MILWAUKEE

ART MUSEUM
SANTIAGO CALATRAVA
PRESENTED BY,
1. ABHI KARUN(1)
2. AFNAN ABDUL RAZAK(4)
3. FATHIMATHUL HANIYYA(15)
4. MUHAMMAD SALIH KS (31)
5. NIDA(33)
Milwaukee Art
Museum
Location : 700 N. Art Museum Drive
Milwaukee, Wisconsin, US
Architect : Santiago Calatrava
Project Year : 2001
Total Area : 13,196 square meters
 INTRODUCTION
On December 10, 1997, the Milwaukee
Art Museum began construction on the
addition Spanish architect Santiago
Calatrava designed to carry the
Museum into the next millennium.
The project included a grand hall, new
exhibition galleries, and an auditorium,
as well as a store and a café, bringing
the total size of the Museum to 341,000
square feet.
The Milwaukee Art Museum is the
largest art museum in the state of
Wisconsin, housing a Collection of more
than 30,000 works and hosting an
impressive lineup of internationally
regarded exhibitions.
The museum‟s holdings are displayed chronologically
according to period: ancient, early European, 19th-century
European, American to 1900, modern, and contemporary.
Museum officials looking for a style which would
complement the existing Saarinen structure
turned to architect Santiago Calatrava in 1994 to design
the new addition.
The Milwaukee Art Museum (MAM) traces its beginnings to
two institutions, the Layton Art
Gallery, established in 1888, and the Milwaukee Art
Institute, which was established in 1918. In
1957 the groups joined together, forming the private,
nonprofit Milwaukee Art Center, now
known as the Milwaukee Art Museum. An addition was
added to the Milwaukee Art Center in 1975. In 1980, the
Center changed its name to the Milwaukee Art Museum.
 WAR MEMORIAL CENTER
QUADRACCI PAVILION
The Milwaukee Art Museum, which overlooks Lake
Michigan, was partially housed in a building designed
in 1957 by Euro Saarinen as a war memorial. From The Quadracci Pavilion is the
the outset, two lower floors were allocated for use as iconic sculptural addition to the
an art gallery. Further exhibition space was created Milwaukee Art Museum designed
in 1975 by David Kahler‟s 160,000 square meter by Santiago Calatrava. The
addition — a structure that extends to the water‟s Spanish architect was inspired by
edge and effectively creates a plinth on the axis of the “dramatic, original building by
the Saarinen building. Eero Saarinen
LOCATION & ACCESIBILITY
 LOCATION
• Milwaukee art museum located
in the east side of the
Milwaukee town. The east side
of the Milwaukee art museum Is
Milwaukee bay, the west side
consists of major town buildings
Betty Brinn children museum
,in the north side we can see
veteran park .
• To counter the strong wave
from the Milwaukee bay sea
walls are constructed in the east
side of Milwaukee art museum
 ACCESSIBILITY
• The main town center is located 400m
away from the Milwaukee art museum
.so the access to the museum is very
easy for pubic transportation users as
well as private vehicles

• To promote more tourists and attract

more pedestrian from town and the
nearest children museum they have
constructed reiman footbridge to the
Milwaukee art museum

Reiman
footbridge
1 It is the main entrance to the 3 This entrance is made for 5 This entrance is made
building group of visitors ,school near the parking area of
students etc. war memorial
centre ,entrance made
2 This entrance is made for the there gives easy access
pedestrian. A bridge is made to 4 The main entrance of war for the visitors
walk through it easy access for memorial centre
pedestrian

5
4
3
Click to add text

2 1

Both entry and exit

points are same
CONTEXT
The city of Milwaukee was looking for a
“strong architectural statement in an
exciting yet functional building” that
would “set an architectural standard for
the next millennium.”
Calatrava‟s response was to design “a
glowing „lantern‟ on the downtown
lakefront, radiating light in all directions.”
He chose to execute this concept
through a pavilion featuring a “vast,
glass-enclosed reception hall” with a
“transparent, boat-like prow of unique
design, facing the lake” and a “huge,
wing-like sunscreen.”
LANDSCAPE
Cudahy garden designed by Dan kiley
The symmetrical plan is book-ended by paved
plazas that each hold a black granite lined circular
fountain with a single jet programmed to shoot
water thirty-five feet high.
A three-foot-wide water channel runs the length of
the site, dividing each of the hedges, and connects
the two fountains. Water jets within the channel
project water four feet high, creating a shimmering
curtain of water that helps animate the space.
SPACES & FUNCTIONS
Milwaukee art museum have 5
[Link] the quadracci pavilion
consists of 4 levels including a
underground parking
• Lower level consists
of Café, restrooms ,
atm lockers and in
the war memorial
center building
special exhibition
gallery located . In
this level more
importants is given
to basic service for
the visitors
• At the shore level, the
expansion houses the
atrium, a gallery space for
temporary exhibitions, an
education center with a
300 seat lecture hall and
a gift shop. The 100 seat
restaurant, placed at the
focal point of the pavilion,
commands panoramic
views onto the lake.
Inside the entrance is
nothing short of
spectacular.
Seating spaces for visitors for relaxing
and enjoying the site and arts
Mezzanine floor has
an entrance through
the bridge and in
this level, a lobby
space and board
room are provided
 In The war memorial
center the lighting are
more depends in
artificial sources but in
the calatrava sections
natural lighting are
used and also calatrava
section also give an
unique views to the
surrounding and as well
as to the arts also
CIRCULATIONS
VEHICULAR
P
STRUCTURAL FEAUTURES
PAVILION RING BEAM
• The project's steel-and glass Quadracci
Pavilion serves as the grand entry into the
expanded museum, it is erected over a
concrete ring beam immediately south of the
low-lying galleria. Seventeen specially built A
frames, ranging in length from 98 feet to
about 27 feet, have been trucked in from
Portland., Ore, for assembly and placement
on the work site. The A shaped rafters were
computer-designed and custom-fabricated
by Columbia Wire and Iron Works, a specialty
steel fabricator in Portland. Together, they
give the pavilion its shape, strength and
transparency. Components for the A-frames
were cut out of big sheets of steel plate,
welded together, ground and finished.
• Shapes were determined digitally, from a computerized model of the pavilion and its underlying
structure. Once the A frames have been placed on the oval-shaped ring beam, glass panels were
inserted, followed by a three piece steel spine.
• The fixed 'building spine' tops off the A frames Above it, two rotating spines supports the
movable wings of the Brise-Soleil, enormous sunscreen is positioned to admit or keep out
sunlight. Light is crucial in the concept and operation of the pavilion. By day, it will have natural
light. At night, artificial illumination will be provided by powerful lights set low around the
concrete ring beam. Thus, the pavilion is precisely as architect Santiago Calatrava originally
envisioned it: a glowing "lantern' on the downtown lakefront, radiating light in all directions“.
• Calatrava focused his attention on the entrance, which is connected to the rest of the complex by
a raised walkway and twin ramps. Combined with the sculptural element of the roof, it creates
the impression of a great winged bird coming in for a landing on the shores of Lake Michigan.
BURKE BRISE-SOLEIL
• Burke Brise-Soleil The movable Burke Brise- Soleil constitutes the signature element of the
Calatrava addition, resting on top of the breathtaking glass and steel atrium above the Quadracci
Pavilion.
• This element features two very large wings, each composed of 36 steel rectangular tube fins
having a constant cross-section width of 330 mm, but varying in length, depth, and thickness
which are rigidly connected by steel spacers.
• Each wing is supported by a rotating spine, to which all fins are connected. The two rotating
spines are in turn supported by the building spine, and 11 pairs of hydraulic actuators turn the
rotating spines 90 degrees to fully open or close the wings.
• The biggest challenge in the design of the Burke Brise Soleil was to understand the behavior with
wind load on the structure A wind tunnel study was conducted using a 1:400 aero elastic model
which included the sunscreen, a portion of the underlying structure, and surrounding buildings in
downtown Milwaukee
 PEDESTRIAN PATH
• Oriented on the same axis as the pavilion spine, a cable stayed pedestrian bridge spans 71m over
Lincofn Memorial Drive and serves as a link from downtown Milwaukee to the new entrance of the
MAM.
• Nine locked coil cables and 18 back stay cables support the 10 main spans of the bridge. The 15-m
back spines supported by two steel rods anchored to the pavilion, while the nine front cables are
supported by the 60m long leaning steel pylon.
• The pylon is Circular in cross-section and varies in diameter throughout its height. As show in figure
,illustrated by Arbanas,the main section of the bridge is a five sided closed steel cell with a stressed-
skin structure, measuring 0.6 m deep and 5m wide with a 0.6 m-high parapet.
• The cell has no internal beams or girders and acts as a tubular member resisting live, dead and wind
loading. The stressing allows for more transverse load with less deflection.
• The "boomerang" bridge abutment is formed from welded steel plate and is anchored at the top to
the west end of the pavilion ring beam and supports the pylon base