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 ...

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.

PROGRAM AND RESEARCH

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.

AN EXPLANATION OF THE DESIGN SOLUTION

'· 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

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