Emily Post

ARCH 313 Paper

11/25/15

Historically, the Rackham Buildings architect, William E. Kapp with Detroit firm
Smith, Hinchman Grylls, previously studied under Albert KahnKapps new firms
competitor. 1 This is highly significant due to the axis on which one approaches the
building. Rackham faces south, in direct line of sight of the north facing Harlan Hatcher
Graduate Librarybuilt by Kahn. In that way, Kapps Rackham was built in direct
conversation with Kahns Hatcher. SHG allowed Kapp and their other designers more
freedom than at Kahns firm, which resulted in a wide variety of decorative aesthetic
choices, and a symmetricalalthough somewhat disconcertingcirculatory presence.
Both of which are of course influenced by several historic styles.
Visitors to Rackham Graduate Building are immediately hit with a strong sense of
eminence. The buildings faade appears to rise up to a lofty two stories (with very high
ceilings), though it is in fact four stories in total. A grand enough entrance to the lobby,
of three taller than life doors, is domineered by five floor to ceiling windows looking into
the second floor reading room. The materials of Rackhams exterior are smooth tan
stone blocks capped with a pale green metallic roof. This color palate, as well as stylistic
refinement and elegance are mirrored in the interior. The simple yet elegant dcor is
reminiscent of ancient Greek temple architecture, such as the Parthenon. This can be
seen in the pronounced doorways containing a column-like structure on either side of

History of the Rackham Building. (n.d.). Retrieved November 23, 2015, from
http://www.rackham.umich.edu/about/what-is-rackham/history-of-the-rackham-building

the door and topped with a pediment and a sculpture (like that of which upheld by the
ancient Greek acroterion, atop a temple of the time). This is also seen along some
windows, though not in as obvious a form. Another feature bearing striking resemblance
are the figures aligning above the second story windows on the front face of the building.
These figures resemble a disconnected entablature of a temple, being figuratively
supported by the large windows (which are arranged as a colonnade). Also, the building
is raised up with a series of steps and landings forming the image of a stereobate, the
raised and stepped foundation leading to an ancient Greek temple. All of the similarities
serve as evidence toward the effects related unto the building visitor. These effects being
an awe of stature, as well as immediate respectthe assumption of course being that the
function within would pertain to matters of importance and knowledge, perhaps even in
a religious sense.
The lobby floor is covered in a polished stone tile. Sounds of footsteps reverberate
throughout the high-ceilinged room. The ceiling itself is highly decorated with regularly
spaced, light blue beams crossing the expanse. In between the beams are tan shallow
coffers filled with red and brown sunbursts. These lush decorations serve to evoke
further awe from the building visitors. Circulation-wise, visitors have 4 options on either
side (east or west) of the lobby. Both sides have bathrooms, stairs going up, stairs going
down, and the wall opposite of the entrance has entryways into the Auditorium.
Rackham Auditorium is a space dedicated to discussion of knowledge and
University related topics. It has sever wide aisles with access to the stage area, which
allows for more spaced out seating. The section within the auditorium, at its entrance
and opposite to the stage, is lined with a colonnade and has a slightly lower ceiling. The
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ceiling in the greater part of the auditorium is beautifully, and delicately decorated with
patterns of blue, orange, and yellow as the patterns recess towards the center burst
above the stage. The seats are orange, and the carpet a dark blue. This room exhibits not
only a large assembly space, but also very well done color coordinationa patter seen
throughout the rest of the building, as well.
Overall, the plan of the building directs the visitors onto an East-West (or WestEast) axis. This is achieved through essentially symmetrical corridors and main rooms
on each floor. Normally, this would lead to an ordered impression of space. However,
the layout of the stairways aid only in spatial confusion. The stairways to the lower level
are simple enough, because they lead to simple office spaces for staff, student services,
human resources, and the mailroom. These spaces are carpeted and exhibit a
significantly mundane modern office aesthetic. The lower level also has a sort of porte
coche, or covered drive, which is accessible from the dressing rooms behind the
auditorium. Basically, the lower level is all function with no showing of significant
decorative aesthetic choices as seen throughout the other parts of the building
(excepting the third floor office spaces).
However, the stairs to second floor are much dressier. The stone floor from the
lobby extends into the stairwells. The stairs themselves have fairly wide steps and are
spaced with several landings so as to not create a structure too steep. The stone floor
continues up to about a third up the wall, the other two thirds finishing in a bright
turquoise paint. The stairway is open within its space with a tiered separator in between
the 2 main stairs, adorned with potted plants. Both stairs, east and west sides, have a
central art piece on the main wall and a faux skylight. The art pieces on each side are
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different figures, though of the same classsome sort of ancient Grecian or Roman
symbolic figure. This airy space is effectively like a self-contained atrium, with its high
ceiling and skylight. Unlike a stairwell meant to stand alone in its function, these
stairwells create a more welcoming and beautiful environment for the visitor as they
ascend to the second floorwhich contains the central study spaces of Rackham.
The second floor has 4 major areas to focus on. The first two are paralleling east
and west lounges. On either side of the East Lounge is a vending room, with French
bistro decorations/furniture, and a kitchen, all metal and industrial. These rooms
emphasize the public functional intent of the spaceas an assembly area for students.
The East Lounge itself will set the tone for the other study spaces of the second floor. It
contains mostly seating with some tables atop an elaborate red and gold carpeting.
These colors become the theme of the room, and the carpeting accentuates a quiet space
by keeping footstep ambient sound to a minimum. There are floor to ceiling windows
because this room, like the other study spaces on the floor (which all also include floor
to ceiling, mostly, windows), is devoted to a transparency of knowledge. Thus, the large
windows let in light both literally and figuratively while simultaneously removing any
possible notion that a school is like a prison.
The West Lounge is very similar in form and structure to the East Lounge.
However, a drastically different color scheme effects a very different tone. The main
colors in the West Lounge are seafoam, pale gold, and yellow, with a few dramatic bursts
of black and red. Unlike the more traditionally masculine aura set by colors of the East
Lounge, the West Lounge evokes a more traditionally feminine tone. Perhaps this could
suggest a possible original intent to segregate learning and studying via sex. It would not
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be the first time on the University of Michigan campus, considering the original
Michigan Union vs. the Michigan League debacle, or exclusively female hubs such as
Martha Cook.
Connecting the two lounges is a centralized rotunda. It is a red, cylindrical space
with a bright partial dome. The dome is suggestive of a very wide oculus as seen in the
Pantheon in Rome. The Rackham oculus is not, however, open to the outside and takes
up the majority of the ceiling. The expanse of it is a somewhat foggy light. The way it
connects to the walls creates momentary discombobulation in the form of an optical
illusion. Due to the backlight surrounding the connection from walls to ceiling, the
oculus appears to be floating. Another significant design throughout the room is the
Greek Meanderyet another tie to the classic architectural form.
At this point, it is important to note a certain confused sense of direction in the
visitor. The stairs have gone up, turned, gone up in another direction and turned, gone
up again, etc, until reading the final landing. Then there are halls a three to four
directions, some leading to stairs or a dead end. Though the halls are essentially
identical across the north-south axis, without the inclusion of signage the visitor would
be hard pressed to tell the direction in which they are headed. Looking at the plan, of
course, it is fairly simple to derive the East to West, or horizontal, axis. However, in
practiceespecially with visual effects such as that with the oculusit is far different
within the moment of the experience. This continues to be true as the visitor continues
to the other floors.
The main Reading Room of Rackham looks out the South facing faade towards
Hatcher Library. The huge floor to ceiling windows are accentuated by an aggressive
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amount of ceiling decoration. There are bordered tiers in happy colors leading to five
centralized coffers containing three-dimensional center starbursts. These happy colors
are salmon, gold, cyan, plum, and coral. The bordered tiers actually create another
optical effect in that they appear flat and to be creating a smooth curved connection
from wall to ceiling.
The stairs to the third level are accessed in the same hall as the emergence from
the second floor stairwell. However, their presence is significantly less grand. This is
evident in the change of material from stone to some sort of plasticized mock up
material. The decoration of the space is also significantly different. In the second floor
circulatory spaces there were art deco benches, at the third floor landing there is a rustic
wooden bench. This may be explained by the third floor being primarily another
carpeted modern office space as seen in the basement. Secondarily, however, it is
supposed to act as the transition between the second and fourth floorsan action it does
not effectively perform. This ineffectiveness is largely due to the continued decorative
audacity of the fourth floor.
The fourth floor spaces are cast in the backdrop of a black, possibly linoleum,
floor which is set to mimic black marble. Though this ties in somewhat with the third
floor flooring, it does not do enough to fully entail a successful transition. Though the
ceiling is bare, there are added wall embellishments such as inlaid columns and coffered
inlets. Of course, the main focus of the fourth floor is the amphitheater, which rests
directly above the second floor oculus. This location effects the form of the amphitheater
because it, too, has an oculus. Unlike the second floor passage way, however, the
amphitheater is decorated only in shades of green. The parallel of these oculi is a very
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pure example of art deco within Rackham. This is due to their bold use of contrasting
color as well as the slight reworking of previous classical forms into a modern usage.
The Fourth floor also features are large kitchen and an assembly hall. The kitchen
is similar to, though larger than, the kitchen outside of the East Lounge. The assembly
hall has a large floor carpet resting over tiles and colors: deep red, turquoise, robins egg
blue, light green, and beige. The alcoves on east and west sides of the room mirror each
other in a bright red. There are also conference rooms containing modern chairs and a
modern television, though the room finishings are more period.
Overall, colors play a huge role in setting the tones of the spaces. This is
especially true given the generally symmetrical planwhich then leads to rooms blocked
off into similar spaces, shapes, and forms. The colors then definitely serve to
differentiate between the spaces. They also contribute to the overall art deco aesthetic.
For instance, if the building were a pure white throughout, or even had more white than
it does bright color, it could be considered more modernor at the very least a minimal
homage to the classical style. However with the colors, the building becomes
significantly more playful, and is given more immediate meaning and awe to the
everyday visitor.
The circulation is at times made to be mildly confusing due to the stairways
meandering as much as the Greek designs used in decoration, as well as a few wellplaced optical illusions. However, Rackham has even more well-placed signs to denote
directions of rooms as well as location on a directional axis. This is a very important and
often overlooked feature in modern plans, especially with such a potential for confusion.

Historically, Rackham, in its art deco glory, borrows from classical examples.
That is, ancient Greek and Roman styles. For instance, as I mentioned, the temples like
the Parthenon in Athens and the Pantheon in Rome. Specific features were taken from
these historic examples, and others of their kin, and highlighted in certain ways
throughout Rackhams structure and decoration. That being said, though it is
subjectively up to the specific visitor in question to develop their own opinion of
Rackham, it is this writers opinion that the buildings use of precedent is tasteful and
extremely relevant to its stylistic choices (especially given its architectural genre).
Personally, I enjoy the bold use of color alongside the classical elements. Traditionally
when we think of classical architecture, we think of pure white buildings with
mathematically pleasing forms. Of course, we know that they were not pure white in
their original form, but none the less it is the image that has become architecturally and
popularly iconic. What is so enjoyable for me about Rackham and other art deco
buildings, then, is the way the design coalesces the bold color choices with the classical
elements. It creates a titillating contrast that provokes deeper thought and discussion in
the building visitors. This is ultimately one of the greater things that architecture should
do for society: provoke deeper discussion. This can be in the form of style, as we see in
Rackham, or in a way more conceptually humanitarian such, such as the Berkley Prize
topic this year about architecture and homelessness.