ABSTRACT
Title of Thesis: 
 
Thesis Directed By: 
PRESERVING CHANGE, CHANGING HOW WE 
PRESERVE ? A TEMPORAL APPROACH TO INFILL 
ARCHITECTURE IN AN HISTORIC ARTS DISTRICT
Maureen Hogan Vosmek, Master of Architecture,  
Master of Historic Preservation, 2008
Professor Brooke D. Wortham-Galvin
School of Architecture, Planning and Preservation
	 This	thesis	investigates	how	infill	development	within	a	historic	urban	setting	acts	
as	part	of	the	continuous	spatial	evolution	of	cities	through	time	and	views	buildings	as	
a	living,	changing	artifact	of	human	use	imbedded	in	a	complex,	stratified	and	intercon-
nected environment. As an addition to the Schuler School of Fine Art, located in the Station 
North Arts District of Baltimore, Maryland, this thesis weaves new construction through 
the	negative	spaces	defined	by	existing	historic	structures.	This	overlapping	of	new	and	old	
creates	an	experiential	quality	that	allows	for	a	temporal	reading	of	the	site	and	the	school.	
This	project	attempts	to	mend	a	broken	fabric	while	reflecting	evolving	paradigms	of	pres-
ervation,	style,	social	patterns	and	environmental	concerns.	Design	emphasis	is	placed	on	
the	shared	character	of	the	contiguous	buildings,	and	the	exposed	quality	of	joining	ele-
ments	between	new	and	old.	
2
PRESERVING CHANGE, CHANGING HOW WE PRESERVE:
A	Temporal	Approach	to	Infill	Architecture	in	an	Historic	Arts	District
By
Maureen Hogan Vosmek
Thesis	submitted	to	the	Faculty	of	the	Graduate	School	of	the
University	of	Maryland,	College	Park	in	partial	fulfillment
of	the	requirements	for	the	degree	of
Master of Architecture
2008
Advisory Committee:
 Brooke D. Wortham-Galvin, PhD, Assistant Professor, Chair
 Gary Bowden, FAIA, Professor of Practice
 Karl DuPuy, AIA, Professor

?	Copyright	by
Maureen Hogan Vosmek
2008
II
DEDICATION
To	my	loving	and	supportive	husband,	John	
and	our	beautiful	son,	Mason.
Your endless words of encouragement,
kind	patience,	and	boundless	love
have	made	this	possible.
Thank you.
III
TABLE OF CONTENTS
Dedication ii
Table	of	Contents	 iii
List of Figures v
Chapter	1:	Integrating	Preservation	and	the	Design	Process ..................... 
 Introduction ................................................................................... 2 
	 Contextualism	and	Contingency .................................................... 
Chapter	2:	The	Schuler	School	of	Fine	Arts .............................................. 7
 The Social Legacy ......................................................................... 9
 The Cultural Legacy ...................................................................... 2
 The Physcial Legacy ...................................................................... 4
	 	 Building	Description .............................................................. 5
	 	 Character	Defining	Features ................................................... 20
Chapter	3:	Complimentary	Objectives ....................................................... 24
 Preserving Change ......................................................................... 25
 Changing How We Preserve .......................................................... 26
Chapter	4:	Considering	the	History ........................................................... 29
 Monument City: A Brief History of Baltimore .............................. 
	 Baltimore	Today:	A	City	of	Gaps .................................................. 4
	 Neighborhood	History ................................................................... 7
 
Chapter	5:	Understanding	the	Evolving	Context ....................................... 4
 The Charles Street Corridor ........................................................... 44
  Mount Vernon ......................................................................... 46
	 	 Pennsylvania	Station	and	the	Jones	Falls ............................... 48
  North Avenue .......................................................................... 5
  The Charles Theater ............................................................... 5
 Site Analysis .................................................................................. 56
Chapter	6:		Infill	Strategies ........................................................................ 62
 Insertion ......................................................................................... 64
  Insertion Precedents ............................................................... 65
 Connective Tissue .......................................................................... 67
  Connective Tissue Precedents ................................................ 68
 Growth By Accretion ..................................................................... 76
  Growth By Accretion Precedents ........................................... 77
 
IV
Chapter	7:		Program	Analysis .................................................................... 79
 Program Precedents ....................................................................... 80
  Chesterwood ........................................................................... 8
	 	 Aspet ....................................................................................... 84
  Glasgow School of Art ........................................................... 86
  Atlantic Center for the Arts .................................................... 88
 Architectural Program ................................................................... 9
  Program Summary .................................................................. 92   
	 	 Program	Description .............................................................. 9
Chapter	8:		Architectural	Design	Strategy ................................................. 98
 Initial Schemes .............................................................................. 99
  Site Strategy : Lafayette Street ............................................. 99
  Site Strategy 2: Lovegrove Mews .......................................... 0
  Site Strategy : Courtyard ...................................................... 0
 Design Intentions ........................................................................... 05
 Design Process ............................................................................... 08
 Design Solution ............................................................................. 
	 Summary	of	the	Jury?s	Assessment ............................................... 28
 Conclusion ..................................................................................... 0
Endnotes ..................................................................................................... 
Bibliography .............................................................................................. 
V
LIST OF FIGURES
Figure	1:	Exterior	view	of	The	Schuler	School	of	Fine	Arts ............................................. 8
Figure 2: Hans Schuler, Sr. (Schuler School of Fine Arts) ................................................ 9
Figure	3:	?Ariadne?	by	Hans	Schuler,	Sr.	(Schuler	School	of	Fine	Arts) .........................0
Figure 4: Schuler in his Lafayette Street Studio (Schuler School of Fine Arts) ............... 0
Figure 5: ?Key Family Monument? (Schuler School of Fine Arts) .................................. 
Figure	6:	Site	map .............................................................................................................4
Figure	7:	Exterior	view	of	historic	Schuler	residence	and	studio .....................................5
Figure	8:	Exterior	view	of	Schuler	studio .........................................................................6
Figure	9:	1912	plan	drawings	of	residence	(Schuler	School	of	Fine	Arts) .......................7
Figure 0: 92 elevation drawings of residence (Schuler School of Fine Arts) .............8
Figure : 92 elevation drawings of residence (Schuler School of Fine Arts) .............9
Figure 2: Fenestration diagram .......................................................................................20
Figure	13:	Sculptural	ornament	by	Hans	Schuler .............................................................2
Figure	14:	Sculptural	cariatids	by	Hans	Schuler ...............................................................22
Figure	15:	View	of	brickwork ...........................................................................................2
Figure	16:	Residence	vs.	studio	brickwork ....................................................................... 2
Figure	17:	Map	of	Maryland	State .................................................................................... 0
Figure	18:	Satellite	photo	of	Baltimore	(www.geosage.com) ........................................... 
Figure	19:	1869	Map	of	Baltimore	(University	of	Texas	at	Austin,	Perry-Castaneda	
																		Library	Map	Collection) ................................................................................. 
Figure	20:	Baltimore	City	population	trends	(U.S.	Census	Bureau	&	Maryland	Office	
                  of Planning) ..................................................................................................... 4
Figure	21:	Persons	in	poverty	in	Baltimore	region	(U.S.	Census	Bureau) .......................5
Figure	22:	Vacant	and	Abandoned	housing	in	Baltimore	City	(Department	of	Housing	
																		and	Community	Development) .......................................................................5
Figure	23:	Map	showing	distribution	of	vacant	and	abandoned	properties	(Department	of			
																		Housing	and	Community	Development) ........................................................6
Figure	24:	Site	vicinity	map ..............................................................................................8
Figure	25:	Site	map	of	Station	North	Arts	District ...........................................................9
Figure	26:	E.	Sachse	&	Co.?s	bird?s	eye	view	of	the	city	of	Baltimore,	1869	(Library	of
                 Congress) .........................................................................................................40
Figure	27:	Figure-Grounds	showing	historic	development,	1890-1951 ........................... 4
Figure 28: Present Figure-Ground showing arts district and Charles Street .................... 42
Figure	29:	Charles	Street	axis ........................................................................................... 44
Figure 0: Figure/Ground of Charles Street corridor .......................................................45
Figure : Historic views of Mount Vernon Place (Maryland Historical Society) ........... 46
Figure	32:	Washington	Monument	and	Mount	Vernon	Square	 ....................................... 47
Figure : Pennsylvania Station, 926 (Maryland Historical Society)  ...........................48
Figure	34:	Bird?s	eye	view	of	Penn	Station,	1915	(Maryland	Historical	Society)	 ..........49
Figure 5: Street grid diagram  .........................................................................................50
Figure	36:	Public	transportation	diagram	 ........................................................................ 50
Figure	37:	Intersection	of	North	Ave	and	Charles	Street	(Gilbert	Sandler) ...................... 5 
Figure 8: View of old Waldorf Hotel ..............................................................................52
VI
Figure 9: View of old Parkway Theater .......................................................................... 52
Figure	40:	Baltimore	Traction	Company,	c.	1892	(Maryland	Historical	Society) ............ 5
Figure	41:	Times	Theater,	c.	1939	(Baltimore	City	Paper) ...............................................54
Figure	42:	Charles	Theater,	c.	1970	(Martin	McCaffery,	photographer) ..........................54
Figure 4: Charles Theater during 999 restoration ......................................................... 54
Figure	44:	Charles	Theater	as	it	appears	today ................................................................. 55
Figure 45: Charles Street commercial corridor .................................................................55
Figure 46: Saint Paul Street Historic District  .................................................................. 56
Figure 47: Photomontage of Charles Street Elevation  .....................................................57
Figure 48: Photomontage of Lafayette Avenue Elevation  ...............................................57
Figure 49: Photomontage of Lanvale Street Elevation  .................................................... 57
Figure 50: Photomontage of Saint Paul Street Elevation  .................................................58
Figure 5: Photomontage of Lovegrove Alley Elevation  ................................................58
Figure	52:	Infill	development	opportunity	diagram	 .........................................................59
Figure	53:	Buildable	area	diagram	 ................................................................................... 60
Figure 54: Alley ways and service access diagram ........................................................... 6
Figure	55:	Sun	path	diagram ............................................................................................. 6
Figure	56:	Caixa	Galicia	Art	Foundation	(Grimshaw	Architects) ....................................64
Figure	57:	Weathermen?s	Bomb	Factory	infill	(Hardy	Holzman	Pfeiffer	Assoc.) ............ 64
Figure 58: Mill City Museum (Meyer, Scherer and Rockcastle) ...................................... 65
Figure 59: View of materials contrast (Meyer, Scherer and Rockcastle) ......................... 66
Figure 60: View from the mill ruins toward the addition (Meyer, Scherer and 
                  Rockcastle) ......................................................................................................66
Figure 6: Higgins Hall, Pratt Institute (Steven Holl) ...................................................... 67
Figure	62:	Museo	di	Castelvecchio	(Carlo	Scarpa) .......................................................... 67
Figure	63:	Pierpont	Morgan	Library	addition	(Renzo	Piano) ........................................... 68
Figure	64:	Model	and	interior	view	(Renzo	Piano) ..........................................................69
Figure	65:	Existing	vs.	New .............................................................................................. 69
Figure 66: Figures vs. Connective Tissue ......................................................................... 70
Figure	67:	Grand	Atrium	as	regularizing	element ............................................................70
Figure	68:	Existing	vs.	New .............................................................................................. 7
Figure	69:	Independent	spaces	vs.	connections ................................................................7
Figure 70: Various views of Higgins Hall, Pratt Institute (Steven Holl) ..........................7
Figure	71:	Existing	vs.	New .............................................................................................. 7
Figure 72: Design generating elements .............................................................................74
Figure 7: Dissonant Zone ................................................................................................74
Figure 74: Interior views ...................................................................................................75
Figure	75:	Exploded	Axon	of	building	elements .............................................................. 75
Figure	76:	Alt	Stazione	Cinema	Cafe	(Schaudt	Architekten) ...........................................76
Figure	77:	Rucksack	Haus	(Stefan	Eberstadt) .................................................................. 76
Figure	78:	Lift-up	House	(MEA	Architects) ..................................................................... 77
Figure	79:	Lift-up	House	(MEA	Architects) ..................................................................... 78
Figure	80:	Exterior	view	of	studio	at	Chesterwood	(National	Park	Service) ...................8
Figure	81:	Aerial	perspective	of	Chesterwood	(National	Park	Service) ...........................82
Figure	82:	Views	of	railroad	track	and	flatcar	(National	Park	Service) ............................ 8
VII
Figure 8: Views of 22-foot doors to studio (National Park Service) ...............................8
Figure	84:	Aerial	rendering	of	Aspet	(National	Park	Service) ...........................................84
Figure 85: Residence of Augustus Saint-Gaudens (National Park Service) ......................85
Figure 86: Studio of the Caryatids (National Park Service) ..............................................85
Figure 87: Little Studio (National Park Service) ...............................................................85
Figure 88: Interior view of Little Studio (National Park Service) .....................................85
Figure	89:	Exterior	view	of	Glasgow	School	of	Art ..........................................................86
Figure 90: Interior views of skylights and wood trusses ...................................................87
Figure	91:	Ground	and	first	floor	plans ..............................................................................87
Figure 92: Sectional model of studios (Atlantic Center for the Arts) ................................89
Figure	93:	Exterior	view	of	sculpture	studio	(Atlantic	Center	for	the	Arts) ......................89
Figure	94:	Site	plan	(Atlantic	Center	for	the	Arts) ............................................................90
Figure	95:	Section	through	sculpture	studio	(Atlantic	Center	for	the	Arts) .......................90
Figure 96: View of wood trusses (Atlantic Center for the Arts) ........................................90
Figure	97:	Exterior	space	diagram	(Atlantic	Center	for	the	Arts) .....................................90
Figure	98:	Programmatic	adjacency	diagram ....................................................................97
Figure	99:	Lafayette	Street	parti	site	plan ..........................................................................99
Figure	100:	Lafayette	Street	parti	axon ............................................................................00
Figure	101:	Lafayette	Street	parti	perspective ..................................................................00
Figure	102:	Lovegrove	Mews	parti	site	plan ....................................................................0
Figure	103:	Lovegrove	Mews	parti	axon ..........................................................................02
Figure	104:	Lovegrove	Mews	parti	perspective ...............................................................02
Figure	105:	Courtyard	parti	site	plan ................................................................................0
Figure	106:	Courtyard	parti	axon ......................................................................................04
Figure	107:	Courtyard	parti	perspective ...........................................................................04
Figure 08: Entry and circulation diagram .......................................................................08
Figure	109:	Program	distribution	diagram ........................................................................08
Figure	110:	Courtyard	development .................................................................................09
Figure : Courtyard diagram .........................................................................................09
Figure	112:	Public	vs.	Private ........................................................................................... 0
Figure : Process sketches ............................................................................................ 0
Figure 4: Process sketches ............................................................................................ 
Figure 5: Process model ................................................................................................ 2
Figure	116:	Timeline	figure/grounds ................................................................................. 4
Figure 7: Demolition diagram ....................................................................................... 4
Figure	118:	Proposed	diagram .......................................................................................... 4
Figure	119:	Site	vacinity	map ........................................................................................... 5
Figure 20: First Floor Plan .............................................................................................. 6
Figure	121:	Aerial	Perspective .......................................................................................... 7
Figure	122:	Second	and	third	floor	plans .......................................................................... 8
Figure 2: Charles Street elevation ................................................................................. 9
Figure 24: Lafayette Avenue elevation ........................................................................... 9
Figure 25: Section Drawings ..........................................................................................20
Figure 26: View toward gallery ......................................................................................2
Figure 27: View of gallery interior .................................................................................2
VIII
Figure 28: View toward gallery roof terrace ................................................................... 22
Figure 29: View down Lafayette Avenue from Saint Paul Street ................................... 22
Figure 0: View down Lovegrove Alley ......................................................................... 2
Figure	131:	View	toward	sculpture	studio	from	interior	courtyard .................................. 2
Figure	132:	View	of	interior	of	plaster	maquette	studio ................................................... 24
Figure	133:	View	toward	painting	studio .......................................................................... 24
Figure	134:	View	toward	plaster	maquette	studio ............................................................ 25
Figure 5: View through stone carving studio ................................................................ 25
Figure 6: Wall section through the north face of life modeling studio ......................... 26
Figure	137:	Diagrams	showing	axis,	public	vs.	private,	green	space ............................... 27

 
?Architects	invent	nothing;	they	redefine	the	value	of	form	by	virtue	
of	its	relationship	to	other	elements	in	a	composition.?		
-Alvaro	Siza
C H A P T E R  1
 
Integrating Preservation and the Design Process
2
INTRODUCTION
 The	development	of	historic	preservation	as	a	professional	field	has,	to	some	extent,	
created	a	divide	between	the	discipline	of	preservation	and	the	practice	of	architecture.	The	
existing	framework	of	legal	protections	and	design	guidelines,	while	it	does	prevent	the	
unnecessary demolition or mutilation of historic structures, has also created a sense of 
separation	of	these	historic	structures	from	their	context	as	it	exists	today	and	their	place	
within	a	temporal	continuum.	The	preservation	field	has	tended	to	view	historic	structures	
as	individual	relics	of	the	past	which	remain	as	witness	to	a	bygone	time.	The	significance	
of	historic	structures	is	most	often	defined	through	their	association	with	a	particular	date	
or	specific	time	period,	relating	either	to	their	construction	or	an	important	historic	event.	
This	narrow	definition	of	significance	tends	to	divorce	historic	structures	from	the	pres-
ent	and	from	their	potential	role	of	fulfilling	changing	human	needs.	If	historic	structures	
remain	only	as	relics	within	this	stream	of	history	and	time,	then	their	use	becomes	very	
circumscribed.	This	thesis	explores	a	broader	understanding	of	historic	preservation	where	
historic	structures	are	viewed	as	participants	in	a	temporal	system	punctuated	by	designed	
interventions	responding	to	changing	conditions.	In	doing	so	it	affords	them	an	opportu-
nity	to	play	a	new	role	or	embody	a	new	use,	thus	reconnecting	the	physical	remnants	of	
the	past	with	the	ever	evolving	social	and	cultural	reality	of	the	present	to	strike	a	balance	
between	history	and	current	needs	and	opportunities.	
	 This	expanding	role	of	historic	preservation	also	offers	a	theoretical	basis	inform-
ing	the	design	of	new	construction	within	an	existing	historic	context.	This	thesis	proposes	
an	addition	to	a	small	fine	art	school	in	Baltimore,	Maryland	called	The	Schuler	School	of	
Fine	Art	which	is	currently	housed	in	two	significant	historic	structures.	The	design	process	
aims	to	identify	a	set	of	complementary	preservation	and	design	objectives,	to	understand	
the	existing	historic	fabric	within	the	evolving	context	of	the	city	and	the	school,	and	to	

reclaim	under-utilized	gaps	within	the	historic	fabric	to	create	a	synergistic	whole	that	is	
greater	than	the	sum	of	its	parts.	This	design	process	illustrates	how	historic	preservation	
and	architecture	can	coalesce	to	create	a	?moment	of	change?	that	simultaneously	fulfills	
a	new	set	of	physical,	social	and	cultural	needs	that	can	be	defined	at	that	moment,	while	
allowing	the	existing	historic	structures	an	opportunity	to	participate	in	this	evolution.	In	
this	way,	preservation	and	new	construction	may	be	viewed	as	complementary	elements	
within	this	continuous,	temporally	fluid	system.
CONTExTUALISM AND CONTINGENCY
	 The	underlying	philosophy	of	this	thesis	is	based	on	the	architectural	theory	of	con-
textualism,	combined	with	the	expanding	conceptual	parameters	of	historic	preservation	
as	codified	by	Mark	Hewitt	in	his	article,	Architecture for a Contingent Environment. By 
focusing	on	the	issues	presented	by	infill	development	within	a	historic	context,	the	build-
ing	and	site	design	must	respond	to	the	context	at	a	variety	of	scales	from	immediately	
adjacent	structures	to	the	character	of	the	neighborhood	and	city	as	a	whole	in	all	aspects	of	
architectural	design,	including	building	orientation,	scale,	proportions,	massing,	materials,	
and architectural language. 
	 Contextualism,	a	theory	proposed	by	Colin	Rowe	and	his	students	at	Cornell	Uni-
versity	in	the	mid-1960?s,	refers	to	?the	design	of	buildings	by	selectively	choosing	to	
relate	them	to	their	immediate	physical	context	or	their	cultural	context	-	the	history	of	a	
place.	Where	appropriate,	buildings	are	designed	to	reinforce	the	physical	characteristics	
of	an	area	of	a	city	by	extending	them.	The	decision	to	do	this	presumes	a	value	judgement;	
that	the	existing	architectural	fabric	to	be	extended	is	believed	to	be	important	to	the	urban-
ism of a city.?

4
	 When	designing	infill	development	within	a	historic	context,	it	is	important	to	
understand	the	development	patterns	and	design	principles	that	gave	rise	to	the	existing	
conditions.	Assessing	which	of	those	patterns	and	principles	would	facilitate	continued	
development	that	is	in	keeping	with	the	historic	context	is	an	important	first	step.	An	infill	
intervention,	while	a	fragment	of	a	whole,	must	imply	the	presence	of	an	underlying	order	
capable	of	being	extended.	In	this	way,	order	within	the	city	is	achieved	by	incremental	de-
sign	interventions	that	focus	on	the	establishment	of	physical	continuities	between	adjacent	
buildings.	
	 While	contextual	design	partakes	of	a	communities	character	and	history,	it	does	
not	replicate	the	past.	The	approach	encourages	the	incorporation	of	a	modern	architectural	
vocabulary	while	respecting	the	physical	experience	and	social	values	derived	from	his-
toric	city	development	patterns.	?To	be	contextual	cannot	by	definition	suggest	an	a	priori	
preference	for	any	set	of	architectural	or	urban	forms.?
2
	The	historic	development	of	a	city	
has	responded	to	a	unique	set	of	site	conditions,	local	cultural	values	and	environmental	
factors	that	give	rise	to	the	underlying	order.	Understanding	and	respecting	this	order	is	
key	to	a	contextual	approach	to	design.	The	end	result	of	this	approach	should	be	the	best	
of	both	worlds:	order	and	variety.	Using	contextualism	as	a	basis	for	this	thesis	provides	a	
focus	to	the	range	of	formal	choices	offered	by	history	and	typology.
 Mark Hewitt in his article, Architecture for a Contingent Environment,	questions	
the	existing	distinction	between	historic	preservation	and	architectural	design.	He	describes	
?a	theoretical	schema	for	redefining	historic	preservation	design	problems	in	a	larger,	more	
ecological	context...[arguing]	that	the	objectification	of	building	design	and	artifact	conser-
vation,	following	modernist	theories	of	architecture	and	art	history,	has	created	an	artificial	
temporal	and	formal	disjunction	between	historic	buildings	and	their	evolving	context.?

 
He	proposes	deobjectifying	the	design	task	and	expanding	the	conception	of	site,	elimi-
5
nating	the	distinction	between	?formal?	architectural	design	and	?historic?	preservation.	
This	theoretical	framework	views	the	building	as	a	living,	changing	artifact	of	human	use	
imbedded	in	a	complex,	stratified	and	interconnected	environment.
	 Hewitt	goes	on	to	critique	the	modern	attitudes	of	architects	toward	the	complex	
problem	of	adapting,	restoring	or	adding	to	venerated	historic	buildings	or	built	fabric.	He	
identifies	a	common	bias	held	by	architects:	that	?the	artifact	[building]	is	a	discrete	and	
complete	entity	that	can	be	distinguished	from	its	surrounding	environment,	both	in	formal	
and	in	temporal	terms.?	He	goes	on	to	ask:	?What	if	buildings	were	seen	as	precarious,	con-
tingent	pieces	in	a	larger	preexistent	order?	What	if	the	artifact	and	its	environment	were	
instead	considered	as	a	morphologically	continuous,	temporally	fluid	system	undergoing	
a	larger,	metamorphosis	of	which	the	?designed?	changes	are	only	a	small	part?	How	then	
might	architects	look	at	the	problem	of	intervention??
4
	 In	addition	to	these	theories	of	contextualism	and	contingency,	this	thesis	also	
explores	the	importance	of	adjacency	in	programmatic	and	functional	design.	Similar	to	
Hewitt?s	notion	of	deobjectifying	buildings,	this	idea	understands	buildings,	not	as	isolated	
?architectural	events,?	but	rather	part	of	a	physical	fabric	for	social	interactions	that	move	
through	space	and	time.	Buildings	are	a	medium	for	human	activity	that	cannot	be	sepa-
rated	from	the	adjacent	exterior	spaces	and	structures,	whether	these	spaces	are	private	
or	public.	This	approach	will	afford	the	opportunity	to	consider	the	relationship	between	
existing	structures	and	new	construction	as	broader	than	new	and	old,	which	could	involve	
shared	or	compatible	uses,	as	well	as	the	introduction	of	new	uses	to	under	utilized	spaces	
within	and	around	existing	fabric.	
	 Using	these	theories	as	a	philosophical	basis,	this	thesis	addresses	these	questions	
and	issues	through	addition	and	infill.	An	intensive	study	of	the	site	and	school,	its	re-
lationship	to	the	city,	its	historic	development	over	time,	the	environmental	influences,	
6
and	cultural	and	social	fluctuations	provides	the	groundwork	for	the	intervention.	The	site	
conditions	largely	dictate	the	kind	of	possible	intervention	strategy,	and	the	architecture	is	
designed	within	these	constraints,	sensitive	to	its	place	within	the	temporal	continuum.	
7
 
?The	Schulers	run	an	old-fashioned,	family-based	atelier.	They?re	unac-
credited.	They	never	advertise.	Their	students	learn	not	only	how	to	paint,	
but	how	to	make	paint.	Despite	the	prolonged	reigns	of	successive	modern	
?isms,?	the	clan	carries	on,	faithful	to	empirical	reality,	living,	teaching,	and	
making	art	in	their	vine-covered	compound	on	Lafayette	Street,	sitting	tight	
through	the	roller-coaster	fortunes	of	their	Penn-North	neighborhood.?
5
-Tom Chalkley
C H A P T E R  2
 
The Schuler School of Fine Arts
8
 The Schuler School of Fine Arts, located at 5-7 East Lafayette Avenue in Balti-
more (Figure ) is housed in the former studio and residence of Hans Schuler, one of 
Maryland?s	most	prominent	sculptors	throughout	the	first	half	of	the	20th	century.	The	
Studio,	constructed	in	1906,	is	one	of	only	two	buildings	of	the	period	in	Baltimore	specifi-
cally	designed	as	a	private	sculpture	studio;	together	with	the	Residence,	added	in	1912,	
the	buildings	represent	an	exceptional	example	of	early	20th	century	eclectic	architecture,	
combining	elements	of	several	current	styles	and	showcasing	examples	of	Schuler?s	work	
as decorative elements on the fa?ade.
6
 
	 The	building	remained	the	private	residence	and	working	studio	of	Hans	Schuler	
until his death in 95.
7
	The	buildings	have	remained	in	the	Schuler	family	and	now	
Figure 1. Exterior of the original residence and studio of Hans Schuler, now the Schuler School of Fine Arts  (Author)
9
serve	as	both	residence	for	the	family	and	studio	space	for	the	school.	The	Schuler	School	
was	founded	in	1959	by	Hans	Sr.?s	son,	Hans	Carl	Schuler,	Jr.	and	his	wife	Ann	Didusch	
Schuler.	Founded	with	the	mission	of	promoting	the	classical	realist	tradition,	the	family	
operates	the	school	as	a	traditional,	unaccredited	atelier.	The	current	director	of	the	school	
is Francesca Schuler Guerin, the daughter of Hans Carl and Ann Didusch Schuler. The 
family	business	continues	to	be	carried	on	by	Guerin?s	two	sons,	Andrew	and	Hans,	who	
both	teach	at	the	school.
8
 
THE SOCIAL LEGACY: Hans Schuler, The Monument Maker
Hans	Schuler,	Sr.	(1874-1951)	was	born	in	Alsace	
Lorraine,	Germany.	(Figure	2)	Schuler	was	six	years	
old when his family immigrated to the United States 
and settled in Baltimore. He attended the Maryland 
Institute for the Promotion of the Mechanical Arts and 
upon	graduation	received	three	medals	and	a	scholar-
ship	from	the	Charcoal	Club	to	attend	the	Maryland	
Institute	College	of	Art?s	(MICA)	Rinehart	School	of	
Sculpture.	A	scholarship	from	the	Rinehart	School	al-
lowed	him	to	continue	his	studies	at	the	Julian	Academy	in	Paris	where,	in	1901,	he	became	
the	first	American	sculptor	to	win	a	Salon	Gold	Medal,	the	highest	award	ever	presented	to	
a	foreigner,	for	his	sculpture	Ariadne (Figure 3.).
9
  
	 After	returning	to	Baltimore	Schuler	constructed	his	personal	studio	on	Lafayette	
Street	and	began	to	build	his	reputation	as	a	sculptor.	Schuler	gained	prominence	around	
the	region	and	became	known	as	the	?Monument	Maker;?	he	was	eminent	among	sculptors	
Figure 2. Hans Schuler (1874-1951)
(Source: Schuler School of Fine Arts)
0
Figure 4. Hans Schuler, ?the monument maker,? in his Lafayette Street studio 
(Source: Schuler School of Fine Arts)
of his generation in Baltimore.
0
	His	work	spanned	a	broad	range,	including	monumental	
groups,	tomb	figures,	architectural	ornament,	commemorative	medallions	and	coins.	In	ad-
dition	to	sculptural	commissions,	Schuler	also	secured	a	teaching	position	at	the	Rinehart	
School	and	was	elected	to	the	board	of	MICA	in	1925.	He	served	as	the	Institute?s	director	
from	1925	until	his	death	in	1951.	In	this	role,	he	met	and	hired	old	master-style	painter	
Jacques	Maroger	to	teach	at	the	Institute;	Maroger	would	become	highly	influential	at	the	
school and regionally.

	Maroger?s	teaching	and	technical	assistant,	Ann	Didusch,	later	
Figure 3. ?Ariadne? by Hans Schuler, Sr. which won the Salon Gold 
Medal in Paris in 1901   (Source: Schuler School of Fine Arts)

Figure 5.   ?Key Family Monument? 
by Hans Schuler, Sr. (Source: Schuler 
School of Fine Arts)
married	Hans	Carl	Schuler,	Jr.	In	their	final	years	at	MICA,	
both	Schuler	and	Maroger	became	embroiled	in	a	de-
bate	over	the	clash	between	the	classical	realist	tradi-
tion	and	the	abstract	expressionist	movement	that	had	
been	gaining	momentum	since	the	end	of	World	War	
II. Schuler was a staunch advocate of what he termed ?a 
true art education,? in the style of the old masters, declar-
ing	that	he	was	?not	going	to	allow	modernists	to	display	
their meaningless stuff in the galleries of the school.? 
2
 
After his death, his son and daughter-in-
law,	 both	 artists	 themselves,	 carried	 on	
his	 legacy,	 devoting	 themselves	 to	 both	 
Schuler?s	philosophy	and	craft,	and	together	they	
founded the Schuler School of Fine Art with the mission of training students in the tradi-
tional	methods	and	techniques	being	abandoned	at	MICA.
	 Hans	Schuler?s	monuments,	reliefs,	and	portraits	continue	to	grace	public	build-
ings,	streets,	universities,	and	cemeteries	throughout	Maryland,	adjacent	states,	and	the	
District	of	Columbia,	including:

 Fallsway Fountain, Guilford Avenue and Biddle Street, Baltimore
 Johns Hopkins,	Johns	Hopkins	University,		Baltimore
 Major General Samuel Smith, Federal Hill Park, Baltimore
 Martin Luther, Hillen Road and rd Streets, Baltimore
 Pulaski Monument, Patterson Park, Baltimore
 Sidney Lanier,	Johns	Hopkins	University,	Baltimore
 Untitled,	Hampden	Elementary	School,	Baltimore
 James Buchanan, Meridian Hill Park, Washington, D.C.
2
THE	CULTURAL	LEGACY:	The	Atelier	Philosophy
	 With	the	shift	to	modernism	in	the	1950?s	the	focus	and	curriculum	of	art	institu-
tions throughout the United States has changed, moving away from realism toward greater 
abstraction.	With	a	growing	number	of	faculty	trained	as	modernists,	centers	of	art	educa-
tion,	like	MICA,	reinvented	themselves	and	began	offering	a	non-objective	curriculum.	
Training	in	hands-on	traditional	methods	and	techniques	were	rejected	and	replaced	by	
theoretical	and	conceptual	approaches	to	art	education.	Systematic	teaching	and	learning	
no	longer	seemed	applicable	since	the	nature	of	?art?	itself	was	perceived	as	intangible	
?	subject	to	individual	interpretation.	The	historic	training	that	had	passed	from	genera-
tion	to	generation	came	close	to	disappearing.	Today	only	a	handful	of	devoted	realists,	
like	the	Schulers,	carry	on	the	tradition	in	the	more	intimate,	private	atelier	setting.	
4
	 With	their	departure	from	mainstream	art	education,	founders	Hans	and	Ann	Schul-
er	promoted	their	school	as	a	traditional	alternative.	Today	the	school?s	website	states,	?the	
goal	of	the	Schuler	School	has	been,	and	continues	to	be,	to	assure	that	future	generations	
of	artists	receive	the	wisdom	of	the	past	while	acquiring	the	creative	freedom	that	only	
the	mastery	of	traditional	skills	can	provide.	This	four	year	non-accredited	atelier	school	
provides	a	lively	atmosphere	in	which	students	receive	a	high	degree	of	personal	attention.	
Drawing	is	stressed	as	the	foundation	for	the	study	of	painting	and	sculpture,	and	emphasis	
is	placed	on	the	mastery	of	the	technical	aspects	of	each	discipline.?	
5
 Current enrollment 
includes	25	full-time	and	50	part-time	students.	
	 The	Schuler	School	practices	a	method	of	fine	art	instruction	modeled	after	the	
private	art	studio	schools	of	15th	-	19th	century	Europe.	Taking	its	name	from	the	French	
word	for	?artist?s	studio,?	the	?atelier	method?	is	a	form	of	private	instruction	with	close	
personal	interaction	between	a	master	artist	and	the	student.
6
 As one of very few atelier 

schools	in	the	United	States,	the	Schuler	School	is	preserving	a	method	of	visual	art	train-
ing	that	is	almost	extinct	in	the	21st	century.	
	 The	Schuler	School	is	distinctive	from	larger	art	institutions,	not	just	in	its	cur-
riculum,	but	also	by	the	principles	of	the	atelier	methodology.	The	atelier	method	is	de-
signed	to	address	each	individual?s	level	of	accomplishment	and	allow	students	to	advance	
at	their	own	pace.	The	small	environment	and	direct	interaction	with	the	faculty,	tends	to	
encourage	advanced	participants	to	remain	in	the	program	building	toward	a	peer	relation-
ship	with	the	master	artists.		As	a	result,	the	interaction	between	beginning,	intermediate	
and	advanced	level	students	allows	for	an	exchange	of	information,	ideas,	techniques	and	
inspiration	that	can	enhance	the	learning	experience	beyond	the	scope	of	the	official	cur-
riculum. 
	 The	intimate	nature	of	the	existing	historic	studio	space	where	the	students	currently	
work	helps	to	foster	these	personal	relationships	through	physical	proximity.	The	historic	
environment	of	the	working	studio	also	helps	maintain	a	tangible	presence	or	?sense	of	
place?	that	embodies	the	social	legacy	of	Schuler	and	the	classical	methods	and	techniques	
he	wished	to	see	preserved.	In	designing	an	addition	to	this	school	it	became	important	to	
preserve	not	just	the	physcial	characteristics	of	the	buildings	themselves,	but	also	these	
intangible	quailties	that	the	physcial	space	facilitated.	
4
THE PHYSICAL LEGACY: The Historic Studio and Residence
	 The	Schuler	School	of	Fine	Arts	is	located	just	off	North	Charles	Street,	one	block	
north	of	Union	Station.	(Figure	6)	The	building	is	bounded	on	the	west	by	a	service	alley	
for	the	Everyman	Theatre	(on	North	Charles)	and	is	bounded	on	the	east	by	Lovegrove	
Alley,	a	through-block	public	alley.	A	small	garden	and	car	park	take	up	the	rear	of	the	
property	directly	behind	the	building.	The	main	facade	faces	north,	toward	Lafayette	
street	with	separate	entrances	for	the	studio	and	residence.
Figure 6. Site map showing the location of the Schuler School of Art and Design (in red)
(Author)
North Avenue
E. Lafayette Street
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E. Lanvale Street
5
	 The	historic	studio	and	residence	of	Hans	Schuler	is	an	eclectic	brick	building	con-
structed	in	two	stages.	The	1906	studio	was	designed	by	Baltimore	architect	Howard	Sill,	
who was well known in the early 20th century for his Colonial Revival residences, erected 
in	the	fashionable	northern	suburbs	of	the	city;	the	Residence	was	added	in	1912	by	Gordon	
Beecher,	Sill?s	former	apprentice	who	had	worked	on	the	plans	for	the	studio.
7
 Beecher de-
signed	many	buildings	in	Baltimore,	including	the	Emerson	Hotel,	the	Electrical	and	Civil	
Engineering	buildings	at	Johns	Hopkins	University	and	Catonsville	Presbyterian	Church.	
He	also	collaborated	with	Hans	Schuler	on	the	Buchanan	Memorial	in	Washington	DC.
8
 
The	resulting	composition	combines	elements	from	various	fashionable	styles	of	the	time,	
including	Arts	and	Crafts	and	Jacobian	Revival.
Building	Description
The	building	(Figure	7),	which	faces	north,	is	comprised	of	the	studio	occupying	the	west-
ern half of the lot, which is one story high with a recessed skylight rising another low story, 
and	the	attached	house	which	stands	two	stories	tall	plus	a	high,	steep	Mansard	story.	(Fig-
Figure 7. Historic residence and studio of Hans Schuler, Sr. (Author)
6
ure	8)	The	studio	extends	eleven	feet	beyond	the	residence	in	the	rear	of	the	site,	forming	
an	?L?	shape	which	defines	the	rear	garden.	A	rooftop	terrace	above	the	front	portion	of	
the	studio	is	accessible	from	the	second	floor	of	the	residence.	On	the	interior,	the	studio	
is	divided	into	one	large	workroom	with	a	front	office	space	and	entry	vestibule;	the	house	
comprises	an	entry/stair	hall,	living	hall,	dining	room,	and	kitchen	on	the	first	floor,	with	
three	bedrooms,	a	small	sewing	room,	and	bath	above,	and	another	bedroom,	bath	and	an-
cillary	space	in	the	attic.	(Figure	9)		The	building	retains	a	high	degree	of	integrity,	having	
remained	essentially	unaltered	since	its	construction,	and	having	been	continuously	occu-
pied	by	the	Schuler	family,	and	the	Schuler	School	of	Fine	Arts.	
Figure 8. Exterior of the historic studio of Hans Schuler, now the Schuler School of Fine Arts
(Author)
Figure 9. Original 1912 floor plan drawings by W. Gordan Beecher, Architect  
(Source: The Schuler School of Fine Arts)
17
18
Figure 10. Original 1912 elevation drawing by W. Gordan Beecher, Architect  
(Source: The Schuler School of Fine Arts)
19
Figure 11. Original 1912 section and detail drawing by W. Gordan Beecher, Architect  
(Source: The Schuler School of Fine Arts)
20
CHARACTER-DEFINING FEATURES
Fenestration	and	Sculptural	Detail
The	studio	is	two	bays	wide,	with	an	entrance	in	the	west	bay	and	a	three-part	casement	
window	in	the	east;	the	window	is	flanked	by	sculptural	reliefs	of	Classical	draped	female	
figures	representing	muses	(painting	and	sculpture),	set	into	recessed	panels.	(Figure	12)	
The	house	is	also	two	bays	wide;	the	bays	are	defined	by	asymmetrical	vertical	groups	of	
casement	windows.	Sculptural	relief	panels	are	incorporated	into	the	window	area	between	
stories (Figure ). The windows are wood casements with limestone sills in asymmetrical 
groupings.	In	the	west	bay,	thick	mullions	divide	the	individual	windows	into	a	tall	lower	
set	with	a	short	transom	set	above	in	an	A-B-A	pattern.	Each	individual	window	is	divided	
into	two	thin	vertical	lights	by	a	single	muntin.	In	the	east	bay,		the	window	group	is	divid-
ed	by	the	sculptural	panel	into	a	tall	double	casement	below	and	a	short	double	casement	
above,	each	with	a	single	muntin	dividing	the	windows	into	two	lights.	
Figure 12. Diagram showing fenestration pattern and 
asymmetrical bays (Author)
2
	 The	entrance	portico	of	the	residence,	located	in	the	eastern	bay	of	the	fa?ade,	is	
cantilevered from the	building	face	with	a	shallow	hipped	slate	roof.	Decorative	carved	wooden	
brackets	support	the	portico	and	whimsical	stone	corbels	are	carved	as	figures	?supporting?	the	
brackets.	(Figure	14)		The	front	door	(not	visible	in	photo)	is	a	heavy	vertical	board	and	batten	
design	with	long	wrought	iron	strap	hinges	in	the	Jacobian	Revival	style.	The	raised	entry	terrace	
is	brick	laid	in	a	basket	weave	pattern	with	marble	surround	and	marble	door	sill.
Figure 13. Sculptural ornament by Hans Schuler on residence and studio facade. The figure on the upper left 
depicts ?sculpture? and the figure on the upper right depicts ?painting,? identifying the buildings use. (Author)
22
Roof and Skylight
A	main	character-defining	feature	of	the	building	is	the	roof	line.	The	studio	is	dominated	by	the	
large 70-degree skylight with wood frame and long muntins dividing it into ten vertical lights. 
The	skylight	has	a	large	surround	which	may	be	wood	or	metal.	The	roof	of	the	front	portion	of	
the	studio	is	a	terrace	defined	by	a	parapet	wall	above	the	roof	deck.	The	roof	of	the	residence	is	a	
steep	Mansard	with	parapeted	gable	ends	that	mimic	the	roof	pitch.	The	north	slope	of	the	Mansard	
is	clad	in	slate	and	lighted	by	a	broad	shed	dormer.	The	south	slope	of	the	Mansard	is	clad	with	
a	standing	seam	painted	tin	roof	and	has	the	same	shed	dormer	as	found	on	the	north	side.	Both	
dormers	are	sided	in	the	roofing	materials	found	on	their	respective	side.	The	front	and	rear	brick	
faces	have	raised	end	returns	that	meet	the	height	of	the	gable	parapets.	The	central	parapet	is	lower	
with	an	Indiana	limestone	cornice	and	a	herringbone	brick	pattern	surrounding	limestone	dentils.	 
The	top	of	the	parapets	are	brick	on	edge	laid	in	cement.	The	mansard	roof	has	a	metal	ridge	cap.
Figure 14. Sculptural cariatids by Schuler support the brackets of the hood 
over main entrance (Author)
2
Brickwork
The	building	is	constructed	of	dark	red	brick,	with	limestone	accents	in	the	window	sills	and	cor-
nice	on	the	north	fa?ade.	The	building	exhibits	three	types	of	brick	bond	patterns:	the	West	and	
South	faces	of	the	studio	and	South	face	of	the	residence	are	in	American	common	bond	with	
sixth-course	headers,	the	North,	East,	and	West	faces	of	the	residence	are	in	running	bond,	while	
the	North	face	of	the	studio	features	Flemish	bond.	The	brick	in	the	North	face	of	the	studio	is	a	
glazed	face	brick	and	is	darker	in	color	than	the	common	backup	brick	used	on	the	west	and	south	
faces.	(Figure	15)	Given	the	vertical	cold	joint	of	the	front	facade,	it	can	be	assumed	that	the	walls	
are	three	wythes	thick.	The	bricks	used	in	the	residence	are	believed	to	be	recycled	from	a	previ-
ous	building,	likely	used	for	cost	saving	purposes	at	the	time	of	construction.	These	bricks	exhibit	
uneven	edges,	variation	in	color	and	texture,	as	well	as	surface	blemishes.	The	mortar	joints	in	the	
studio	walls	are	relatively	thin,	offering	a	more	finished	look	particularly	in	the	main	facade.	The	
mortar	joints	of	the	residence	are	thicker	and	appear	more	uneven,	due	to	the	rough	edges	of	the	
bricks	themselves.	(Figure	16)	
 
Figure 15. The vertical joint where the face brick 
joins the common brick  (Author)
Figure 16. Residence brick (running bond) is 
uneven with thicker mortar joints, while the 
studio brick (Flemish bond) is more refined with 
thin mortar joints (Author)
Face Brick
Common Brick
Residence
Studio
Cold joint not 
?toothed? together
Bollard
24
 
?When	we	identify	a	building	as	historically	significant,	deem	it	a	landmark	
or	work	of	art,	we	frame	it.	History,	in	a	sense,	imprisons	the	building,	
causing	its	value	as	a	monument	to	supersede	other	values.?
 -Mark Alan Hewitt
C H A P T E R  3
 
Complimentary	Objectives
25
PRESERVING CHANGE
	 Every	place	or	area	has	historic	character	and	origins.	The	current	challenge	is	not	
only	to	identify	what	is	historic,	or	to	evaluate	what	is	most	valued	historically,	but	also	to	
decide	what	to	do	about	such	judgements	in	terms	of	contemporary	needs	and	management	
for	the	future.	Aspects	including	the	day-to-day	life	happening	within	the	historic	fabric,	
in	conjunction	with	the	vulnerability	of	a	place	and	its	capacity	to	absorb	change	without	
losing	its	historic	depth	and	links	to	the	past,	can	be	more	important	measures	than	value	
and	significance	on	their	own.	An	holistic	approach	is	required,	hence	this	document	and	
the	case	study	application	which	it	contains.	This	project	represents	an	attempt	to	develop	
a	genuinely	inclusive	approach	to	assessing	the	historic	environment	and	facilitating	the	
continued	evolution	of	a	place	through	a	designed	intervention.	
	 The	built	environment	is	a	dynamic	and	living	entity.	Change	has	been	the	norm;	
whether	radical	or	subtle,	it	is	ever	present	at	varying	degrees	through	time.	Change	is	inev-
itable,	but	it	can	be	managed	to	provide	the	best	possible	outcomes	for	an	integrated	whole.	
The	historic	environment	therefore	requires	a	much	wider	and	more	flexible	response	than	
just	trying	to	select	the	?best	sites?	or	?best	areas?.	The	idea	of	?managing	change?	can	in-
clude	selective	resource	protection,	but	also	needs	to	allow	different	growth	options	and	
patterns	of	development	to	be	measured	against	the	capacity	of	the	historic	environment	to	
accept	such	changes	in	a	sustainable	manner.
	 The	aim	of	this	approach	is	not	to	stop	change,	but	to	influence	its	nature	and	to	en-
sure	that	the	best	type	of	change	happens,	in	the	right	way,	to	maintain,	enhance	and	create	
a	physically,	socially	and	culturally	rich	environment	to	pass	on	to	the	future.	This	requires	
an	in-depth	understanding	of	the	historic	environment	to	make	informed	decisions	affect-
ing	it.	Development,	including	alterations	or	additions,	can	be	appropriate	if	it	provides	the	
means	to	enhance	or	regenerate	historic	aspects,	or	to	create	new	elements	which	will	make	
a	positive	contribution	to	local	identity	and	a	sense	of	place.
 
26
CHANGING HOW WE PRESERVE
	 This	thesis	explores	the	expanding	role	of	historic	preservation,	both	as	a	profes-
sional	practice,	and	as	a	theoretical	basis	informing	the	design	of	new	construction	within	
an	existing	historic	context.	Developing	this	theoretical	basis	first	involved	defining	the	ex-
isting	relationship	between	preservation	and	architectural	design,	which	are	often	viewed	
as	antithetical,	then	formulating	a	framework	for	a	new	relationship	that	views	preserva-
tion	and	architectural	design	as	complementary	elements	within	a	continuous,	temporally	
fluid	system,	as	outlined	in	Chapter	1.	Secondly,	a	series	of	complimentary	preservation	
and	design	objectives	were	developed	for	a	site-specific	application	of	this	theory.	These	
objectives	are	divided	into	three	distinct	thought	processes:	understand,	consider	and	cre-
ate.	These	categories	follow	the	process	of	design	development	from	its	initial	stages	of	site	
and	program	analysis	(understand),	to	testing	a	variety	of	solutions	that	take	into	account	
all	stakeholders	(consider),	to	finally	arriving	at	a	design	and	testing	the	theory	in	practice	
(create).
UNDERSTAND  
?	Understand	change	as	inevitable,	but	manageable
?	Understand	the	site	as	a	complex,	stratified	and	interconnected	environment	
?	Understand	the	existing	historic	structures	as	living,	changing	artifacts	of	human	use	
within	a	temporally	fluid	system.	
CONSIDER
?	Consider	the	physical,	social,	economic	and	cultural	history	of	the	city,	neighborhood,	
site, and school 
?	Consider	the	unique	philosophy	and	needs	of	the	school
?	Consider	how	this	infill	development	could	contribute	to	the	larger	cultural	context	of	the	
Station North Arts District and North Central Historic District.
27
 
CREATE
?	Create	a	dialogue	with	the	past	through	an	architectural	vocabulary	that	respects	its	place	
within	the	temporal	continuum
?	Create	new	spaces,	connect	with	existing	spaces	and	reclaim	unused	or	under	utilized	
gaps	within	a	fragmented	historic	fabric.
?	Create	a	synergistic	whole	that	is	more	than	the	sum	of	its	parts.
 
	 These	preservation	and	design	objectives	act	as	guidelines	in	the	decision-making	
process	throughout	design	development.	The	outcome	of	these	complimentary	objectives	
should	be	evident	in	the	woven	texture	of	old	and	new,	and	the	temporal	reading	of	the	
built	fabric.	As	an	addition	to	the	Schuler	School	of	Fine	Arts,	this	thesis	poses	a	num-
ber	of	design	problems	relating	to	the	preservation	of	the	existing	historic	house,	studio	
and	neighboring	row	house	(physical	preservation),	as	well	as	the	preservation	of	the	phi-
losophy	and	character	of	the	school	itself	(social	preservation).	The	addition,	since	it	will	
significantly	enlarge	the	physical	size	of	the	school,	and	therefore	expand	the	enrollment	
potential,	should	address	how	to	maintain	the	?atelier?	quality	and	intimate	nature	of	the	
school. Additionally, the architecture needs to address the classical art training that the 
school	offers,	while	maintaining	a	distinctly	modern	architectural	vocabulary.	The	notion	
that	traditional	techniques	form	a	foundation	and	serve	as	a	departure	point	for	the	creation	
of	both	art	and	architecture	could	guide	the	design	in	this	regard.
	 The	architectural	intervention	plays	an	important	role	in	mediating	between	the	
past	and	the	present,	interior	and	exterior,	public	and	private.	The	program	provides	an	
opportunity	for	the	Schuler	School	of	Fine	Arts	to	expand	its	curricular	and	enrollment	po-
tential,	while	remaining	tangibly	connected	to	its	social	and	cultural	legacy.	The	proposed	
architecture	facilitates	an	expanded	curriculum,	through	new	studio	spaces	and	accommo-
28
dations	for	master	artists-in-residence.	It	also	offers	the	school	increased	public	visibility	
through	exhibition	space,	a	fine	art	library,	and	flexible	space	for	lectures	and	community	
events.	The	integrated	preservation	approach	allows	the	historic	structures	to	act	as	partici-
pants	in	this	designed	intervention.	
  
29
 
?If	we	can	rebuild	Iraq,	we	can	rebuild	Illinois	and	Indiana	
and if we can do Baghdad, we can do Baltimore.?  
-Carol Moseley Braun
C H A P T E R  4
 
Considering the History
0
	 The	city	of	Baltimore	offers	an	ideal	testing	ground	for	the	theoretical	approach	to	
designing	within	a	historic	context	proposed	by	this	thesis.	The	stated	goal	of	reconnect-
ing	the	physical	remnants	of	the	past	with	the	ever	evolving	social	and	cultural	reality	of	
the	present	through	addition	and	infill	can	offer	the	greatest	benefit	to	a	built	environment	
that	has	evolved	to	a	state	of	fragmentation.	Like	many	cities,	Baltimore	has	experienced	
episodes	of	boom	and	bust,	expansion	and	contraction,	but,	recently,	has	been	left	signifi-
cantly	hard	hit	by	a	50-year	loss	in	population	accompanied	by	severe	economic	decline.	
The	physical	fabric	of	Baltimore	today	clearly	illustrates	this	idea	of	the	flow	of	history	
and	time	with	subtraction	and	decay	as	an	unfortunate,	but	sometimes	inevitable	part	of	
this	fluid	system.	The	physical	holes	within	the	city	afford	an	opportunity	for	infill	archi-
tecture	to	weave	together	this	complicated	nexus	of	historic	fabric	and	evolving	needs	
and	priorities.	Providing	?moments	of	change?	can	facilitate	cohesion	between	the	dispa-
rate	parts	of	the	city	and	encourage	a	regeneration	of	civic	participation.	
Figure 17. Map of Maryland showing Baltimore City  (Author)

MONUMENT CITY: A BRIEF HISTORY OF BALTIMORE
	 Now	a	major	seaport	and	the	19th	largest	metropolitan	area	in	the	United	States,	
Baltimore	had	more	humble	beginnings.	Established	in	1729	to	serve	the	economic	needs	
of 8th century Maryland farmers, Baltimore was named after Lord Baltimore, who was 
the	first	Proprietary	Governor	of	the	Province	of	Maryland.	Nature	blessed	the	site	of	
Baltimore	City	with	a	natural	harbor	on	the	Patapsco	River,	a	tributary	of	the	Chesapeake	
Bay,	and	a	number	of	potential	mill	sites	on	the	swift-flowing	streams	dropping	over	the	
fall	line,	a	rarity	in	coastal	Maryland.	Mills	were	quickly	established	to	service	grain	
Figure 18. Satellite photo of Baltimore showing the Inner Harbor, downtown core, and surrounding urban growth. 
The red dot highlights the thesis site. (Source: http://www.geosage.com/highview/figures/landsatetm_simulatedtrueco-
lour_res1425mm_baltimore.jpg)
2
farmers	from	northern	Maryland	and	southern	Pennsylvania.	Shipwrights	and	merchants,	
preparing	to	carry	the	flour	milled	on	Jones	Falls	and	Gwynns	Falls	to	the	distant	reaches	
of	the	British	Empire,	settled	along	the	fringes	of	the	harbor.	By	1768,	the	town	had	
grown	large	enough	to	become	the	seat	of	Baltimore	County.	
9
 ?Baltimore grew swiftly in the mid- to late 8th century as a granary for sugar-
producing	colonies	in	the	Caribbean.	The	growing	city	acutely	felt	the	Anglo-American	
tensions	which	led	up	to	the	American	Revolution.	As	a	seafaring	and	trading	commu-
nity,	it	suffered	from	commerce	regulations	which	the	British	government	attempted	to	
impose.	When	the	revolution	erupted,	it	was	evident	where	Baltimore?s	sympathies	were.	
Her	citizens	not	only	served	in	the	Continental	army,	but	also	participated	enthusiastically	
in	the	government	-licensed	piracy	known	as	?privateering.?	British	merchants	suffered	
losses	they	would	long	remember,	and	Baltimore?s	size	and	wealth	burgeoned	accord-
ingly.	Its	population	doubled	between	1776	and	1790,	and	by	1800	had	doubled	again.?
20
	 The	city	played	a	significant	role	in	the	defeat	of	the	British	during	the	War	of	
1812	with	the	successful	defense	of	Fort	McHenry.	This	event	inspired	Francis	Scott	
Key?s	poetic	commemoration	that	would	later	become	the	Star Spangled Banner. In the 
years	that	followed,	Baltimore	became	the	second	leading	port	of	entry	for	immigrants	
to	the	United	States.	The	population	grew	explosively,	due	to	the	increased	commerce	
both	abroad	and	with	points	west	in	the	interior	of	the	United	States.	Baltimore	became	a	
major	shipping	and	manufacturing	center	with	the	construction	of	the	B&O	Railroad	link-
ing	Baltimore	with	St.	Louis	and	the	Mississippi	River	in	1857.	As	fortunes	were	made,	
a	distinctive	local	culture	started	taking	shape,	and	the	city	developed	a	unique	skyline	
peppered	with	churches	and	monuments.	

	 The	city?s	progress	suffered	when	the	Great	Baltimore	Fire	of	1904	consumed	
over	1,500	buildings	in	30	hours	including	most	of	the	business	district.	Despite	this	set-
back,	the	devastated	area	was	quickly	rebuilt,	and	Baltimore	prospered	through	the	First	
World	War	and	into	the	1920?s	until	the	Great	Depression.	Economic	distress	gripped	the	
city	through	World	War	II,	hampering	physical	development.		After	the	war	city	residents	
were	increasingly	attracted	to	new	housing	developments	outside	of	the	city	limits.	For	
the	first	time	in	its	history,	Baltimore?s	population	began	to	shrink	as	adjacent	counties	
experienced	tremendous	growth.	
2
Figure 19. 1869 map of Baltimore identifying early monuments. On an 1827 visit to the city, John Quincy Adams pur-
portedly nicknamed Baltimore ?Monument City?--a moniker that remained popular for well over a century. (Source: 
Appletons? Hand-Book of American Travel; University of Texas at Austin, Perry-Casta?eda Library Map Collection)
4
BALTIMORE TODAY: A CITY OF GAPS
	 Baltimore	exemplifies	the	social	and	economic	problems	that	plague	many	older,	
formerly	industrial	U.S.	cities.	Baltimore	today	has	been	severely	affected	by	the	post-
war	trend	of	increased	suburbanization	and	has	experienced	a	significant	decline	in	city	
population.	The	population	has	gone	from	an	all	time	high	in	1950	of	almost	950,000	to	
628,670	according	to	the	2003	Census;	in	that	time	period,	Baltimore	experienced	more	
than	a	30%	population	decline.
22
 (Figure 20) 
	 The	flight	of	people	to	the	suburbs	was	followed	by	a	migration	of	jobs	out	of	
the	city.	This	decentralization	of	the	economy	was	both	a	reaction	to	people?s	locational	
decisions	and	the	result	of	a	changing	economy,	that	is	now	less	dependent	upon	the	tra-
ditional	comparative	advantages	of	the	city,	namely,	its	port	and	its	industries.	The	eco-
nomic	base	has	changed	dramatically	since	the	1950?s.	Once	an	industrial	town,	with	an	
economic	base	focused	on	steel	processing,	shipping,	auto	manufacturing,	and	transporta-
tion, Baltimore is now a modern service economy. Between 950 and 990, Baltimore 
Figure 20. Baltimore City population trends and projects since 1950
(Source: US Census Bureau & Maryland Office of Planning)
5
lost	75,016	manufacturing	jobs	or	two-thirds	of	its	total	employment	in	manufacturing.
2
 
Although	deindustrialization	took	its	toll	on	the	city,	costing	residents	many	low-skill,	
high-wage	jobs,	the	city	is	cultivating	its	status	as	a	burgeoning	financial,	business,	and	
health	service	base	for	the	southern	Mid-Atlantic	region.	
	 Despite	these	gains	in	the	service	sector,	a	significant	portion	of	the	economic	
base	of	the	city	had	been	rooted	in	residential	property	tax.	As	more	affluent	residents	
have	left	for	the	suburbs	the	city	now	has	a	higher	concentration	of	poor	residents	and	a	
substantially	reduced	revenue	stream.	(Figure	21)	This	population	decline	has	resulted	in	
widespread	abandonment,	leaving	large	amounts	of	vacant	and	under-utilized	property?
both	residential	and	commercial.	Baltimore	currently	has	around	16,000	vacant	proper-
ties
24
 and 4,000 vacant lots
25
. (see Figures 22 and 2) 
  
A recent nationwide survey found 
that	Baltimore	City	has	one	of	the	highest	vacancy	to	population	ratios:	22.22	abandoned	
structures	per	1000	residents	compared	to	an	average	of	2.63	per	1000	across	all	of	the	
cities surveyed.
26
	Vacant	property	is	both	a	symptom	of	the	population	and	job	losses	and	
a	problem	in	itself,	as	widespread	blight	depresses	property	values,	tarnishes	neighbor-
hood	images,	encourages	crime,	and	ultimately	leads	to	physical	decay	and	disinvest-
ment.  
156,284
Figure 21. Poverty in Baltimore Region 
(Source: 1990 Census)
Figure 22. Vacant and Abandoned Housing in Baltimore
(Source: Baltimore Dept. of Housing & Community Dev.)
6
	 One	of	the	main	responses	to	blight	by	the	city	government	and	community	
development	corporations	has	been	to	demolish	vacant	structures.	Baltimore	City	gov-
ernment	has	spent	about	$5	million	annually	on	scattered	demolitions,	targeting	proper-
ties	that	were	deemed	to	be	safety	hazards	and	parcels	that	have	drawn	complaints	from	
neighboring	residents.	More	than	4000	row	houses	were	demolished	between	1996	and	
1999	without	a	plan	to	reuse	or	maintain	the	vacant	lots.
27
	These	demolitions	created	gaps	
in	row	house	blocks	that	led	to	additional	problems,	such	as	increased	dumping,	crime,	
rat	infestation,	and	even	the	collapse	of	adjacent	housing	units.	Scattered	demolition	
without	plans	for	redevelopment	is	a	short-term	fixes	that	fail	to	acknowledge	current	
urban	conditions.	
Figure 23. Map showing distribution of vacant and abandoned properties in Baltimore City 
(Source: Maryland Office of Planning)
7
NEIGHBORHOOD HISTORY
	 The	neighborhood	and,	more	specifically,	the	block	on	which	the	Schuler	School	
of	Fine	Arts	sits	exist	as	a	microcosm	of	the	history	of	Baltimore	City.	The	neighborhood,	
now	known	as	the	Station	North	Arts	District,	has	followed	the	ups	and	downs	of	the	
city as a whole, while the Schulers have ridden the tide of change through the years. The 
process	of	population	decline,	abandonment,	and	deterioration	has	taken	its	toll	and	the	
neighborhood,	including	the	Schuler	School	block,	has	fallen	victim	to	the	city?s	approach	
of	scattered	demolition.	In	recent	decades,	the	neighborhood	has	remained	a	relatively	
impoverished	area	between	the	healthier	neighborhoods	of	Mount	Vernon	(to	the	south),	
and	Charles	Village	(to	the	north).	In	2001	Baltimore	City	designated	the	neighborhood	as	
an	?arts	district?	in	an	effort	to	promote	reinvestment	and	capitalize	on	the	existing	cultural	
and	arts	related	facilities	in	the	area.	The	neighborhood	is	currently	home	to	a	combination	
of	arts	facilities	(including	MICA?s	studio	building	and	the	Schuler	School),	theaters,	mu-
seums	and	galleries,	as	well	as	formerly	abandoned	warehouses	that	have	been	converted	
into artist live/work housing.
28
	 However,	in	order	to	understand	this	recent	history	of	the	neighborhood,	it	is	impor-
tant	to	consider	the	position	of	the	neighborhood	within	the	city	as	a	whole	to	gain	a	clear	
picture	of	its	historic	development	patterns,	defining	characteristics,	assets,	and	factors	
contributing	to	both	its	demise	and	its	prospects	for	revitalization.	The	physical	boundaries	
of	the	Station	North	neighborhood	are	defined	by	the	railroad	tracks	and	Interstate	83	(the	
Jones	Falls	Expressway)	to	the	south;	the	major	east-west	connector	of	North	Avenue	lies	
one	block	below	the	District?s	northern	boundary;	the	western	boundary	is	Howard	Street;	
and	Greenmount	Avenue	and	Greenmount	Cemetery	define	the	eastern	boundary.	Charles	
Street	is	the	main	commercial	spine	of	the	district.	
8
Station North Arts and Entertainment District Boundary
North Central Historic District Boundary
Baltimore City Landmark
Schuler School (National Register)
SCALE 1" = 400'
400' 0 200' 400' 800' 1600'
Charles Street and North Avenue (Baltimore City Axis )
Figure 24. Site vicinity map showing the North Central Historic Dis-
trict (placed on the National Register of Historic Places in 2002,) 
and the Station North Arts District Boundaries, as well as neighbor-
ing historic landmarks (Author)
North 
Avenue
Charles Street
STATION NORTH
ARTS DISTRICT
TRAIN 
TRACKS 
AND 
JONES F
ALLS EXPRESSW
A
Y
Greenmount 
Cemetary
Art facility
39
Figure 25. Site Map of Station North Arts District showing arts related facilities (indicated by red dot) 
(Author)
40
HISTORIC DEVELOPMENT
 The	area	now	defined	as	Station	North	has	colonial	roots	extending	back	to	1688	
and	was	divided	into	tracts,	such	as	?Edward?s	Lott,?	?Wilkinson?s	Folly?	and	?Edward?s	
Enlargement.?	These	tracts	were	developed	as	individual	country	estates	north	of	the	city	
for	wealthy	Baltimoreans.	York	Turnpike	(now	Greenmount	Avenue)	connected	Baltimore	
to	York,	Pennsylvania	and	businesses	arose	along	this	north-south	corridor	that	served	the	
needs	of	estate	residents	and	travelers	alike.	As	large	land-owners	sold	off	parcels	during	
the	early	part	of	the	19th	century,	the	area	became	predominately	industrial.	The	substan-
tial	population	boom	of	the	late	1800?s	made	redevelopment	into	a	residential	area	a	more	
valuable	prospect.		New	larger	bridges	were	constructed	over	the	Jones	Falls	at	Calvert	
Street,	St.	Paul	Street	and	Guilford	Avenue,	accelerating	the	pace	of	development.	Dur-
ing	the	1880?s	and	90?s	the	area	quickly	became	a	middle-	to	upper-middle	class	suburb	
of	downtown	Baltimore,	with	Charles	Street	and	North	Avenue	defining	the	heart	of	the	
neighborhood.	During	this	time	public	transportation	underwent	rapid	changes	from	horse-
Figure 26. E. Sachse, & Co.?s bird?s eye view of the city of Baltimore, 1869; close up of Station North area 
showing Jones Falls, Charles Street, the Washington Monument, Greenmount Avenue (then called York 
Turnpike), and the edge of Greenmount Cemetary  (Source: Library of Congress, G3844.B2A3 1869 .S3)
4
1890
1901
1914 1951
Figure 27.	Figure-Ground	showing	the	historic	development	from	1890	to	1951.	The	red	area	highlights	the	thesis	site.
(Author)
drawn	rail	cars	to	cable	cars,	and	then	to	electric	trolleys.	With	fast	and	easy	access	to	
and	from	the	city	center	this	area	became	a	popular	commuter	suburb.	At	the	same	time,	
the	southeastern	portion	retained	a	mix	of	residences,	manufacturing,	and	industrial	busi-
nesses.
29
42
Figure 28. Present Figure-Ground showing surrounding arts district and Charles Street corridor. The red box indicates 
the area shown in the historic development figure-grounds, Figure 27  (Author)
4
 
?The	City	of	Baltimore,	the	metropolis	of	the	South,	the	
entrep?t	of	the	Imperial	West,	remarkable	for	commercial	
activity,	fine	monuments,	beautiful	parks	and	environs.?		
-	?Metropolitan	&	Suburbia?	Advertisement,	c.	1900
C H A P T E R  5
 
Understanding	the	Evolving	Context
44
THE CHARLES STREET CORRIDOR
	 Charles	Street	is	the	spine	of	Baltimore,	dividing	the	city	into	east	and	west.	The	
Charles	Street	corridor	connects	the	inner	harbor,	downtown,	Mount	Vernon,	Penn	Station	
and	Johns	Hopkins	University.	The	eclectic	mix	of	late-nineteenth	and	early-twentieth-cen-
tury	architecture	along	Charles	Street	signifies	its	importance	as	the	original	north-south	
axis	of	the	city	(now	extending	from	the	Inner	Harbor	to	the	outer	suburbs	at	the	Baltimore	
Beltway). 
Figure 29. Charles Street?main north-south axis of Baltimore City (Author)
INNER HARBOR
DOWNTOWN
MOUNT VERNON
PENN STATION
JOHNS HOPKINS 
UNIVERSITY
45
Figure 30. Figure/Ground of Charles Street corridor from 
Mount Vernon Place to North Avenue (the red dot indentifies 
the thesis site)  (Author)
NORTH AVENUE
THESIS SITE
PENN STATION
JONES FALLS EXPRESSWAY
MOUNT VERNON PLACE
46
Mount Vernon
	 Charles	Street	became	known	as	Baltimore?s	upscale	retail	corridor,	and	the	Mt.	
Vernon	area	has	been	the	traditional	center	of	cultural	and	artistic	life	of	the	city.	The	
Mount	Vernon	neighborhood	today	includes	a	mix	of	institutions,	including	the	Peabody	
Conservatory	of	the	Johns	Hopkins	University,	Walters	Art	Museum,	University	of	Bal-
timore, Maryland Historical Society, Maryland Institute College of Art, Meyerhoff Sym-
phony	Hall,	Baltimore	School	for	the	Arts,	Lyric	Opera	House,	Center	Stage,	Enoch	Pratt	
Free	Library	Central	Branch,	Contemporary	Museum,	Spotlighters	Theatre,	Eubie	Blake	
National	Jazz	Institute,	and	Theatre	Project.	
	 The	centerpiece	of	the	neighborhood	is	the	Washington	Monument	and	the	four	
small	parks	that	radiate	from	the	monument.	Designed	by	Robert	Mills,	the	monument	
Figure 31. Historic views of Mount Vernon Place (clockwise from top left: ca.1894 (Z24.1267); 1908 
(Z24.111.VF); ca. 1900 (Z24.1.VF), 1906 (Z24.324)
(Source: Maryland Historical Society) 
47
was	completed	in	1829.	At	the	time	of	its	construction	the	site	of	the	monument	was	well	
north	of	the	city	and	was	a	hill	called	?Howard?s	Woods,?	donated	by	Colonel	John	Eager	
Howard,	Baltimore?s	own	Revolutionary	hero.	During	the	1830s	and	1840s,	the	city	of	
Baltimore	steadily	grew	out	to	the	Monument.	Colonel	Howard?s	heirs	laid	out	the	parks	in	
a	Greek	Cross	Plan	and	sold	the	bordering	lots.	The	design	was	based	on	the	London	resi-
dential	squares	of	the	Georgian	period.	The	parks	are	considered	the	finest	existing	urban	
landscapes	by	the	beaux-arts	architectural	firm	of	Carrere	&	Hastings.	By	the	1850s	the	
area	began	to	boast	the	most	elegant	townhouses	in	the	city.	With	the	development	of	the	
surrounding	area,	the	parks	were	relandscaped	periodically	in	keeping	with	the	prevailing	
fashion	of	the	day.	By	the	1890s,	the	squares	were	becoming	an	outdoor	sculpture	garden,	
which they remain today.
0
	Mount	Vernon	Place,	with	its	broad	range	of	architectural	styles,	
is	a	reflection	of	Baltimore?s	history	and	life	patterns	during	the	19th	and	20th	centuries	and	
is	one	of	the	finest	surviving	examples	of	19th	century	urban	planning.	
Figure 32. Washington Monument and Mount Vernon Square as they appear today  (GNU Free Documentation License)
48
Figure 33. Pennsylvania Station looking North along Charles Street ca.1926   (Source: Maryland Historical Society) 
Pennsylvania	Station	and	Jones	Falls
 Pennsylvania Station, for which the Station North district is named, is located at 
1515	N.	Charles	Street	just	one	block	south	of	the	thesis	site,	on	a	raised	?island?	between	
two	open	trenches,	one	for	the	Jones	Falls	Expressway	and	the	other	the	railroad	tracks	of	
the	Northeast	Corridor.	Penn	Station	is	about	a	mile	and	a	half	north	of	downtown	and	the	
Inner	Harbor.	Constructed	for	the	Pennsylvania	Railroad	in	1911,	the	Beaux-Arts	building	
was	designed	by	New	York	architect	Kenneth	M.	Murchison	(1872-1938).	The	station	was	
originally	known	as	Union	Station	(because	it	was	served	by	both	Pennsylvania	Railroad	
and	Western	Maryland	Railway,)	but	was	renamed	to	match	other	Pennsylvania	Stations	in	
1928.	The	building	is	a	Baltimore	City	Landmark.	

49
Figure 34. Bird?s eye view of Pennsylvania Station, c. 1915, showing the Charles and Saint Paul Street bridges cross-
ing the Jones Falls River (The construction of the Jones Falls Expressway in 1963 buried the river)  (Source: Maryland 
Historical Society, Z24.1390) 
	 The	Jones	Falls	River	flowed	through	central	Baltimore	until	the	construction	of	In-
terstate	83,	otherwise	known	as	the	Jones	Falls	Expressway	(JFX),	in	1963.	In	the	process	
of	construction	the	Jones	Falls	River	was	covered;	the	Falls	now	flows	directly	underneath	
the	elevated	freeway.	Today	JFX	is	a	major	north-south	artery	through	the	city	connecting	
downtown	with	the	northern	suburbs,	the	Baltimore	beltway	(695)	and	Interstate	95.	The	
expressway	takes	a	sharp	turn	just	south	of	Penn	Station,	heading	north-west	through	the	
central	part	of	the	city.	
	 While	the	picturesque	quality	of	the	day-lighted	river	may	be	debated	(it	was	no-
toriously	polluted),	the	expressway	is	a	clear	divider	of	the	city.	Despite	the	Charles	Street	
and	Saint	Paul	Street	bridges	crossing	the	expressway,	the	disconnect	between	the	Mount	
Vernon	neighborhood	and	the	Station	North	neighborhood	can	be	strongly	felt,	particularly	
by	the	pedestrian.	
50
Bus Light Rail MARC/Amtrack
Figure 35. Street grid showing interuption by Jones Falls Expressway and train bed
Figure 36. Public Transportation
5
North Avenue
 Originally called Boundary Avenue, this street marked the northern edge of the 
city from 86 to 888. The name was changed to North Avenue in 908. In the mid and 
late-nineteenth	century	this	broad	avenue	contained	many	fine	residences	with	picturesque	
gardens.	At	that	time	a	North	Avenue	address	was	a	coveted	mark	of	prestige.	The	blocks	
on	either	side	of	Charles	Street	were	known	as	Taney	Place,	in	honor	of	Chief	Justice	Roger	
B. Taney. 
2
	(A	few	of	these	grand	homes	remain	on	either	side	of	the	west	100	block.)	Dur-
ing	the	early	decades	of	the	20th	century	North	Avenue,	like	Charles	Street,	became	a	high	
end	retail	corridor	mixed	with	exclusive	residences.	Two	small	hotels,	the	Waldorf	and	
Chateau,	opened	at	the	corner	of	North	and	Charles.	This	intersection	was	also	the	home	
of	the	city?s	first	traffic	light.	The	Parkway	Theater	(5	W.	North	Avenue)	opened	in	1915	
Figure 37. The intersection of North Avenue and North Charles Street (c. 1928) was the home of the city?s first traffic light, 
where a policeman in an elevated, enclosed kiosk operated a set of lights mounted at the roof line. The Parkway Theatre is 
visible at the far left. The Security Bank Building, next to the Parkway, has been demolished and is now a parking lot for 
a fast food restaurant.  (Source: Small Town Baltimore, Gilbert Sandler)
52
as	an	elegant	and	refined	vaudeville	
venue,	with	a	mezzanine	tea	room	
for intermission indulgences. The 
opulent	interior	was	modeled	after	
the	West	End	Theater	in	London?s	
Leicester	Square.	The	Parkway	con-
tinued	to	cater	to	upscale	North	Bal-
timoreans	through	the	1940?s.	In	the	
1950?s,	when	North	Avenue	began	to	
decline, it changed to the Five West 
Theater	and	finally	closed	its	doors	in	1985.	It	has	been	sitting	vacant	ever	since.	

	 North	Avenue,	like	the	neighborhood	as	a	whole,	fell	victim	to	the	urban	ills	that	
were effecting the rest of Baltimore during the 950s and 60s. The riot of 968, following 
the	assassination	of	Martin	Luther	King,	Jr.,	had	a	particularly	devastating	effect	on	the	
street. Businesses were loot-
ed	and	burned;	many	never	
reopened.	 Since	 then,	 the	
perception	of	North	Avenue	
has	remained	predominantly	
negative. Many structures 
have	been	demolished,	leav-
ing	a	gap-toothed	quality	to	
the street and many more 
remain vacant awaiting re-
development.	
Figure 38.  East corner of North Avenue and Charles Street 
showing the old Waldorf Hotel (Author)
Figure 39. West corner of North Avenue and Charles Street showing the old 
Parkway Theater (now vacant) and the parking lot where the Security Bank 
building once stood (Author)
5
The Charles Theatre
	 Charles	Street	defines	the	retail	core	of	the	Station	North	neighborhood.	The	com-
mercial	district	on	Charles	Street	is	anchored	by	the	Charles	Theatre,	a	popular	art	house	
multiplex,	and	several	successful	restaurants	that	cater	to	moviegoers.	The	Schuler	School	
of	Fine	Arts	shares	the	same	block	with	this	Baltimore	icon.	The	108-year-old	structures	
which	house	The	Charles	boast	a	rich	history.	Designed	in	1892	by	architect	Jackson	C.	
Gott	for	the	Baltimore	Traction	Company,	the	Beaux-Arts	buildings	were	originally	de-
signed	to	be	a	cable	car	barn	(north	side)	and	a	powerhouse	(south	side).	It	housed	a	steam-
fed	generator	that	powered	Baltimore?s	short-lived	cable-car	system.	The	Blue	Line	ran	for	
2.2	miles	from	downtown	to	the	old	Oriole	Park.	The	buildings	served	as	cable	car	facilities	
for	four	years	after	which	they	became	a	streetcar	barn,	a	bus	barn,	a	library	for	the	blind,	
a	bowling	alley	and	the	Famous	Ballroom.	In	1939,	the	Times	Theatre	opened	on	the	site	
Figure 40. Designed in 1892 by architect Jackson C. Gott for the Baltimore Traction 
Company, the Beaux-Arts buildings were originally designed to be a cable car barn (north 
side) and a powerhouse (south side). It housed a steam generator that powered Baltimore?s 
short-lived cable-car system. (Source: Baltimore Streetcar Museum, Inc.) 
54
as	Baltimore?s	first	all-newsreel	movie	house.	The	theater	was	re-named	the	Charles	circa	
1959	and	became	a	calendar	revival	house	in	1979.	The	Charles	remained	a	single-screen	
theater	until	1999,	when	a	dramatic	expansion	was	completed	to	accommodate	four	ad-
ditional	screening	rooms.	The	original	auditorium	still	has	485	seats	and	has	been	altered	
only slightly.
 4
Figure 41. In 1939, the Times Theatre opened on 
the site as Baltimore?s first all-newsreel movie house 
(Source: Robert Headley Theater Collection)
Figure 42. The theater was re-named the Charles circa 1959 and 
became a calendar revival house in 1979.  (Source: Robert Headley 
Theater Collection)
Figure 43. The Charles during the 1999 restoration and expansion. (Source: The Charles Theater)
55
Figure 44. The Charles Theatre and Teatro Tapas as they appear today  (Author)
Figure 45. Charles Street is the main commercial core of the Station North Arts District, anchored by the Charles 
Theater. (Author)
56
SITE ANALYSIS
 Understanding	the	history	of	the	city	and	the	neighborhood	allows	the	block	which	
contains	the	Schuler	School	to	read	as	a	diagram	of	the	temporal	continuum.	The	different	
faces	of	the	block	illustrate	the	evolution	of	a	major	commercial	corridor	(Charles	Street),	
a	grand	residential	street	(Saint	Paul	Street),	secondary	mixed	use	streets	(Lafayette	and	
Lanvale	Streets)	and	a	minor	through-block	alley	(Lovegrove	Alley).	The	Charles	Street	
side	offers	a	glimpse	of	the	potential	future	of	the	area,	with	the	renovation	of	the	Charles	
Theatre	and	the	introduction	of	retail	businesses	that	bring	life	to	the	street.	The	Saint	Paul	
Street	side	has	remained	largely	intact,	featuring	beautiful,	three-story	row	houses	built	
between	1876	and	1896.
5
	The	residences	along	this	face	of	the	block	represent	a	unique	
mixture	of	eclectic	and	tradi-
tional architectural styles in 
Baltimore	characterized	by	an	
unusually high degree of ar-
ticulated masonry and archi-
tectural ornamentation, though 
the	exteriors	belie	the	carved-	
up	nature	of	the	interiors	when	
these grand homes gave way to 
more	affordable	apartments	for	
lower income residents. Like 
the Charles Street Side, these 
too	are	beginning	to	see	rein-
vestment,	with	the	help	of	the	
designation of the Saint Paul 
Street Historic District (which 
Figure 46. Map showing Saint Paul Street historic district (the yellow 
shows the Schuler School of Fine Arts)  (Author)
57
Figure 47. Charles Street elevation photomontage  (Author)
Figure 48. Lafayette Avenue elevation photomontage  (Author)
Figure 49. Lanvale Street elevation photomontage  (Author)
58
Figure 50. Saint Paul Street elevation photomontage  (Author)
Figure 51.  Lovegrove Alley west elevation photomontage  (Author)
59
falls	within	the	boundary	of	the	North	Central	Historic	District).	
  The secondary streets of Lafayette and Lanvale have suffered the greatest losses 
during	the	last	fifty	years.	On	Lanvale,	of	the	ten	original	row	houses	only	two	are	still	
standing,	midblock.	On	Lafayette,	of	the	five	original	row	houses,	only	one	remains	which	
Figure 52. Diagram of thesis site showing the Schuler 
School (in yellow) and the parking lots (in red) available 
for infill development  (Author)
is	now	owned	by	the	Schuler	School	and	currently	
serves	as	gallery	space	and	family	residence.	Addition-
ally the structure to the west of the Schuler School has 
North Charles Street
East Lafayette Avenue
Saint Paul Street
East Lanvale Street
N
60
also	been	demolished,	leaving	an	exposed	party	wall	along	the	North	Face	of	the	Everyman	
Theater	building.	Both	streets	have	been	left	with	gaping	holes	and	the	vacant	portions	of	
the	block	are	currently	used	as	pay	parking	lots.	The	site	of	the	proposed	addition	to	the	
Schuler	School	will	fill	in	the	gaps	left	by	demolition,	incorporating	the	historic	residence	
and studio, as well as the single row house to the east. 
390 ft
320 ft
(65? x 320?)
approx,
20,800 sq. ft
(25? x 120?) ~3000 sq. ft
(75? x 85?)
approx,
6375 sq. ft
Figure 53. Buildable area of thesis site and block dimensions
6
Figure 54. Existing alley ways and service access  (Author)
Figure 55. Sun path diagram (Author)
June 21
Equinox
December 21Noon sun
N
S
W
E
62
 
?New and old most effectively coexist if 
they don?t try to meet on some wobbly middle ground.?  
-Steven Holl
C H A P T E R  6
 
Infill Strategies
6
INFILL STRATEGIES
 The stated goals of this thesis are to design an addition to the Schuler School of 
Fine	Arts	that	enhances	the	school	philosophy,	addresses	the	school?s	needs,	and	contrib-
utes	to	the	larger	cultural	context	of	the	Arts	and	Entertainment	district,	and	to	do	that	by	
utilizing	a	modern	architectural	vocabulary	that	creates	a	dialogue	with	the	past	through	
its	connection	to	the	existing	historic	fabric.	In	order	to	determine	the	most	appropriate	in-
tervention	methodology,	precedents	were	examined	to	better	understand	existing	strategies	
for	designing	within	a	historic	context.	
	 Due	to	the	site-specific	nature	of	infill	development,	design	approaches	are	as	var-
ied	as	the	historic	fabric	surrounding	them.	However,	some	general	commonalities	exist	
among	the	most	successful	infill	projects.	Successful	design	approaches	involved:	me-
diating	the	past	and	present	while	respecting	the	historic	integrity	of	existing	structures,	 
restoring	spatial	continuity	to	fragmented	streetscapes/landscapes,	and	introducing	con-
nections	across	and	between	new	and	existing	structures	(through	both	interior	and	exte-
rior	spaces).	Beyond	these	common	guidelines,	three	general	categories	of	infill	strategies	
emerge:	Insertion,	Connective	Tissue	and	Growth	by	Accretion.
64
Figure 56. Caixa Galicia Art Foundation, Grimshaw Architects (La Coruna, Spain; 2006)
Figure 57. 18 West 11th Street, The Weathermen?s Bomb Factory which exploded in 1970, Hardy Holzman 
Pfeiffer Assoc. (New York City; 1980)
 Juxtaposition of old and new
Past events are given 
architectural expression
INSERTION
Insertion	is	the	most	straightforward	of	the	three	approaches.	A	?hole?	within	the	historic	
fabric	exists	and	a	new	design	intervention	is	inserted	within	the	confines	of	the	past.	
PrinciPles:
?		Juxtaposition	of	old	and	new	is	highlighted
?		Isolation	of	historic	fabric	as	distinct	and	separate
?   Continuity of datum lines and scale
? 
 
Giving	past	events	architectural	expression
65
Mill city MuseuM
Minneapolis,	Minnesota
Meyer,	Scherer,	&	Rockcastle,	2003
 The Mill City Museum illustrates the strategy of insertion, where new construction 
(as	well	as	new	social	and	cultural	uses)	are	inserted	into	the	ruins	of	the	past.	The	historic	
Washburn	Mill	represents	a	past	economic	force	that	contributed	to	the	development	of	
the	city.	After	a	fire	in	1991	which	left	the	mill	in	a	structurally	unstable	state,	the	site	was	
designated	a	historic	ruin.	Rather	than	isolating	the	remaining	structure	as	a	relic,	MS&R	
inserted a second life into the ruin. The new Mill City Museum ?lives? within the historic 
envelope	and	allows	visitors	to	simultaneously	experience	both	the	physical	remnants	of	
the	past	directly	alongside	the	contemporary	museum	environment.
6
Historic fabric is left as ?ruin?
Figure 58. Mill City Museum, Meyer, Scherer and Rockcastle (Minneapolis, Minnasota; 2003)
66
Figure 60. View from the mill ruins toward the new addition
Figure 59. Contrast of historic and new is evident by 
the juxtaposition of materials
67
CONNECTIVE TISSUE
In	this	strategy	the	?in-between	space?	is	used	to	regularize	and	make	connections	between	
existing	historic	fabric	and	new	spaces.
PrinciPles:
? Using architectural intervention to mitigate the   
			irregularities	of	what	exists
?	Layering	history	and	making	visible	the	time-		 	
related sedimentation of materials and meanings
?	New	and	old	coexist	on	distinct	temporal	planes
Layering of distinct but 
complementary materials
Figure 62. Museo di Castelvecchio, Carlo Scarpa 
(Verona, Italy, 1964)
Figure 61. Higgins Hall at Pratt Institute, Steven Holl (Brooklyn, NY; 2006)
Zone of collision between 
exisiting buildings generates design
68
PierPont Morgan library
New York, New York
Renzo	Piano,	2006
	 Piano?s	addition	to	the	Pierpont	Morgan	Library,	which	had	grown	to	occupy	three	
separate	buildings,	illustrates	the	creative	use	of	?in-between?	space.	The	addition	regular-
izes	and	rebalances	the	connection	between	the	existing	structures,	while	at	the	same	time,	
preserving	their	individual	integrity.	The	existing	buildings	act	as	the	corner	anchors	to	the	
new	focus	of	the	glass	covered,	three-story	?piazza,?	or	atrium	space.	Inserted	into	the	atri-
um	are	various	elements	of	homogenous	material,	that	act	as	?connective	tissue?	between	
old	and	new.	The	use	of	a	minimalist	palate	of	materials,	color,	and	decorative	elements	
allows	the	addition	to	defer	to	the	historic	structures,	acting	as	an	independent	building	
despite	its	connective	role.	Piano	uses	set	backs	and	glazing	where	old	and	new	are	joined	
to	give	breathing	room	and	create	visual	separation	between	the	various	elements.
7
  
Figure 63. Exterior of the Pierpont Morgan Library addition (Renzo Piano, 2006)
69
1852 Renaissance
Revival brownstone 
(the Morgan house)
1928 Annex
1906 Charles McKim 
Original Library
2006 Renzo Piano
addition
Figure 64. Model and interior view of grand atrium with glass ceiling
Figure 65. Existing (red) vs. New (blue)   (Author)
70
Figure 66. Figures vs. connective tissue: Piano created two figural elements that sit between the existing sturctures 
on either street elevation. The remainder of the addition acts as connective tissue for the ?inbetween space? to create a 
cohesive whole. The plane of the addition steps back between the figural elements and the existing structures to create 
breathing space and assert their individual character. (Author)
Figure 67. grand atrium as regularizing element: The grand atrium or ?covered piazza? acts as the regularizing 
element to divide the connecting elements between the existing buildings  (Author)
7
Figure 68. existing vs. new: As in the plan, the building also steps down in section to create breathing space between 
the new addition and the existing structures. (Author)
Figure 69. Piano?s addition created new independent spaces, as well as continuous connection between exisiting 
spaces  (Author)
72
Higgins Hall, Pratt institute
Brooklyn, New York
Steven Holl Architects, 2006
	 Higgins	Hall	houses	the	architecture	program	at	Pratt	Institute	and	used	to	consist	
of	three	separate	historic	landmark	buildings.	In	1996	a	fire	destroyed	the	central	building	
and	Steven	Holl	was	hired	to	?stitch?	them	together	with	an	infill	addition.	The	generator	
for	the	design	is	the	difference	in	floor	levels	between	the	two	historic	buildings.	The	ad-
dition	extends	the	existing	floor	levels,	and	the	fault	line	where	they	meet?	which	Holl	
calls	the	?dissonant	zone?	?	is	reconciled	by	a	ramp	that	creates	an	extended	promenade	
traversing	the	width	from	the	street	front	to	the	garden	rear	of	the	building.	This	dissonant	
zone	is	capped	by	an	asymmetrical	gullwing	skylight	with	tall	north-	and	low	south-facing	
glazing.
8
      
	 The	structural	frame	of	the	addition,	independent	of	the	old	load	bearing	masonry	
walls,	consists	of	six	large	precast	concrete	columns	linked	by	beams.	The	two	central	col-
umns	accommodate	the	beams	of	the	different	floor	levels.	The	east	and	west	facades	are	
structural	glass	channels,	filled	with	translucent	white	insulation	to	provide	diffuse	daylight	
to	the	spaces	within.	In	the	dissonant	zone	the	thick	translucent	skin	gives	way	to	an	asym-
metrical	pattern	of	clear	glazing	framed	in	red	painted	steel.	?The	clean	repetitive	character	
of	the	glass	channels	contrasts	markedly	with	the	historic	buildings,	which	provide	quirky	
?as	found?	interior	elevations	to	the	north	and	south.?
9
7
Existing nineteenth-
century brick builidings
Infill addition which 
acts as a connection 
between the exisiting 
historic structures
Figure 71. existing vs. new: The infill addition is set back to create a fore-
court and inserts itself into the exsiting structures on either side   (Author)
Figure 70. Higgins Hall at Pratt Institute, Steven Holl (Brooklyn, NY; 2006)
74
Dissonant Zone medi-
ates between the two 
historic structures, 
contains the circulation 
and divides the spaces 
within the addition
Forecourt with sculpted 
ground of steps and 
ramps made from 
bricks salvaged from 
the fire
Auditorium roof creates 
raised terrace acces-
sible from the gallery 
which overlooks the 
rear gardens of ter-
raced houses adjacent 
to the site
Figure 72. Design generating elements  (Author)
Dissonant Zone
Figure 73.  ?Dissonant Zone? mediates the intersection of the differing floor levels of the two buildings and sponsors 
the design solution in section and elevation  (Author)
75
Dissonant Zone
Thick skin of structural 
channel glass 
Dissonant Zone 
of clear glazing
Concrete Bones
memory of previous 
buildling - bricks sal-
vaged from fire used to 
create forecourt plaza
Figure 75. Exploded axon of building elements
Figure 74. Higgins Hall at Pratt Institute, Interior Views, Steven Holl (Brooklyn, NY; 2006)
76
GROWTH BY ACCRETION
In	this	strategy	the	existing	fabric	serves	as	a	structural	basis	for	growth.	
PrinciPles:
?	Addition	with	an	air	of	autonomy	and	urbanity
? Attaching/Suspending/Extending
?	Reclamation	of	unused	and	under	utilized	space	
			(up,	down,	out	and	over)
Figure 76. Alt Stazione Cinema Cafe, Schaudt Architekten  (Basel, Switzerland; 1996)
Dependent in structure,
independent in character
Suspended
addition
Figure 77.  Rucksack Haus, Stefan Eberstadt  (Munich, Germany; 2004)
77
liFt-uP House
London, England
MEA Architects
Lift-up	house	is	a	two-bedroom	apartment	on	the	roof	of	an	industrial	building	in	the	
heart	of	London?s	Hoxton	neighborhood.	The	addition	is	a	contemporary	interpretation	
of	the	traditional	weavers	lofts	of	the	area.	The	apartment	reclaims	the	under	utilized	area	
of	the	roof	extending	the	functional	space	of	the	historic	building.	The	design	references	
both	the	architectural	and	cultural	history	of	the	site	while	responding	to	the	current	needs	
and	priorities	of	its	occupants.	The	design	plays	with	ideas	of	light	and	transparency	with	
translucent	walls	and	sliding	screens	that	can	close	for	privacy	while	still	allowing	light	
to	filter	through.	
Figure 78. Lift-Up House, MEA Architects  (London, England)
78
Figure 79. Lift-Up House, MEA Architects  (London, England)
79
 
?I spend six months of the year...in heaven.?  
-Daniel Chester French 
(referring to his summer home and studio, Chesterwood)
C H A P T E R  7
 
Program Analysis
80
PROGRAM PRECEDENTS
	 Program	precedents	were	analyzed	to	better	understand	what	artists	need	and	desire	
from	their	studio	space,	and	to	understand	the	specific	spatial	requirements	of	the	different	
disciplines	taught	at	the	Schuler	School	of	Fine	Arts.	Artists	have	a	unique	relationship	
with	their	working	space;	it	should	be	both	functional	and	inspirational.	The	artistic	process	
requires	a	greater	sense	of	?domesticity?	than	the	typical	work	environment	since	for	many	
artists	their	studio	is	a	second	home.	Studio	space	needs	to	have	room	for	messy	processes,	
display	of	both	finished	work	and	work	in	progress,	comfortable	relaxation,	and	plenty	of	
storage.	A	studio	space	must	accommodate	the	chaos	of	creation	while	appearing	orderly	
for	client	presentations	and	public	exhibitions.	Additionally,	as	a	space	of	instruction,	the	
studio	must	accommodate	working	and	storage	space	for	all	students.
	 Two	historic	sculpture	studios,	akin	to	the	Schuler	studio,	were	studied:	Chester-
wood,	the	personal	studio	of	Daniel	Chester	French	and	Aspet,	the	personal	studio	of	Au-
gustus	Saint-Gaudens.	French	and	Saint-Gaudens	were	both	prominent	sculptors	contem-
porary	with	Hans	Schuler,	Sr.	The	unique	design	features	of	these	studios	offered	ideas	that	
are still relevant today. Additionally, two art schools were studied: the Glasgow School of 
Art	by	Charles	Rene	Mackintosh	and	the	Atlantic	Center	for	the	Arts	by	Thompson/Rose	
Architects.	The	historic	nature	of	the	Glasgow	school	and	the	contemporary	nature	of	the	
Atlantic	Center	offered	an	interesting	comparison.	Both	contributed	to	a	better	understand-
ing	of	spatial	and	lighting	requirements,	as	well	as	how	the	design	can	facilitate	circulation	
and interaction. 
8
cHesterwood
Home	and	Studio	of	Daniel	Chester	French,	Sculptor
Stockbridge,	Massachusetts
	 Located	in	Stockbridge,	MA,	this	historic	home	and	studio	is	now	a	museum.	The	
studio	was	designed	by	Henry	Bacon	and	built	in	1896.	The	studio	is	a	simple	square	
form	with	a	hipped	roof.	It	is	33	feet	high	at	its	peak,	allowing	French	to	work	on	a	very	
large	scale.	It	also	featured	a	short	length	of	railroad	track	extending	from	the	22	foot	high	
double	doors	where	French	could	load	a	work	in	progress	on	to	a	flatbed	car.	This	allowed	
him	to	move	the	piece	into	the	sunlight	to	test	the	sculptural	qualities	of	light	and	shadow	
on	the	form.	Aside	from	the	30?	x	30?	workroom,	the	studio	also	included	a	one-story	re-
ception	room	which	contained	a	piano	and	a	fireplace.	Double	French	doors	lead	from	the	
reception	area	to	a	formal	garden	with	a	fountain.	This	connection	between	working/living	
and	indoor/outdoor	signifies	the	importance	of	the	studio	to	French;	it	also	illustrates	the	
?domestic? character of an artists studio.
40
Four-part, 22 ft high 
double doors
Figure 80. The studio and attached reception room (Source: National Park Service, Polly Rettig, photog-
rapher)
82
 Hipped roof, 33 ft at peak
A large skylight in the north roof and banks of 
windows on the north and east walls provide ample daylighting 
Figure 81. Aerial perspective showing the grounds of Chesterwood  (Source: National Park Service)
8
A revolving modeling table was mounted on a flatcar on a short section of railroad track leading outside 
through 22-foot high double doors. This enabled French to move a work in progress outside from time to time 
to see how it was affected by sunlight.
22-foot high double doors
Figure 82. Photos showing the railroad track which Fench used to test sculptural form in outdoor conditions 
(Source: National Park Service, Margaret French, photographer)
Figure 83. Photos showing the 22 foot high, four-part doors of the studio 
(Source: National Park Service, Paul Rocheleau, photographer)
84
asPet
Home	and	Studio	of	Augustus	Saint-Gaudens,	Sculptor
Cornish,	New	Hampshire
	 Famous	as	the	founder	of	the	?Cornish	colony?	of	artists	in	Cornish,	NH,	Saint-
Gaudens	converted	an	old	inn	to	his	residence	and	built	studio	space	on	the	grounds.	Over	
the	course	of	his	occupancy	he	built	three	different	studios;	the	large	?studio	of	the	cary-
atids?	was	designed	by	George	Babb	and	constructed	in	1905,	both	this	and	another	larger	
studio	were	destroyed	by	fire.	The	remaining	?little	studio?	was	completed	in	1904.	Ex-
tensive	gardens	surround	both	the	residence	and	studios.	Porches	and	pergolas	were	sig-
nificant	design	features	used	to	connect	the	indoor	and	outdoor	spaces.	In	speaking	of	the	
inspiration	he	drew	from	the	landscape	around	his	studio,	Saint	Gaudens	said	?	I	had	been	
a	boy	of	the	streets	and	sidewalks	all	my	life.	So,	hitherto,	although	no	one	could	have	en-
joyed	the	fields	and	woods	more	heartily	than	I	when	I	was	in	them	for	a	few	days,	I	soon	
tired	and	longed	for	my	four	walls	and	work.	But	during	the	first	summer	in	the	country...	
it	dawned	upon	me	seriously	how	much	there	was	outside	my	little	world.?
4
Residence
?Little Studio?
Figure 84. Aerial rendering of Aspet 
(Source: National Park Service)
85
Figure 86.  Large ?studio of the caryatids? designed 
by George Babb and constructed in 1905; later de-
stroyed by fire (Source: National Park Service)
Figure 87. The northwest corner of the ?little studio,? which 
was also designed by George Babb (circa 1905-8) (Source: 
National Park Service)
A huge north-facing sky-
light allows ample natural 
sunlight. The skylight is 
wood framed with central 
mullions and tall vertical 
muntins dividing the lights 
(similar to the Schuler 
School skylight). 
Figure 85. Photo showing the residence (Source: National Park Service)
Figure 88. Interior of the ?Little Studio? (Source: National Park Service)
86
glasgow scHool oF art
Charles Rene Mackintosh, 897-909
Glasgow, Scotland
The	Glasgow	School	of	Art,	considered	to	be	Mackintosh?s	master	work,	has	an	eclectic	unity	
with	influences	from	Scottish	baronial	architecture	(volumetric	masses	of	heavy	masonry),	
Art	Nouveau	motifs	(floral	and	geometric	motifs	in	the	iron	work,	tiles,	details)	and	modern	
materials	and	techniques	(large,	industrial,	braced	windows).	The	building	reflects	its	context	
richly.	The	north	side,	facing	the	major	street,	presents	a	simple,	rectangular	mass	with	large	
windows	which	light	the	studios,	alternating	with	masonry	piers.	In	contrast,	the	east	and	
west	facades	are	tower-like	masonry	walls	above	the	sloping	streets,	into	which	small-paned	
metal	windows	recall	the	baronial	tradition.	The	studio	spaces,	library,	and	exhibition	space	
all	receive	large	amounts	of	daylight	from	expansive	openings,	as	well	as	skylights.	The	his-
toric	school	continues	to	be	a	coveted	place	to	work	by	students	and	faculty.
42
Figure 89. Exterior of the north facade of the Glasgow School of Art, Charles Rene Mackintosh 
(Source: GNU Free Documentation License, Finlay McWalter, photographer)
87
Figure 90. Views of some of the different skylights and wood trusses (Source: xxx)
Figure 91. Ground and first floor plans (Source: xxx)
88
atlantic center For tHe arts
New Smyrna Beach, Florida
Thompson/Rose	Architects,	1997
	 The	Atlantic	Center	for	the	Arts	offers	artists	residency	programs	in	a	lush	Florida	
jungle	setting.	The	Center	offers	residencies	to	writers,	dancers,	visual	artists,	compos-
ers,	choreographers,	and	actors.	The	program	includes	a	black-box	theater,	painting	and	
sculpting	studios,	recording	studios,	a	dance	studio,	a	library,	and	various	support	spaces.	
The	design	includes	six	buildings	interwoven	into	an	indigenous	Florida	jungle	land-
scape,	linked	by	an	elevated	boardwalk,	and	made	of	wood,	glass,	and	metal.
	 The	1,233-square	foot	sculpture	studio	is	the	only	concrete	studio	within	the	com-
plex.	The	building	is	symbolic	of	sculpture?s	earthy	materials	-	metal,	stone	and	clay.	The	
long	overhang	on	the	studio	patio	shelters	an	outdoor	work	area	which	is	linked	to	the	
indoor	space	via	three	roll-up	doors.	When	these	doors	are	fully	opened,	the	space	flows	
easily	from	the	interior	to	the	exterior.	The	linking	trellis	structures	also	serve	to	blur	the	
transitions	between	interior	and	exterior.	?The	climatic	conditions	of	East	Central	Florida	
-	light,	wind,	air,	rain	-	and	their	phenomenological	effects	are	reinterpreted	and	tempered	
through	the	use	of	louvers,	which	mottle	direct	light.	Large	glass	walls	serve	to	maximize	
the	ambient	northern	light;	wind	scoops	help	to	ventilate,	and	also	act	as	light	monitors	
while	large	linear	scuppers	gather	the	torrential	rain.?
4
89
Figure 92. Sectional model of the painting and sculpture studios showing the structural wood trusses and the continu-
ity between interior and exterior spaces. 
Figure 93. View of the sculpture studio showing the garage doors and exterior work yard
90
Figure 94. Site Plan showing network of paths and building relationships
Figure 95. Section through sculpture studio with music studio (Author)
Figure 96. Wood trusses
Figure 97. Exterior spaces offer working and gathering areas (Author)
9
ARCHITECTURAL PROGRAM
	 The	Schuler	School	of	Fine	Arts	campus	expansion	focuses	on	two	functional	pro-
grams?	public	interface	and	the	student	realm.	
The	?public	interface?	component	provides:	
?	A	cultural	contribution	to	the	larger	Station	North	Arts	District,	through	exhibitions,	
events,	workshops	and	a	publicly	accessible	library.
?	A	public	face	for	the	Schuler	School	to	gain	recognition	as	an	important	art	institution	
within	the	Baltimore	metropolitan	region	
?	A	physical	showcase	for	the	social	and	cultural	legacy	of	Hans	Schuler,	as	well	as	the	
artistic	legacy	being	cultivated	at	the	school
?	An	opportunity	to	open	school	functions	to	a	broader	audience	when	desirable
The	?student	realm?	component	provides:
?	General	studio	space,	as	well	as	studio	space	for	resident	master	artists,	designed	specifi-
cally	for	the	different	disciplines	offered	within	the	curriculum
?	Opportunities	for	students	of	varying	levels	of	advancement	and	master	artists/faculty	to	
intermingle in an intimate environment 
?	A	distinct	sense	of	separation	from	the	surrounding	urban	conditions	offering	a	respite	in	
which	to	reflect,	relax	and	be	inspired
?	Opportunities	for	connections	between	the	disciplines	to	promote	a	collaborative	work	
environment.
92
PROGRAM SUMMARY
House MuseuM/event Hall
Existing	Historic	Residence:		 	 	 	 2500
Existing	Historic	Studio:		 	 	 	 	 1050
Event Hall  :     000
Cafe/Catering Kitchen  :    00
total:      7350 sq.Ft.
gallery
Exhibition	Space:			 	 	 	 	 2000		
Vestibule/Front	Desk:		 	 	 	 	 150
Storage:        500
Restroom:       200
total:      2850 sq.Ft.
library
Reading Room:       400
Stacks/Archival Storage:      00
Video Viewing Facility:      50
total:      850 sq.Ft.
studio sPace
Plaster	Cast/Marquette	Studio:	 	 	 	 1000
Life Modeling Studio:      200
Painting Studio:       000
Stone Carving Studio:      900
Restrooms:      400
total:      4500 sq.Ft.
Master artist live/worK
Master	Studio:	 	 	 	 		 	 1000	x	3=	3000
Artist-in-Residence	Living	Suite:		 	 	 	 1000	x	3=	3000
total:      6000 sq.Ft.
nonstudio/adMinistrative sPace
Atielier Lounges:        400
Directors	Living	Suite	(existing):	 	 	 		 1600
Administrative	offices:	 	 	 	 	 750
total:      2750 sq.Ft.
exterior sPace
Sculpture	Yard:		 	
	 Work	Space:	 	 	 	 	 2000
 Materials Storage:     000
 Service/Loading Zone:    500
Muse Garden:       800
Dining	Patio/Public	Plaza	 	 :		 	 	 500
total:      480000 sq.Ft.
auxiliary sPace
Mechanical (5%)      4500
Circulation (0%)      9000
total:      13,500 sq.Ft.
total:      48,950 sq.Ft.
P
UBLIC
 I
NTERF
ACE
STUDENT
 
REALM
9
PROGRAM DESCRIPTION
PUBLIC INTERFACE:
Historic	House	Museum/Event	Hall	(3650	sq	ft)
The	ground	floor	of	the	historic	residence	will	act	as	a	house	museum,	open	to	the	public,	
to	illuminate	the	life	of	Hans	Schuler,	a	prominent	American	sculptor.	The	house	museum	
will	act	in	tandem	with	the	historic	studio	and	addition,	which	will	house	the	plaster	ma-
quette	studio.	The	studio	will	function	as	the	exhibition	space	for	the	maquettes	and	small	
scale work of Hans Schuler; it will also function as the drawing studio for the school where 
students	can	draw	from	the	casts.		Additionally,	it	will	serve	as	a	flexible	event	space	for	the	
school	to	host	public	functions,	such	as	lectures,	workshops	and	concerts.
Gallery	Space	(2850	sq	ft)
The	gallery	will	provide	exhibition	space	for	a	variety	of	rotating	shows,	including	student	
work	and	work	from	the	permanent	collection	of	the	school.	The	gallery	will	include	a	
reception	desk,	providing	a	public	face	for	the	school.
Library	(850	sq	ft)
A	small	library	will	house	the	schools	reference	collection	and	periodicals,	as	well	as	the	
historic	archives	of	Hans	Schuler	and	Jacques	Maroger.	The	library	will	include	a	large	
reading	room,	archival	storage	and	video	viewing	facilities.	The	library	will	also	contain	
two	computers	with	access	to	the	internet	and	printers,	CD?s	and	video	tapes.	The	library?s	
collection continues to grow through generous donations from artists in residence, and this 
will	be	taken	into	account	in	the	design.
94
STUDENT REALM:
Large-scale	Sculpture	Studio	(900	sq	ft)
The	sculpture	studio	will	contain	fabrication	space	with	assorted	tables,	hoists,	and	cranes;	
metal	working	equipment	and	stone	carving	equipment;	and	will	be	adjacent	to	an	enclosed	
sculpture	yard.	
Life	Modeling	Studio	(1200	sq	ft)
The	life	modeling	studio	will	provide	a	large	open	space	for	drawing,	painting	or	sculpting	
from	the	figure.	Work	space	will	accommodate	assorted	tables,	easels,	drawing	horses	and	
lighting	requirements.	
Painting	Studio	(1000	sq	ft)
The	painting	studio	will	provide	a	flexible	space	to	accommodate	multiple	painting	setups,	
including	still	lifes	which	may	need	to	remain	in	place	for	long	periods	of	time.	Wall	space	
for	class	critiques,	as	well	as	exhibition	should	be	considered	in	the	design.
Plaster	Maquette	Studio	(1000	sq	ft)
The	existing	1906	studio	will	continue	to	provide	classroom	space	for	instruction	and	a	
drawing	studio	to	draw	from	the	plaster	casts	and	small-scale	work	of	Hans	Schuler.
Atelier	Informal	Gathering	Space	(400	sq	ft)
In	keeping	with	the	atelier	philosophy	of	the	school,	a	series	of	informal	gathering	spaces	
will	encourage	casual	interaction	among	students	and	faculty	allowing	for	personal	cri-
tiques	and	conversations.	Adjacency	to	work	space	will	encourage	a	?lounge?	atmosphere	
for	gathering	on	breaks	and	between	personal	instruction	times.	
95
Artist-in-Residence	Live/Work	Spaces	(1000	sq	ft	x	3	=	3000	sq	ft)
Live/work	space	will	be	provided	for	visiting	artist	faculty	and/or	students	in	their	last	year	
of	study.	Living	space	will	include	bedroom,	bathroom,	and	kitchenette.	Work	space	will	
include	studio	space	to	be	shared	with	general	living	space.	The	design	of	the	space	will	
emphasize	flexibility	in	arrangement	to	accommodate	a	variety	of	artistic	disciplines	and	
living/working needs. 
Communal	Kitchen	(300	sq	ft)
A communal kitchen will service students, faculty and artists in residence. Dining together 
will	provide	another	opportunity	to	foster	close	working	relationships	in	a	relaxed	environ-
ment. 
Support	Spaces
Storage	space	will	be	integrated	into	all	exhibition	and	studio	spaces.	Each	studio	will	
contain	a	wet	wall	with	sinks	for	clean-up.	A	system	of	moveable	walls	will	allow	studio	
and	exhibition	space	to	be	flexible	and	provide	the	ability	to	hide	portions	of	a	room	for	
temporary	storage.	
Exterior	Spaces
Sculpture	yard	(work/storage	space)
An	exterior	sculpture	yard	adjacent	to	the	studio	will	provide	work	and	storage	space	for	
monumental	sculpture	and	materials.	This	space	will	need	to	be	accessible	by	delivery	
trucks	and	cranes/hoists	for	moving	both	materials	and	finished	pieces.	
96
Muse Garden
A	garden	space	off	the	studios	will	provide	a	quiet	respite	from	the	work	environment	
and	offer	a	place	for	introspective	contemplation	and	artistic	inspiration.	The	garden	will	
be	enclosed	or	semi-enclosed	to	provide	visual	and	auditory	separation	from	the	school?s	
urban	context.
Dining Patio
An	outdoor	dining	patio	will	be	located	adjacent	to	the	cafe	to	provide	an	al-fresco	dining	
option	during	warm	weather.	An	outdoor	fireplace	will	encourage	lingering	into	the	eve-
ning and foster a sense of community among students, faculty and visiting artists. 
97
Sculpture Yard
Sculpture 
StudIO
lIVe/
WOrK
lIVe/
WOrK
lIVe/
WOrK
eXIStING 
StudIO & 
reSIdeNce
MuSe
GardeN
GallerY
lIBrarY
KIt.
StOraGe
lOadING 
dOcK & 
VeHIcular 
acceSS
dINING 
patIO eXterIOr
tHreSHOld
atelIer
Space.
eNtrY
(puBlIc)eNtrY (StudeNtS)
eNtrY
(reSIdeNtS)
p u B l I cS c H O O lp r I V a t e
Figure 98. Programmatic adjacency diagram  (Author)
98
C H A P T E R  8
 
Architectural Design Strategy
 
?A	great	building	must	begin	with	the	unmeasurable,	
must	go	through	measurable	means	when	it	is	being	designed	
and	in	the	end	must	be	unmeasurable.?
 -Louis Kahn
99
SITE STRATEGY : Lafayette Street Parti
Figure 99. Plan showing exisiting (in red) and proposed (in blue)  (Author)
The	Lafayette	Street	scheme	focuses	on	infill	along	Lafayette	Street,	with	multiple	street	
entrances	for	the	public,	students	and	residents.	The	gallery	has	a	public	face	on	Charles	
Street	and	continuous	frontage	along	Lafayette,	with	a	rooftop	garden	that	connects	to	the	
existing	rooftop	garden	on	the	historic	studio.	The	live/work	residences	are	located	along	
Lafayette	with	a	shared	courtyard	that	provides	easy	access	to	the	sculpture	studio	build-
ing.	The	residences	could	utilize	the	row	house	typology	common	to	the	neighborhood.	
The	studio	building	opens	onto	the	sculpture	yard,	located	in	the	interior	of	the	block.	The	
yard	would	provide	easy	access	for	vehicular	traffic	from	Lovegrove	alley,	as	well	as	al-
lowing service to the Charles Theater.
00
Sculpture Yard
lIVe/WOrK uNItS
Sculpture StudIO
atelIer Space
HIStOrIc reSIdeNce
HIStOrIc StudIO
GallerY & lIBrarY
Figure 100. Axon showing rough programmatic layout (Author)
Figure 101. View down Lafayette Street. Infill provides continuous street frontage and rooftop garden connects old and 
new. (Author)
0
SITE STRATEGY 2: Lovegrove Mews Parti
Figure 102. Plan showing exisiting (in red) and proposed (in blue)  (Author)
The	Lovegrove	Mews	scheme	utilizes	the	alley	as	a	connective	spine	for	the	school.	The	
public	front	of	the	?mews?	would	act	as	a	?green	space?	connecting	with	the	rear	garden	
of	the	historic	residence.	The	informal	?atelier?	gathering	space	would	provide	a	hub	for	
circulation	among	the	various	buildings.	The	sculpture	studio	is	organized	around	a	court-
yard	for	seamless	interior	and	exterior	work.	A	separate	sculpture	classroom	connects	with	
the	historic	studio,	allowing	a	separation	of	studio	work	by	scale.	Live/work	units	front	a	
secondary, interior ?mews.?
02
Sculpture 
cOurtYard
 Sculpture StudIO
lIVe/WOrK uNItS
atelIer Space
HIStOrIc reSIdeNce
HIStOrIc StudIO
GallerY  
lIBrarY
StudIO claSSrOOM
Figure 103. Axon showing rough programmatic layout (Author)
Figure 104. Lovegrove Alley acts as a connective spine for campus (Author)
0
SITE STRATEGY : Courtyard
Figure 105. Plan showing exisiting (in red) and proposed (in blue) (Author)
The	Courtyard	scheme	organizes	the	program	into	two	monolithic	buildings	and	one	small	
addition	to	the	historic	studio.	The	buildings	are	oriented	around	the	sculpture	yard,	which	
acts	as	a	?campus	quad.?	The	gallery	and	sculpture	studio	are	combined	as	an	addition	to	
the	existing	row	house.	This	arrangement	could	offer	public	views	from	the	gallery	into	the	
studio	work	space.	The	atelier	space	and	library	are	attached	to	the	existing	historic	studio.	
The	live/work	units	are	located	on	the	interior	of	the	block	with	a	studio	side	adjacent	to	
the	sculpture	yard	and	the	residence	side	adjacent	to	a	communal	garden.
04
Sculpture Yard
lIVe/WOrK uNItS
Sculpture StudIO
atelIer Space
 & lIBrarY
HIStOrIc reSIdeNce
HIStOrIc StudIO
GallerY
Figure 106. Axon showing rough programmatic layout (Author)
Figure 107. Sculpture yard acts as ?quad? with new buildings fronting yard with open access (Author)
05
DESiGn inTEnTiOnS
 After analyzing the initial investigations into a site strategy and program organiza-
tion, elements from each were combined to create a design parti. The idea of continuous 
infill along Lafayette Street was determined to be important to maintain the historic pat-
terns of city development. The approach to infilling on the interior of the block resulted in 
organization around a series of exterior spaces which opened off of Lovegrove alley. The 
alley between the existing residence and row house would become a gateway to the heart 
of the Schuler School campus. Overall the resulting design was guided by the following 
goals and intentions, which were formulated through the design process.
AT THE SiTE SCALE:
? To reclaim the under-utilized areas of the block, surrounding the historic structures, to 
weave together a fragmented fabric
? To incorporate the existing historic structures of the Schuler studio and residence, as 
well as the row house to the east, with the elements of new construction into a synergistic 
whole so that the resulting design is more than the sum of these temporally distinct parts.
? To break out the different disciplines of the curriculum into individual buildings (or 
?ateliers?) to:
 -preserve the existing character of the school, particularly the intimate nature of   
   the ?atelier? 
 -be more in keeping with the residential grain of the surrounding fabric 
 so as not to overwhelm the historic structures
 -allow the live/work space for the resident artist to have a physical 
 connection with both the master studio and the general studio for that discipline. 
? To organize the individual buildings around a series of exterior courtyards that provide 
work space, gathering space, places of retreat and respite, and exterior extensions of inte-
rior spaces.
? To use the visual and physical connections between these exterior spaces (places of 
overlap and transition) to draw the campus together as a whole.
06
? To use a series of level changes to physically distinguish the exterior public space from 
the more private spaces while still allowing visual cohesion. 
? To organize the campus around two central axes which facilitate connections across the 
different ateliers, as well as between the school and the public.
? To use the alley as a gateway to the campus, maintaining public access through the 
block and inviting a connection between the city and the school via the publicly acces-
sible courtyard. 
? To create a dynamic connection between the ateliers with a set of railroad tracks which 
run through the studio spaces, allowing sculptures, materials and equipment to move 
through the campus.
? To utilize landscape design elements, like paving patterns, water features, trees, and 
planting, to connect the built structures to the larger exterior space of the city. 
? To design the infill in such a fashion as to allow for a phase II which could further infill 
the block and create a through connection to Lanvale Street.
AT THE BUiLDinG SCALE:
? To use generally under-utilized spaces, like rooftops and ally ways in an environmen-
tally conscious and holistic way?for example: rooftop gardens, green roofs and publicly 
accessible plaza space.
? To extend the school to Charles Street, the main commercial street in the neighborhood, 
to create a public face for the school and contribute to the art related elements along this 
important corridor within the designated arts district.
? To create a hierarchy of levels in the buildings to reflect the advancement from student 
to master artist. 
? To create a direct extension of the historic studio that maintains the structure?s integrity, 
without treating it as sacred, thereby allowing the building to serve a new use to better 
fulfill the needs of the school.
? To understand the natural lighting requirements of art studios and incorporate day light-
ing as a driver of the design.
07
AT THE DETAiL SCALE:
? To utilize a language of solid and void which references the design of the historic resi-
dence in a contemporary fashion.
? To employ this language to create a visual dialogue between the old and the new, as 
well as between the different atelier buildings.
? To create a palette of materials that references the historic brick and wood in richness 
of tone and temporal quality, while defining its contemporary nature?a complimentary 
contrast.
08
DESiGn PROCESS
Figure 108. Process diagram exploring entry and circulation (Author)
Figure 109. Process diagram exploring program distribution (Author)
09
Figure 110. Process sketch of courtyard development (Author)
Figure 111. Process diagram of courtyard spaces (Author)
0
Figure 112. Process diagram showing public vs. private (Author)
Figure 113. Process sketches of gallery and 
library  (Author)

Figure 114. Process sketches of life modeling studio and plaster maquette studio (Author)
2
Figure 115. Process model (Author)

DESiGn SOLUTiOn
 The final design relied on creating a series of atelier buildings, each representing 
the different disciplines of the Schuler School curriculum, as well as public buildings to 
house exhibition space, the library, and public functions. The historic residence contin-
ues to serve as living space for members of the Schuler family (on the second and third 
floors), and as a house museum (on the ground floor), which provides an opportunity for 
the public to better understand the legacy of an important Baltimore sculptor. The historic 
studio and the new extension serve as public exhibition space for the plaster maquettes of 
Hans Schuler. The addition expands the functional possibilities to serve the new needs of 
the school, thereby transforming the space from a personal studio of a single sculptor to 
the center piece of a school that bears his legacy. 
 The existing row house was incorporated into the life modeling atelier; a glass 
stair tower mediates between the existing structure and the infill along Lafayette Avenue. 
The rear portion of the row house was removed and a new facade was inserted between 
the party walls. This facade provides a new front for the building facing the entry court-
yard on the interior of the block. The different ateliers are connected through exterior 
courtyards along two main axes. 
 The strengths of the design solution are most evident in the plan. The proposed 
infill has the potential to enrich not just the school, but also the block and the neighbor-
hood as a whole. The woven character of the new construction, through the existing his-
toric fabric, respects its place in the temporal continuum and offers a point of connection 
between the past and present. Further exploration of this project could better pull these 
qualities through the design in both section and elevation. A further study of the tectonics 
could provide another layer of connection offering a richness of detail and complexity of 
design.
 
REMOVE PROPOSED (PHASE 1)
PROPOSED (PHASE 2)
BUILDINGS EXIST AS LIVING, CHANGING ARTIFACTS OF HUMAN USE
PROPOSED
?MOMENT OF CHANGE?
1901 1914 1951
1890
2008
EXISTING
2050
114
Figure 116. Timeline showing figure/grounds of thesis site block from 1890-2008, 
showing proposed infill intervention and proposed ?phase II?  (Author)
Figure 117. Diagram showing proposed demolition, including the rear portion of the row 
house and the later shed addition to the rear of the historic studio (Author)
Figure 118. Diagram showing the proposed intervention and the programatic division 
into distinct ?atelier? buildings (Author)
L
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5
SITE VACINITY MAP
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 Fed
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Neighboring Art Facility
Figure 119. Vacinity map showing thesis site 
and neighboring arts facilities (Author)
AERIAL PERSPECTIVE
FIRST FLOOR PLAN
N
o
r
t
h
 
C
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a
r
l
e
s
 
S
t
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e
e
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East Lafayette Avenue
A
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116
Figure 120.  First floor plan and aerial perspective (Author)
117
Figure 121.  Enlarged and rendered aerial perspective (Author)
8
Figure 122. Second and third floor plans (Author)
CHARLES STREET ELEVATION
SCALE: 1/8? = 1?
E. LAFAYETTE AVENUE ELEVATION
SCALE: 1/8? = 1?
E. LAFAYETTE AVENUE ELEVATION
SCALE: 1/8? = 1?
119
Figure 123.  Charles Street Elevation (Author)
Figure 124.  Lafayette Avenue Elevation (Author)
120
Figure 125.  Section Drawings (Author)
2
Figure 126. View toward gallery (corner of Charles Street and Lafayette Avenue) (Author)
Figure 127. View of gallery interior (Author)
22
Figure 128. View toward gallery roof terrace sculpture garde (Author)
Figure 129. View down Lafayette Avenue from Saint Paul Street (Author)
2
Figure 130. View down Lovegrove Alley?the gateway to the Schuler School (Author)
Figure 131. View toward sculpture studio from interior courtyard (Author)
24
Figure 132. View of plaster maquette studio looking toward historic studio (Author)
Figure 133. View toward painting studio from plaster maquette studio (Author)
25
Figure 134. View toward plaster maquette studio from upper studio courtyard (Author)
Figure 135. View through stone carving studio showing railroad tracks running through the three buildings (Author)
26
Figure 136. Wall section through the north face of the life modeling studio (Author)
27
Cross Axi s
Overlapping Gr een Space
Public vs. Private
PUBLIC
SEMI-
PUBLIC PRIVATE
Figure 137. Diagrams showing axis, public vs. 
private and green space (Author)
28
SUMMARY	OF	THE	JURY?S	ASSESSMENT
	 The	public	review	of	this	thesis	provided	an	opportunity	to	gain	the	feedback	and	
criticism	from	a	jury	of	seven	architects.	Overall,	the	jury?s	thoughtful	comments	were	
both	complimentary	and	constructive.	The	main	premise	of	the	thesis?treating	historic	
structures	as	active	participants	in	an	evolving	context?was	accepted	without	critique.	
They	felt	that	the	design	objectives	were	clear	and	that	the	guiding	principles	made	logi-
cal	sense.	The	aspects	of	the	design	that	the	jury	observed	as	particularly	strong	included:	
the	division	of	the	disciplines	into	distinct	buildings,	the	plan	of	the	buildings	around	the	
exterior	courtyard	space,	the	use	of	Lovegrove	alley	as	an	entry	way	into	the	campus,	
and	the	various	connections	made	between	the	different	buildings.	The	jury	particularly	
highlighted	the	railroad	track	going	through	the	three	buildings	as	highly	successful,	and	
felt	it	served	to	create	a	dynamic	connection	between	the	different	disciplines.	One	juror	
complimented	the	alignment	of	the	fenestration	stating	that	she	appreciated	how	it	allowed	
light	to	enter	the	interior	of	the	block,	Overall	they	felt	that	the	design,	in	plan,	was	well	
synchronized	but	that	this	could	have	been	more	evident	in	section.	
	 The	aspects	of	the	design	that	the	jury	observed	as	weak	included:	the	sectional	
relationships	between	interior	spaces,	the	building	elevations,	and	aspects	of	the	gallery	
building	which	they	felt	was	not	as	well	integrated	into	the	overall	scheme	as	it	could	have	
been.	They	felt	that	the	logic	and	dynamic	connections	in	plan	were	not	carried	through	
to the sectional design of the school with the same rigor. In terms of the elevations, they 
felt	another	pass	at	refining	the	design	would	add	a	layer	of	plasticity	and	materiality	that	
would	improve	the	interest	and	complexity.	One	juror	commented	on	adding	a	layer	of	
?reality?	by	including	in	the	design,	methods	for	securing	exterior	spaces,	especially	given	
the high crime rate in Baltimore. 
29
	 The	gallery	received	the	most	criticism	of	all	the	buildings.	Some	jurors	felt	that	
it	was	?flat?	and	did	not	share	the	more	cohesive	character	of	the	other	buildings.	They	
suggested	setting	the	building	back	from	Charles	Street	to	provide	an	entry	courtyard	or	
transition	space,	similar	to	the	courtyard	on	the	interior	of	the	block.	They	also	alternatively	
suggested	creating	an	interior	transition	space	or	vestibule	before	the	main	exhibition	area.	
One	of	the	jurors	commented	that	the	Lafayette	Street	elevation	could	have	niches	for	
display,	making	a	more	direct	reference	to	the	applied	ornament	on	the	historic	buildings.	
The	jury	agreed	that	the	roof	terrace/sculpture	garden	was	a	good	design	decision,	and	they	
appreciated	the	connection	to	the	historic	building	across	the	alley.		The	west	elevation	was	
considered	to	be	the	most	successful	and	the	north	elevation	the	least	so.	
	 In	concluding,	the	jurors	felt	that	the	project	was	sophisticated,	logical,	and	well	
designed,	particularly	in	plan.	They	complimented	the	extensive	amount	of	research	and	
consideration	of	the	context,	site	and	school.	The	jurors	felt	that	another	pass	of	the	design	
process,	particularly	getting	into	the	tectonics,	would	provide	an	added	layer	of	reality	and	
complexity	to	further	enhance	the	already	strong	aspects.
0
CONCLUSION
	 Overall,	this	project	was	a	successful	exploration	of	the	expanding	parameters	
of	historic	preservation	and	how	infill	development	can	mend	a	broken	fabric	to	create	
a	synergistic	whole,	which	facilitates	changing	needs	and	priorities.	This	addition	to	the	
Schuler	School	of	Fine	Arts	shows,	not	only	how	the	school	could	expand	to	become	a	
stronger	institution	within	the	city,	while	still	retaining	its	unique	character,	but	also	how	
such	an	intervention	could	create	a	tangible	connection	with	the	past,	facilitate	the	needs	
of	the	present	and	allow	for	further	changes	in	the	future.	This	project	responded	to	the	
context	at	a	variety	of	scales	from	immediately	adjacent	structures	to	the	character	of	
the	neighborhood	and	city	as	a	whole	in	all	aspects	of	architectural	design,	from	build-
ing	orientation,	scale,	proportions,	massing,	materials,	and	architectural	language.	The	
success	of	this	response	was	evident	by	the	jurors	review,	however	the	real	test	would	
be	to	see	how	the	intervention	would	continue	to	respond	over	time	to	the	ever	evolving	
physical,	social	and	cultural	context.	
	 The	importance	of	forging	a	new	relationship	between	historic	preservation	and	
architectural	design	will	only	become	more	evident	with	the	growing	awareness	of	the	
richness	of	the	historic	environment	and	the	contribution	it	can	make	to	modern	life.	If	
we	continue	to	view	historic	structures	as	?sacred?	then	they	become	artifacts	within	the	
stream	of	history	and	time	and	their	use	becomes	circumscribed.	They	become	inflexible	
elements	within	a	fluid	system,	preventing	best-use	scenarios	or	worse,	creating	barri-
ers	to	development	that	is	vital	for	the	continued	health	of	a	neighborhood	and	city.		If	
we	view	them	rather	as	participants	within	an	evolving	context	then	we	afford	them	an	
opportunity	to	play	a	new	role	or	embody	a	new	use.	By	weaving	together	old	and	new	
through	themes	of	continuity	and	a	?sense	of	place,?	preservationists	and	design	profes-
sionals	can	strike	a	balance	between	the	history	and	the	needs	and	opportunities	of	today	
and tomorrow.

ENDNOTES
 
	Stuart	Cohen,	?Contextualism:	From	Urbanism	to	a	Theory	of	Appropriate	Form,?		Inland 
Architect	(May/June	1987):	68.
 2
	Cohen,	?Contextualism:	From	Urbanism	to	a	Theory	of	Appropriate	Form,?	69.
 
 Mark Alan Hewitt, ?Architecture for a Contingent Environment,? Journal of Architectural 
Education, Vol. 47, No. 4 (May 994): 97.
 4
 Hewitt, 200.
 5
 Tom Chalkley,  ?Larger Than Life,? Baltimore City Paper,	January	17,	2001.
 6
 National Register of Historic Places, Nomination for Hans Schuler Studio and Residence. 
September	27,	1985.	(Inventory	no.	B-4110)
 7
 Schuler School of Fine Arts, ?The Legacy of the Schuler School of Fine Arts,? Schuler School of 
Fine Arts,	http://www.schulerschool.com/legacy.php.
 8
	Ibid.
 9
 Anthea Smith and Huguette D. May. Finding the Charm in Charm City: Affectionate Views of 
Baltimore.	(Baltimore:	The	Johns	Hopkins	University	Press,	1998),	42.
 0
 Henry Naylor and Caroline. Public Monuments & Sculpture of Baltimore: An Introduction to the 
Collection	(Bethesda,	Md.:	The	Writer?s	Center,	1987)	15.
 
 Schuler School of Fine Arts, ?The Legacy of the Schuler School of Fine Arts,? Schuler School of 
Fine Arts,	http://www.schulerschool.com/legacy.php.
 2
 Tom Chalkley,  ?Larger Than Life,? Baltimore City Paper,	January	17,	2001.
 
 National Register of Historic Places, Nomination for Hans Schuler Studio and Residence. 
September	27,	1985.	(Inventory	no.	B-4110)
 4
	Adrian	Gottlieb,	?What	is	an	Atelier?,?	Adrian Gottlieb Studio and Atelier,	http://www.gottlieb-
studios.com/TheAtelier
 5
 Schuler School of Fine Arts, ?Welcome to the Schuler School of Fine Arts,? Schuler School of 
Fine Arts,	http://www.schulerschool.com/index.php.
 6
	Adrian	Gottlieb,	?What	is	an	Atelier?,?	Adrian Gottlieb Studio and Atelier,	http://www.gottlieb-
studios.com/TheAtelier
 7
 National Register of Historic Places, Nomination for Hans Schuler Studio and Residence. 
September	27,	1985.	(Inventory	no.	B-4110)
 8
 Anthea Smith and Huguette D. May. Finding the Charm in Charm City: Affectionate Views of 
Baltimore.	(Baltimore:	The	Johns	Hopkins	University	Press,	1998),	42-43.
 8
 Anthea Smith and Huguette D. May. Finding the Charm in Charm City: Affectionate Views of 
Baltimore.	(Baltimore:	The	Johns	Hopkins	University	Press,	1998),	42-43.
 9
	Baltimore	County,	Maryland,	?Baltimore?s	History,?	Baltimore County, Maryland.	http://pages.
baltimorecountymd.com/history.htm
 20
	Ibid.
 2
 Gilbert	Sandler,	Small Town Baltimore: An Album of Memories.	(Baltimore:	The	Johns	Hopkins	
University Press, 2002) 22.
 22
 James	R.	Cohen,		?Abandoned	Housing:	Exploring	Lessons	from	Baltimore.?	Housing Policy 
Debate, Volume 2, Issue  (200): 48.
2
 23
 Friedman, Eric. Vacant Properties in Baltimore: Strategies for Reuse,	Submission	for	the	Abell	
Foundation	Award	in	Urban	Policy	(January	18,	2003),	6-9.
 24
	James	Cohen,	415.
 
25
	City	of	Baltimore.	Department	of	Planning.	PlanBaltimore! A Vision for Baltimore:A Global 
City of Neighborhoods.	Draft	of	comprehensive	master	plan	for	Baltimore,	April	1999.
 
26 
Michael	A.	Pagano	and	Ann	Bowman,	2000.	?Vacant	Land	in	Cities:	An	Urban	
Resource,? The Brookings Institution Survey Series, Washington, DC. 
 
27
 Friedman, -.
 28
 Randall Gross, Station North Strategic Plan: Background Report. Development	Economics,the	
Baltimore	Neighborhood	Collaborative,	and	Station	North	Arts	&	Entertainment,	Inc.	(August	2006),	6-12.
 
29
	University	of	Maryland	Urban	Studies	and	Planning	Program,	Fall	Studio	2003.	A Community 
Identity: A Plan for the Station North Arts and Entertainment District (University of Maryland, Sidney 
Brower, Prof.) 200.
 
0
	Julia	Lehnert,	?History	of	the	Washington	Monument	and	Mount	Vernon,?	Mount Vernon Place: 
The Heart of Baltimore	(May,	1998),	http://www.wam.umd.edu/~jlehnert/history.htm
 
 
John	Dorsey	and	James	D.	Dilts.	A Guide to Baltimore Architecture. Centreville, MD:    
Tidewater	Publishers,	1981.
 
2
	University	of	Maryland	Urban	Studies	and	Planning	Program,	Fall	Studio	2003.	A Community 
Identity: A Plan for the Station North Arts and Entertainment District (University of Maryland, Sidney 
Brower, Prof.) 200.
 
	Ibid.
 4
	The	Charles	Theater,	?About	the	Charles:	History,?	The Charles Theater,	http://www.thecharles.
com/about/index.html
 5
 The City of Baltimore, Commission for Historical and Architectural Preservation, ?Saint 
Paul Street Historic District,? Commission for Historical and Architectural Preservation,	http://www.
ci.baltimore.md.us/government/historic/districtsNEW/stpaulst.php
 
6
	Camille	LeFevre,	?Mill	City	Museum,	Minneapolis.?	Architectural Record,	vol.	192,	no.	2,	pp.	
122-126,	Feb.	2004.
 
7
 Architectural Review, ?Destination: Morgan.? Architectural Review,	vol.	219,	no.	1312,	pp.	46-
55,	June	2006.
 
8
	Annette	Lecuyer,	?Artful	Addition:	Art	School	Extension? Architectural Review, Vol. 29, 
No.	1308	(February	2006):	54-57.	
 
9
 Fred A. Bernstein, ?Where Old and New Collide,? Metropolis,	Vol.	25,	No.	6	(February	
2006): 88-9, 4-7.
 
40
 National Park Service, Chesterwood: The Workshop of an American Sculptor, Teaching with 
Historic	Places,	http://www.nps.gov/history/nr/twhp/wwwlps/lessons/100chesterwood/100Chesterwood.
htm
 
4
 National Park Service, Saint-Gaudens National Historic Site:Home of a Gilded Age Icon, 
Teaching	with	Historic	Places,	http://www.nps.gov/history/nr/twhp/wwwlps/lessons/48GAUDENS/
48GAUDENS.htm
 
42
 Buchanan, William, ed. Mackintosh?s Masterwork: The Glasgow School of Art (Glasgow: 
Richard	Drew	Publishing,	Ltd.,	1989),	24-30.
 
4 
Stein, Karen D., ?The story of two thirty-something architects and their ideal commission, the 
Atlantic	Center	for	the	Arts,	in	an	unlikely	setting,	the	Florida	?jungle??Architectural Record, Vol. 85, No. 
6	(June	1997):	98-111.

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