thesis - visual arts center

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

Lawrence Technological University

VICTOR NAVARRO Lawrence technological university t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

Detroit City: a significant event, occurrence or change.

Although it has not yet been established for full development, there is a consciousness for the urban and architectural character of Detroit.

Urban villages characterized by industry, technology, education and entertainment. are slowly being developed throughout the city.

These new forms and activities look to integrate contemporary design and renovation to the existing buildings within the city.

Detroit has the uniqueness of having a predominant modern, post-industrial aesthetic quality in the architecture of the downtown area. The heart of the city is rich with heavy brick construction and limestone masses, and the riverfront and perimeter areas are developed with contemporary buildings such as Cobo Hall and the Renaissance Center. As forms that fall away from organic detail such as Classic, Gothic or even Art Deco, like that of Mies Van Der Rohe, Le Corbusier and now, Richard Meier, meaning to the expression of pure forms, smooth surfaces, transparencies and the exposure of construction elements is a recurrent quality in the aesthetics of contemporary design.

To continue the growth upon itself and the path of its evolution is an aspiring task for the integration of today’s design into the city. There is not a dominating style in the architecture of today. Many architects such as Peter Eisenman, Zaha Hadid, Daniel Libeskind and the Morphosis Group are developing concepts defined by a “Free Spirit”. The essence of this is expressed by Andreas Papadakis and Kenneth Powell as follows: “to value freedom more than rules and believe that a little confusion and annoyance is preferable to unquestioning obedience to discredit authority”.

issues & theory

rationale

MATERIAL vs. VIRTUAL: process of development.

As our humanity makes progress in time, virtual reality becomes a tangible issue. Day by day, our world is evolving from a material to a virtual state that is reflected in our forms of nutrition, communication, transportation and our way of living as a community as well as on a personal level. In a world of fast food and fast images people rely on the Internet, television, cars and suburban isolation.

World development is leaping into this new era of technology where concepts of virtual space, universal connection, and worldwide webs are becoming predominant. Vivian Sobchack, author of “The Scene of the Screen: Envisioning Cinematic and Electronic Presence”, discusses that electronic representation “denies the human body its fleshly presence and the world its dimensions” and how at this particular moment in culture, “the lived-body is in crisis”. Lebbeus Woods says, “The electronic revolution is breaking down the traditional boundaries between global, national, regional and even local social groups, by the indiscriminate proliferation and dissemination of information.”

In a site that is dominated by vast spaces weathered into a bitter sensation of abandonment, the goal will be to revitalize and generate an active urban environment in the city of Detroit. As a mid-point between two urban areas of different activities the site will become a major articulator and connector between them. Architecture will become the body’s fleshly presence that will contain, but yet liberate the expression of electronic and virtual space. It will arise from within the city and experience the contrast of its immediate surroundings. The building and activities held within it will emphasize the state of progression and evolution of the city.

A B S R A C T t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

LEARN ABOUT IMAGES A building that expands and promotes the establishment of technology will be a versatile space that responds to the needs of the public by means of virtual reality and visual arts. The intention of the project will be to acknowledge and solve the issue of ‘inurbanity’ produced by secluded living by means of integration and transformation such as the gradual progression of materiality into light and energy. It will be incorporated into our social need of public interaction and the cultural intervention provided by a museum of film and photography, a school/studio of film and photography, and student housing. Such a program will include spaces for seminars and cultural events, technological displays, artistic exhibits in photography and cinematography, as well as spaces for students of these arts. The multi-use of visual arts and displays will become part of the city by taking the interiors to the exterior by means of emphasis of progression and exploration of the visuals.

Inspired by Le Corbusier’s Phillip’s Pavilion, photography and cinematography will be the focal aspects of activity to show the integration of images with architecture in its past, present and future. In a time of shining publicity, anamorphic optics and an abstract treatment of light, the Visual Arts Center will expose short films, underground films, documentary shorts, publicity, photography, and graphic and industrial designs.

Displays of Underground Film will include works of Andy Warhol, Salvador Dali, Marcel Duchamp, Aubrey Beardsly, Peter Weiss, Mary Ellen Bute and Stan Brakhage amongst others. Photography will display those such as Moholy-Nagy and design will include Philippe Starck among others.

goals

thesis THE RUINS OF DETROIT The site selected is that of a critical space in terms of its current conditions. If taken the correct approach it can be a tremendous development piece. It is located between and relates directly to Clifford, Elizabeth, Adams and Columbia, east of Grand River and west of Woodward, just north of Grand Circus Park. This site has the peculiarity of being submersed between old abandoned brick buildings, providing a quality of ruins. The essence of ruins causes mystery and admiration. Ruins exist by the material that was used and exploited in highly active industrial buildings. The materials, texture and aesthetics tell a story of movement, activity, thoughts and ideas, and emotions and feelings. Time becomes an issue. Time becomes a virtual dimension. As a tribute to the ruins, there will be an intervention to an abandoned building located on the corner of Elizabeth and Clifford.

Cass Rd. is a connector path to Wayne State University. The site will provide a terminal point of that line of education.

On the east side of the site is the Fox Theater and Comerica Park, which become a source for entertainment. The impact of the building on the site will be of culture and education in the museum and planetarium, and entertainment with the theater and quick imagery.

A B S R A C T t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

MOHOLY- NAGY Moholy-Nagy emphasized ideas about art's role as a vehicle for social change. Like Gropius, he saw the machine as potentially dehumanizing and argued that the artist was uniquely capable of ameliorating its harmful potential. Yet Moholy-Nagy took an essentially positive view of technology. He believed it offered opportunities for changing the world through mass production, distribution, and communication. He further believed that since art is rooted in society, the artist had a deep and abiding responsibility to address social issues. He saw the artist as a visionary---one who would provide the forms and ideas necessary for the understanding of future societies.

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

ANDY WARHOL

commercial artist

POPism

Transformation of contemporary art

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

UNDERGROUND FILM Andy Warhol Salvador Dali Marcel Duchamp Aubrey Beardsly Peter Weiss Mary Ellen Bute Stan Brakhage …are just some of the names in underground film.

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

THE PHILLIPS PAVILION: le poeme electronique

Designed by LeCorbusier in the early 50’s, the Phillips Pavilion was an intent to physically unite music with architecture. The building would not have the function to provide reverberation, but rather become the source of sound.

Architecture, color, sound and images were to be superimposed in an exposition.

The form and concept of the building was conceived in an unconventional manner for the time. Unfortunately, the building was destroyed after the exposition.

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

The plan, elevations and colors reflect the relation of an abstract concept, such as music with the form of the building.

THE PHILLIPS PAVILION: le poeme electronique t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

The use of imagery becomes pertinent to the architecture by displaying projected light onto the interior walls. It is a concept of cinema theater that relates to the form of the enclosing structure.

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

WEXNER CENTER FOR THE VISUAL ARTS, the ohio state university Designed in a competition for the Ohio State University in 1982 by Trott and Bean Architects, and Eisenman/Robertson Architects.

The program included a research facility and workshop space where artists, scholars, faculty, students, and the public could work, study, experiment and interact.

Activities within the program involve avant-garde and experimental arts, including new arts forms involving laser, computer and video technologies.

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

The use of structures to create and stimulate a variety of perceptions is present in the form of the architecture.

This brings true meaning to the concept of visual arts that is to be developed within the university.

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

The interiors reflect the abundance of structure exposed to the different spaces. This creates opportunity for diversity and flexibility within a space without formalizing and committing to a determined form.

WEXNER CENTER FOR THE VISUAL ARTS, ohio state university t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

Rose Center For Earth & Space

This project redefines the image of a 128-year-old institution for the 21st century while respecting the historic architecture of the designated landmark.

The iconic sphere, housed within a glass cube, contains a state-of-the-art planetarium and "Big Bang" theater, whose program describes the origins of the universe. Below the sphere is the Cullman Hall of the Universe. A thematicallylinked sequence of exhibits reunites the new building with the old and heightens the public's understanding of the importance of astronomy and its connection to the other natural sciences.

Other project elements are: a new Columbus Avenue entrance, expanded restaurant and retail facilities, an educational resource center, and parking beneath the landscaped Ross Terrace

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

The building displays a powerful sense of advanced technology in its structure, materials and overall aesthetics.

As a planetarium/museum, the Rose Center provides a cultural background for the community.

Rose Center For Earth & Space t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

As seen above and to the lower right, the building has structural elements and materials that help create a diverse environment by means of visual stimulation.

There is also an awareness of nature as shown to the upper right.

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

AERIAL OF THE SITE in downtown detroit

The street pattern of the area is conformed by a grid pattern that meets with the radial pattern of downtown Detroit. The site itself shows a heavy use of cement, whereas the green spaces of the city are shown to be in neighboring areas.

N

THE SITE in downtown detroit t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

Cass Rd. & Adams looking northeast

Columbia looking east to Commerica Park

Woodward looking south to the Fox Theater.

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

Cass Rd. & Columbia looking southwest

Cass Rd. & Columbia looking northwest

Clifford Rd. & Columbia looking southwest

THE SITE in downtown detroit t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

Building on Montcalm and Park.

Looking south to Elizabeth and Park.

The images show a sense of ruins through the abandoned buildings of the area.

Looking south to Cass and Adams

Looking south to Clifford and Elizabeth

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

Connection to education area.

To Wayne State University

SITE Ruins area

Park

Commerica

WOODWARD

Entertainment area

Grand Circus Park

Financial area

Downtown

Corner of Columbia and Cass looking northeast

N S I T E

S E L E C T I O N

P R I O R

THE SITE in downtown detroit t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

Fox Theater Theater

State

SITE

Main access points will be provided by important arteries such as Grand River, Cass and Clifford. There is also nearby access to the Fisher Freeway.

N T O t h e s i s

O C T O B E R 2 0 0 2 - 2 0 0 3

v I s u a l

2 0 0 2 a r t s

c e n t e r

v I c t o r

n a v a r r o

A- Gallery Spaces -for cinematography (history)

1600

-for cinematography in rotation

1600

-for photography (history)

1600

-for photography in rotation

1600

B- Studios -for photography (5) w/dark room–studio–classroom

9000

-for cinematography (5) w/editing studios

12000

-computer rooms (2)

600/each

-student lounge

300

C- Theaters -experimental(2)

4000

-multipurpose(1)

2400

D- Digital Exhibition

2500

-support

600

E- Main Lobby – Reception

800 + 200

F- Service -Cloak room

200

-Public Requirements

175/each

-Janitorial closet

30

G-Support -Lounge Employees

250

-Box Office

150

-Meeting Rooms (2)

400/each

-Security

150

-Mech/elect (2)

2000

H-Cafe

1500

I-Administration

t h e s i s

2 0 0 2 - 2 0 0 3

-Directors office

300

-Assistant

300

-Secretary

200

-Faculty

1000

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

P R O G R A M

P H A S E

1

PROGRAM t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

r

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

u

a r t s

i

c e n t e r

n

v I c t o r

s

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

a

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

e

c e n t e r

s

v I c t o r

n a v a r r o

t

t h e s i s

h

e

2 0 0 2 - 2 0 0 3

t

v I s u a l

i

a r t s

c

c e n t e r

s

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

toctober.2002 h e s i s 2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

toctober.2002 h e s i s 2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

toctober.2002 h e s i s 2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

SCHEME 1

toctober.2002 h e s i s 2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

SCHEME 2

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

SCHEME 3

toctober.2002 h e s i s 2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

FINAL SITE SELECTION The articulating point between two areas: Wayne State-Commerica Park, helps define two major arteries of connection: Cass and Columbia.

The site is selected between Clifford, Elizabeth, Columbia and Adams to create a stronger relation, determined by proximity, to the urban fabric of Detroit.

S I T E t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

C O N C E P T c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

The building will incorporate the two angles from the ‘Elizabeth/Clifford Grid’ and the ‘Cass Grid’, in order to acknowledge the two urban villages

B U I L D I N G t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

C O N C E P T c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

SUBLEVEL

LEVEL 4

Digital display

Lobby/Gallery

Art theater

20200 sf

Experimental Theater (2)

Projection room

Auditorium

Security locker space

Student Exhibit (3)

Box office Storage Security

22050 sf

Restrooms Sub-street walkway

LEVEL 1 Main Lobby

LEVEL 5

22650 sf

Restaurant/Bar

Housing Lobby

Kitchen

Security

Storage

Faculty Conference Room

Office

Faculty Common Area/Storage

Employee Lounge

Supplies Store

Photo Studio

Film School Lobby

Wood Shop

Events Coordinator

Dressing Rooms Lockers Patio

LEVEL 2 Lobby/Gallery Outdoor Theater

26400 sf

24800 sf

Control Room Library Registrar/Student Services Administration Kitchenette Conference Room CafĂŠ Lounge Patio

LEVEL 3 Lobby/Gallery Permanent Gallery Temporary Gallery (1)

35750 sf

Temporary Gallery (2) Experimental Theater (1) Auditorium Student Exhibit (1) Student Exhibit (2)

PROGRAM MODIFICATION t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

LEVEL 8 Common Space for Student Housing Machine Room Viewing Room Lounge Patio

14900 sf LEVEL 9 Student Housing Development

LEVEL 6

Viewing Room

Mech/Elect

Crit/Classroom

Machine Room

20250 sf

Photo Studio Storage Server Computer Lab Sound Editing Film Editing

LEVEL 10 Student Housing Development Viewing Room

19900 sf

Crit/Classroom Courtyard

20250 sf

LEVEL 7 Common Space for Student Housing Balcony Film Studio Digital Development Enlargement Room Contact Printing White Print Finishing Room Chemical Mixing Film Development Lounge Storage

18200 sf Total 306100 sf t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

exhibit area: theaters & galleries

cinematography/photography studios

building & site concepts

Looking south to Clifford and Elizabeth

tribute.to.the.ruins.of.detroit.into.a.sculptural.piece.

december.2002

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

Cass Rd. & Adams looking northeast

The abandoned building above (previously a car storage facility) will be stripped down to its structural components to glorify the RUINS of the area. It will become a semi-transparent grid/sculpture which will be intervened by a new building to intensify the concept of old vs. new. It will allow the creation of a space within a space, geometry within a geometry. The building will become an exhibition of the old.

the.ruins.of.detroit.

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

open to below open to below

open to below

storage/ service

atrium/lobby

digital display

faculty area permanent

balcony

temp. gallery

l e v e l

art theater

l e v e l

service

temp.

gallery

gallery

administration student

library

computer lab open to below

cafe

2

off.

1

gallery/lobby

supplies store open to cafe

below

outdoor theater

l e v e l

l e v e l

open courtyard

experimental theater

additional screens

photo studio photography development

N tdecember.2002 h e s i s 2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

scale 1:20

crit

4

giant screen

3

digital studio

n a v a r r o

theater

theater

auditorium

film studio

6

crit & viewing rooms

N t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

scale 1:20

l e v e l 8+

L e v e l 7

crit & viewing rooms

experimental

5

auditorium

l e v e l

l e v e l

experimental

n a v a r r o

l e v e l 1 alternative art theater

exhibit area: theaters & galleries

tdecember.2002 h e s i s 2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

scale 1:20

N

n a v a r r o

cinematography/photography studios digital display

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

s e c t i o n s

photography crit room galleries within the ruins

tdecember.2002 h e s i s 2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

l e v e l

1

service

cafe

main atrium/lobby

faculty area

open film theater

service coffee shop

student gallery/lobby supplies store

library

administration

2 0 0 2 - 2 0 0 3

l e v e l

v I s u a l

a r t s

c e n t e r

v I c t o r

2

N

scale 1/16�:1’

tmarch.2003 h e s i s

n a v a r r o

l e v e l

3

experimental theater-01

permanent gallery

projector area open to below

temp. gallery

experimental theater-02

temp. gallery

temp. gallery

crit room

dgGiant screen

open to below

auditotium

open to below

crit room open to below

crit room

tmarch.2003 h e s i s

2 0 0 2 - 2 0 0 3

l e v e l

v I s u a l

a r t s

c e n t e r

v I c t o r

4

n a v a r r o

l e v e l

5

student housing

photo studio

student housing

workshop

Locker room dressing room Locker room

studio

editing

open film computer developmen space t

sound

t h e s i s

2 0 0 2 - 2 0 0 3

l e v e l

v I s u a l

a r t s

c e n t e r

v I c t o r

6

n a v a r r o

l e v e l

7

film studio

support

digital studio photo center

viewing room

crit crit

tmarch.2003 h e s i s

2 0 0 2 - 2 0 0 3

l e v e l

v I s u a l

a r t s

c e n t e r

v I c t o r

8

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

march.2003

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

FINAL t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

PROJECT v I c t o r

n a v a r r o

sketches t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

sketches t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

SUBLEVEL Digital display Art theater Projection room Security locker space Box office Storage Security Restrooms Sub-street walkway

Scale 1:40 t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

LEVEL 1 1.Main Lobby 2.Housing Lobby

B

3.Security

A

4.Faculty Conference Room 5.Faculty Common Area/Storage 6.Supplies Store 7.Film School Lobby 8.Events Coordinator

1 3 2

1

3

8 4

5

6 3

7

t h e s i s

2 0 0 2 - 2 0 0 3

As u a l v I

a r t s

c e n t e r

v I c t o r

n a v a r r o

The project is composed of three main solid blocks (A,B & C), one grid structure (D) and one sculptural piece (E).

A-Conforms museum entry, housing entry and outdoor theater at grade level; Distributes to all gallery and theater spaces; hold the restaurant at mid-point; contains student housing in upper floors.

B-Faculty spaces at grade level; library, auditorium, photo and film studios above.

C-Public spaces include supplies store at grade level, cafĂŠ and student exhibits above; Support spaces at midpoint; classrooms, crit rooms and viewing rooms on upper floors.

D-Contains administrative spaces and a connection between buildings; supports giant screen for the outdoor theater.

E-Has all museum exhibit spaces, experimental theaters and the digital exhibit multi-purpose room.

A

B D

E C

Scale 1:40 t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

LEVEL 2

LEVEL 3

1.Lobby/Gallery

1.Lobby/Gallery

2.Outdoor Theater

2.Permanent Gallery

3.Control Room

3.Temporary Gallery (1)

4.Library

4.Temporary Gallery (2)

5.Registrar/Student Services

5.Experimental Theater (1)

6.Administration

6.Auditorium

7.Kitchenette

7.Student Exhibit (1)

8.Conference Room

8.Student Exhibit (2)

9.CafĂŠ 10.Lounge 11.Patio 1 3 2

6

5

6

4

7

8

7

9

11

10

8

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

LEVEL 4 1.Lobby/Gallery 2.Experimental Theater (2) 3.Auditorium 4.Student Exhibit (3)

2 5

1

1

3

3 2

4

4

Scale 1:40 t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

LEVEL 5

LEVEL 6

1.Restaurant/Bar

1.Mech/Elect

2.Kitchen

2.Machine Room

3.Storage

3.Photo Studio Storage

4.Office

4.Server

5.Employee Lounge

5.Computer Lab

6.Photo Studio

6.Sound Editing

7.Wood Shop

7.Film Editing

8.Dressing Rooms 9. Lockers 10.Patio 3

2 1

5

2

4

1

6

3

10

7 4 8

9

5

9 6

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

7

n a v a r r o

LEVEL 7 1.Common Space for Student Housing 2.Balcony 3.Film Studio 4.Digital Development 5.Enlargement Room 6.Contact Printing 7.White Print 8.Finishing Room 9.Chemical Mixing 10.Film Development 11.Lounge

2

12.Storage

1

2

3

4

12 6

5

7 11

8 9

10

Scale 1:40 t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

1 1

LEVEL 8 1.Common Space for Student Housing 2.Machine Room 3.Viewing Room 4.Lounge 5.Patio

2

LEVEL 9 1. Student Housing Development 2.Viewing Room 3.Crit/Classroom 3

2

4 3

5

t h e s i s

2 0 0 2 - 2 0 0 3

3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

4 1

LEVEL 10 1.Student Housing Development 2.Viewing Room 3.Crit/Classroom 4.Courtyard

2

3 3

Scale 1:40 t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

NORTH ELEVATION (1:40)

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

CLIFFORD ELEVATION (1:40)

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

EAST ELEVATION (1:40)

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

ADAMS ELEVATION (1:40)

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

SECTION A-A (1:40)

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

SECTION B-B (1:40)

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o

t h e s i s

2 0 0 2 - 2 0 0 3

v I s u a l

a r t s

c e n t e r

v I c t o r

n a v a r r o