|
competition
challenge
program components
space
requirements
required drawings
design essay
presentation format
tabular information
registration
& fees
eligibility
awards
submission form
jury members
evaluation criteria
shipping instructions
schedule
important notes
intent
to registerl
message
forum
.dwg
and photos
|
Overview
The Existing signage at the Art Center is woefully inadequate. It is hoped
that the expanded complex will incorporate signage as an integral part
of the design concept. It is important that the building be identified
as the Palos Verdes Art Center and also that a system of temporary exhibit
signage be provided to announce openings, list upcoming shows, promote
classes, etc. Los Angeles, where billboards have become almost ubiquitous,
has a love/hate relationship with the signage that defines our skyline.
Opportunities exist for the exploitation of this contextual history and
the Center's pragmatic need. The PVAC web site contains a calendar of
classes and exhibitions, which might be used as a point of departure for
development of an appropriate signage component.
Parking, traffic and
vehicular access are serious concerns when contemplating expansion of
the Art Center. Adjacent property has been leased to provide additional
land area, which may allow vehicular access to shift away from the busy
intersection at Crenshaw Boulevard and West Crestridge Road. The existing
Art Center, while configured with changing levels, is for the most part
a single-story structure. Member and public sentiment indicates that a
suburban "campus" approach to the design is desirable, however, site limitations
and program requirements may require a dense, more urban scheme. Underground
parking would allow provisions for street-level plazas, courtyards and
green spaces that are seen as desirable features. A significant part of
the design challenge will be dealing with parking issues in a metropolis
that loves the freedom afforded by the personal use of automobiles.
If possible, the Art
Center would like to remain open during construction of the new facility.
There are venues off site that might be used temporarily as classrooms
and the Center will seek additional space to mount exhibitions and house
various administrative functions. While the evaluation criteria does not
specify that phased construction be indicated in the final scheme, practical
considerations require that some thought be given to the Center's desire
to maintain an active presence at the site.
Main
Entry and Reception
The Board of Directors desires an impressive public entry. The main lobby
will serve as the orientation point for visitors. It does not need to
be overly large, but as a visitor's first impression of the facility,
it must set the tone for the entire complex. From a reception and information
desk, visitors will be directed to the administrative offices, to galleries
or to classrooms. This area will also serve to direct visitors to the
open courtyard for openings and receptions or to The Artists' Studio,
the Center's retail outlet. After public hours, the lobby and atrium will
still be used as an information and way-finding resource for evening students
and occasional member functions. The receptionist is a member volunteer
who sometimes serves a clerical role for the administrative staff, so
proximity, task lighting and workspace are important.
The
Artists' Studio
The Center's retail outlet should open onto the lobby to encourage visitors
to shop while they are waiting for events to begin. It would also be appropriate
to place public rest rooms in such a way as to make The Artists' Studio
visible to people moving across the space. It is seen as undesirable to
locate restrooms so they are visible upon entering the complex, but the
designer must balance programmatic convenience with aesthetics in this
regard.
Sculpture
Court / Open Courtyard / Exterior Gathering Spaces
This protected exterior space is envisioned to be a large, open circulation
area connecting the main lobby to the classrooms, galleries and other
areas commonly visited. It should interconnect with the exterior and be
a primary public gathering point. The space should be an architectural
testament to the vision of the Center, the importance it places on education
and its commitment to the arts. Because of our climate, this space will
frequently be used for open-air receptions, dinners and cocktail parties,
exhibit openings and large meetings, and it may occasionally be rented
to other groups for similar events. It might contain a water feature of
some sort and certainly will accommodate several large-scale sculptures.
It may also be used for temporary exhibitions (of weatherproof work) from
time to time.
It would be welcome
if some sort of covering could be provided for the courtyard in inclement
weather. The Art Center would like to realize the income for renting this
space to outside groups for gatherings of as many as 200 people, and some
sort of temporary or retractable covering would make this viable year-round.
Cover is desirable as much for protection from the sun as it is in case
of rain.
Administrative
Offices
These spaces house an office use with needs for privacy, task lighting,
work surfaces, storage and office machines such as computers and copiers,
etc. It is important that the administrative area be adjacent to the reception
/ lobby space, as seating in the lobby will be used by visitors awaiting
appointments with administrative staff, and the receptionist may occasionally
serve a clerical function.
Gallery
Spaces - General Requirements
Lighting
Museum-quality
lighting is desired in all exhibition spaces. While natural lighting is
frequently used during daytime hours, it is always augmented with specialty
lighting for exhibits. In some cases, such as exhibitions of neon art
or contemplative sculpture, the Center's Exhibitions Director has chosen
to completely control the lighting by blocking out windows. It would be
best if at least one gallery space provides for complete darkness or complete
control of lighting effects. A mixture of fixed, permanent low-level general
lighting and flexible spot lighting is seen as optimal for most exhibit
uses.
Flooring
Hard flooring surfaces are seen as providing the best balance between
visitor comfort and flexibility for changing exhibits. Both concrete and
wood flooring are under consideration for galleries, and although carpeting
is perhaps most comfortable for viewers, it commits the space to a palette
of colors which is seen as counter to flexibility, and it also presents
maintenance concerns that increase operating costs. Food is frequently
taken into gallery spaces during openings and receptions, which also makes
carpeting a less appropriate choice.
Hanging
Systems
Exhibitions sometimes require that galleries be painted black or some
other color that compliments the objects on display. For this reason,
permanent wall treatments such as fabric panels are not desirable. All
of the Center's exhibitions are temporary, which requires that the wall
surface support frequent changes in hanging works of art. The ceilings
are also used frequently to suspend objects and certainly to mount lighting.
Flexibility is the key to successful gallery spaces, and yet the designer
must balance the Center's desire that exhibits, once installed, appear
permanent and the space seem tailored to the objects. At the same time,
because exhibitions change within a relatively short time frame, there
must be flexibility in how spaces are lit and configured and how work
is installed. A creative solution to the problem of how to hang works
of art is a key component to successful design of gallery spaces.
Classroom
Spaces - General Requirements
Classrooms are used for lecture and demonstration-type presentations,
as well as for meetings and workshops. Carpeting is also not desired for
these areas, but flexible seating that can be configured to suit the needs
of instructors or visiting artists would be appreciated. At least one
classroom will be dedicated to children's activities and this particular
room affords an opportunity for the designer to play with issues of color
and scale to create an environment that fosters creativity for our younger
audience.
Studio
Spaces - General Requirements
 |
Each
medium presents unique challenges to designing studio space. Most
studios should contain low-maintenance hard flooring surfaces that
are easily cleaned of spills. Many studio classes require the use
of chemicals, water, permanent pigments, etc. As such, the floors
are subject to abuse. Wall surfaces should generally be kept neutral
in color and should support pin-up of student work. Natural day lighting
is desirable wherever possible, but the designer must be sensitive
to concerns of privacy and distraction if glass is used adjacent to
walkways, parking areas or courtyards. Some classes use figure models
which presents a unique challenge for balancing needs for daylight
with needs for privacy. All studio spaces must contain clean-up areas
with sinks, running water, material storage areas, etc. |
Spaces designated
inside of or adjacent to the studios and classrooms for coffee service
and snack preparation is required. These areas need not be elaborate.
Classes or studios of fifteen to twenty people often run for several hours
with a few 10-minute break periods for coffee and refreshments, and access
to these amenities is always welcomed for meetings that will occur from
time to time in these rooms.
|
