAL ELEMENTS SUCH AS THE ELEVATOR
LOBBIES, BALCONIES, ETC. SHALL BE OF SIMPLE POST AND BEAM
REINFORCED CONCRETE CONSTRUCTION. THE AUDITORIUM ROOF IS
SUPPORTED BY LARGE STEEL TRUSSES SPANNING EAST AND WEST.
ALL CEILINGS ARE SUSPENDED A MINIMUM OF 11-6 11 , TO PROVIDE
MECHANICAL DUCT SPACE. ALL INTERIOR CONCRETE (EXCEPT THE
PANELLED GALLERY WALLS) SHALL BE OF THE SAME HIGH QUALITY
AS THE EXTERIOR WALLS, AND SHALL REMAIN EXPOSED.
v. MECHANICAL, ELECTRICAL, AND PLUMBING EQUIPMENT
A. MECHANICAL EQUIPMENT
THERE ARE THREE SEPARATE COOLING AND HEATING UNITS,
ONE FOR EACH TOWER. ALL ARE LOCATED IN THE BASEMENT.
8Y USING THREE SEPARATE UNITS, MORE EFFECTIVE "zoNING"
CONTROL IS GAINED. MECHANICAL WARM AIR HEATING IS
EMPLOYED, WITH THE ADVANTAGES OF BALANCED HEATING,
BETTER CONTROL OF HUMIDITY, BEST FILTERING PROCESS,
AND BEST ADAPTABILITY TO RAPID TEMPERATURE CHANGES.
IN EAGH UNIT ARE A GAS FURNACE, SHEET METAL DUCTS,
DAMPERS, AND REGISTERS. AIR FILTERS, THERMOSTATS, AND
43.
AND HUMIOISTATS ARE PLACED IN EACH SYSTEM TO INSURE
A MINIMUM ~LUCTUATION 0~ TEMPERATURE AND HUMIDITY.
AIR CONDITIONING EQUIPMENT IS INCORPORATED WITH EACH
HEATING UNIT TO PROVIDE YEAR-AROUND TEMPERATURE AND
HUMIDITY CONTROL. DEHUMIDIFYING I S OBTAINED BY THE
USING 0~ LIQUID ABSORBENTS IN THE EVAPORATIVE COOLING
TOWERS. AIR ~ILTERS ARE USED IN CONNECTION WITH EACH
AIR CONDITIONING UNIT. ELECTRIC ~ANS ~ORCE THE COOLED
AND HUMIDIFIED AIR THROUGH THE SAME DUCTS USED FOR THE
HEATING SY S TEM.
SUPPLY DUCTS RUN VERTICALLY UP THE DUCT SPACE PRO
VIDEO AT EACH COLUMN, AND BRANCH OUT AND ABOVE THE SUS
SPENDED CEILING IN EACH GALLERY, ENDING IN CEILING
REGISTERS. RETURN AIR IS DUCTEO FROM THE RETURN AIR
GRILLE IN EACH ELEVATOR LOBBY DOWN TO THE BASEMENT, AND
BACK TO THE UNITS. THERMOSTSTS ARE PLACED IN ONE ~AL-
LERY PER FLOOR LEVEL.
B. PLUMBING EQUPMENT
ALL WATER LINES CONNECT TO CITY MAINS UNDERGROUND,
AS 00 ELECTRICAL AND GAS LINES. SEWAGE DISPOSAL LINES
CONNECT TO THE CITY SEWER LINE BENEATH WEST lANCASTER
AVENUE. RESTROOM FACILITIES HAVE BEEN PROVIDED WHERE APPRO
PRIATE, THE SUPPLY AND DISPOSAL LINES RUNNI NG INSIDE THE
COLUMNS ADJACENT TO THEM. VENTS RUN UP THE COLUMN WHERE
44.
NECESSARY, AND DIRECTLY TO THE ROOF WHERE POSSIBLE.
c. ELECTRICAL EQUI~MENT
ALL ELECTRICAL LINES RUN IN CONDU I TS FROM THE
MAIN ELECTRICAL PANEL IN THE ADMINISTRATIVE TOWER
BASEMENT. CoNSUlTS ARE SET INTO THE COLUMNS FOR
VERTICAL SERVICE, AND RUN HORIZONTALLY ABOVE THE
SUSPENDED CEILINGS.
INCANDESCENT LIGHTS ABOVE THE SUS~ENDED CEILING
GIVE FULL ILLUMINATION TO THE CEILING, ~ROVIDING AN
EVEN WASH OF LIGHT OVER THE ENTIRE GALLERIES. SUPPLE-
MENTARY SPOTLIGHTS ON CEILING TRACKS AUGMENT THE CONSTANT
ILLUMINATION OF THE CEILING.
Two EMERGENCY GENERATORS OF SUFFICIENT SIZE TO
ACCOMMODA TE THE ENTIRE MUSEUM PROVIDE EMERGENCY POWER
FOR THE MUSEUM.
VI. MATERIALS
A. ExTERIOR MATERIALS
THE MuSEUM I S CONSTRUCTED OF REINFORCED CONCRETE,
IN KEEPING WITH NATURE OF ITS DESIGN. EXTERIOR WALLS
ARE OF THIS CONCRETE, BEIGE IN COLOR WITH EXPOSED AGGRE
GATE. EXTER IOR WALLS OF GLASS SHALL BE OF DOUBLE-THICK
INSULATING GLASS, TINTED BROWN. BRONZE TONE ALUMINUM
MULLIONS ENC LOSE THE GLASS PANELS.
ALL ROOFING IS OF BUILT-UP ASPHALT COMPOSITION,
45.
WITH A ONE-HALr INCH LAVER Or REDDISH-BROWN CINDERS
IMBEDDED INTO THE COMPOSITION. TERRACES AND ROOr DECKS
ARE COMPOSED Or THE SAME MATERIALS. ALL WALKS ARE Or
CONCRETE WITH EXPOSED AGGREGATE.
B. INTERIOR MATERIALS
EXPOSED CONCRETE IS EMPLOYED THROUGHOUT THE INTERIOR
Or THE BUILDING. WALLS ARE PANELLED IN ANTIQUED WHITE
REDWOOD. CEILINGS, AS AFORE-MENTIONED, ARE LUMINOUS.
BASEMENT CEILINGS ARE ACOUSTICAL TILE WHERE APPROPRIATE.
CARPETING SHALL COVER THE FLOOR IN ALL GALLERIES AND
ELEVATOR LOBBIES. AT GROUND LEVEL ALL rLOORS ARE TERAZZOo
BALCONIES ARE Or REINFORCED CONCRETE WITH ELEMENTS TO GIVE
A WHITE riNISH.
MOVEABLE DISPLAY PARTITIONS ARE riNISHED IN BURLAP
OR SIMILAR TEXTURE MATERIAL IN VARIOUS NEUTRAL COLORS.
DETAILING AND FINISHING, BOTH INTERIOR AND EXTERIOR,
SHALL BE Or THE HIGHEST QUALITY CRAFTSMANSHIP.
46.
B I B L I 0 G R A P H Y
FoRT WoRTH STAR-TELEGRAM, NovEMBER 8 , 1965. P. 1.
GAY, CHARL~S MERRICK, AND CHARLES DE VAN FAWCETT, MECHANICAL AND ELECTRICAL EQUIPMENT FOR BUILDINGS, (NEW YORK: JoHN WILEY AND SoNs, INc, 1955), 547PP.
TEXAS ALMANAC, (DALLAS : 1965-1966).
WITLIN, ALMAS., PH.D., THE MusEuM, ITs H ISTOR Y AND ITs TASKS AND EDuCATION (LoNDoN: RouTLEDGE AND KEGAN PAUL LIMITED, 1949).
INTERVIEW WITH DIRECTOR oF FouNDATION, MARCH 28, 1966.
47.
' .
AN ART MU SEUM
-for fo1 ·t Y#Orth, texas -
- -- --..
ARCHITECT .. AL • THESIS
·texas ~·-,ologlcal · coH•a• • architecture 484
may 16, 1966 • MICKA!!: L. PAIL. ~lt\~11
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