Galef center for fine arts, otis college


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Galef center for fine arts, otis college

  2. 2. LOS ANGELES 2
  3. 3. • Location: LINCOLN BOULEVARD, LOS ANGELES, CALIFORNIA, US. • Climate Type: Temperate  Temperature: AH: 24°C , AL: 10°C  Rainfall: 380mm  Wind Direction: From the West • Soil type: San Joaquin • Orientation: West facing • Area of site: 4-acres • Area of building: 3716 sq. m. (40,000 sq. ft.) • Approach Road: Lincoln Boulevard • Architects: Frederick Fisher and Partners • Duration of construction: 17 months • Completion: 2001 • Goal: To create enduring spaces that inspire spirited exchanges between students and faculty, as well as create a sense of campus community and pride. 3
  4. 4. SPACES FIRST FLOOR. • Group and individual studios for painting, sculpture, photography and new genres; • Workshops; • Classrooms; • Two art galleries; • Faculty offices. SECOND FLOOR. • Art production, exhibitions, special events and casual gatherings • An enclosed glass-walled outdoor courtyard in the centre. USABLE AREA SERVICES CIRCULATION ADMINISTRATION 4
  5. 5. SITE PLAN • The building’s orientation on the site — angled with respect to the existing building and adjacent boulevard — establishes three main triangular outdoor areas. • The new Galef Center is rotated on the site away from the main boulevard to create spaces for courtyards, informal gathering places and landscaped areas. • The building is positioned parallel to the adjacent boulevard. This spatial angular relationship between the original and new structures establishes areas that extend the functions of the building into the landscape, creating an entry plaza, outdoor work area, and an outdoor exhibition space. The large, open work areas foster creativity and artistic expression. 5
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  7. 7. FIRST FLOOR PLAN • First floor studios feature gallery-quality daylight and air circulation due to skylights, sliding glass doors and large windows, as well as positioning directly adjacent to open courtyards and landscaping. • The first floor studios all have a connection to the outdoors through the use of large windows, sliding glass doors and roll-up metal doors. These open, unlimited spaces allow for students to be inspired by the activities taking place outside as well as inside. • The overlapping programming of studios, classrooms, galleries and administrative areas promotes creative interchanges between related academia. For example, the critique room is connected to the drawing and painting studios. The sculpture and foundation rooms are adjacent to each other. • Additionally, the student gallery is located across from the gallery that exhibits traveling shows. This relationship offers students exposure to and inspiration from professional level artwork. 7
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  9. 9. Foundation Studio First floor studios feature large windows and sliding glass doors that create an indoor/outdoor connection and offer students natural light and air circulation. 9
  10. 10. Second Floor As with the first floor, second floor studios and classrooms are interconnected to foster efficient art production and academic exchange. 10
  11. 11. Section s Skylights and light wells allow for diffused light to enter studio workspaces and galleries, improving the quality of art production and exhibition. 11
  12. 12. VERTICAL CIRCULATION • External staircases and a glass-enclosed elevator tower provide a dynamic counterpoint to the flattened, collage-like elevations. • The placement of the elevator and stairs on the exterior of the building, versus the typical placement on the building’s interior, free up critical space that was allotted to academic programming. • Additionally, the stair tower offers a focal point and gathering place for the campus’ courtyard plaza, which connects the new building with the existing structure. Students use the large, wide stairs attached to the tower for socializing and informal meetings. • Art installations and functions take place on the landing of the tower. 12
  13. 13. The landing of the west stair tower offers a detailed view of the studio's aluminium skin, and a view of the original campus structure in the distance. 13
  14. 14. APPEARANCE • The building is sheathed in silver-painted corrugated aluminium. This visually active material, which reflects the sky and landscape, is selected for its reference to industrial structures. • Each of the building’s four elevations has its own distinct graphic composition, reflecting the varied modes of art production occurring on the inside of the building. • Large expanses of glass open up the metal cube to daylight and views, creating abstract patterns of solid and void on the building’s surface. 14
  15. 15. EXTERIOR The two-storey art studio building was designed as an 'art factory' to maximize flexibility and economy. 15
  16. 16. ARCHITECTURAL CHARCTERISTICS • The studio is fully digitally wired, and complies with LEED Green building standards. • Enhanced learning could be achieved through four key design concepts: flexibility in use; site orientation; overlapping programming and multi- disciplinary use of the building. • The project’s square floor plan affords maximum flexibility of use and efficiency inside and out. • The structure is on a 9-square grid requiring only four internal structural columns, allowing the walls to act as movable partitions, and providing large, flexible spaces for display. • The plan and structural elements allow for spaces to be used interchangeably as studios, classrooms or ad hoc display areas. This flexibility allows for maximum use of the building today, as well as for future modes of art making. 16
  17. 17. • The idea to provide a resource for non-art students and faculty, is achieved through physically and visually connecting the new building to the existing campus architecture. • The two structures on campus now share a central courtyard as well as traffic flow. Additionally, an aesthetic modification to a portion of the fenestration of the existing building symbolically connects the old with the new. • Light and temperate climate are key design features of the structure. • Floor to ceiling glazing, glass panelled flooring, skylights, first floor courtyards and a second story patio all create varied patterns of daylight and fresh air. • The skylights flood light through both levels of the building, and vertically and visually connect the spaces. • These design elements offer students natural air circulation, vertical and horizontal sight relations, views of outside activities, and those outdoors a glimpse of activity inside. • In consideration of views from the existing adjacent 7-story campus structure, the roof of the new studio building was conceived as an important “fifth façade” that is as visually dynamic as the vertical elevations. A self enclosed patio, varied materials and skylights offer visual interest when seen from above. 17
  18. 18. COSTS • Total Cost: $ 5,000,000 • Building Cost: $ 5,000,000 • Site Cost: $ 682,238 • Cost PSF: $ 125 18
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  21. 21. CONCLUSIONS • The basic idea of the project is to accommodate the required number of students in its fine arts faculty. • The structure responds to its urban context and specific site conditions in its relation to the existing campus architecture and proximity to the adjacent boulevard. • Spaces are arranged to optimize the interaction among students and faculties. • There is an interplay of light and shadow due to huge glass panels and sky lights. • The appearance of the building w.r.t the fifth façade dimension is adhered to. • The building reflects art-making practices in its factory-like construction and appearance. • Its materials and structure — a perfect square with only four internal structural columns — are economical, flexible and efficient. 21
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