Posts tagged with "UC Davis":

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The SO-IL and BCJ–designed Manetti Shrem Museum at UC Davis transforms light and shadow

The Jan Shrem and Maria Manetti Museum of Art on the University of California, Davis campus, designed by associated architects Bohlin Cywinski Jackson (BCJ) and SO-IL and built by construction company Whiting-Turner, opened in late 2016.

The project was developed through a particularly strict procurement process that required designers to include builders on their teams. Those teams were expected to hold tight to a firm budget—$30 million—and deliver a design with balanced aesthetic, functional, and budgetary requirements. Ryan Keerns, associate at BCJ and project manager on the project said, “This process of design-build competition gave the client confidence that a builder had vetted the aesthetic and functional ambitions of the project and stood behind their ability to deliver the project within the parameters provided.”

The team did that and more, creating a 30,000-square-foot building that uses a range of social spaces to divide up more buttoned-up aspects of programming. The approach results in what amounts to a fully public space that does triple duty as art museum, office, and classroom. Those functions are articulated as a series of scattered, interconnected pavilions arranged in slipshod configuration. The whole thing is capped by an undulating, 50,000-square-foot perforated and folded aluminum screen canopy developed with help from facade design consulting firm Front, Inc. and fabricated from off-the-shelf components, including 952 honed-aluminum infill beams and 4,765 linear feet of steel joists.

The veil starts off low to the ground, lifted on slight, extruded steel columns. When the roof crests, it does so out of view, toward the center of the building. It eventually laps down to the sidewalk at the building’s main entrance, where it cantilevers 12 feet above the floor. Here, visitors get to bathe in the scattered, pleasantly fluorescent light created by the canopy. Ilias Papageorgiou, principal at SO-IL described the structure as a multi-sensory experience: “It works almost like a reverse sundial, where you become aware of the moving light and transformation of the shadows.”

In plan, the canopy is made up of a series of irregular gridded textures, “inspired by the agricultural landscape around the university,” as Keerns explained, a woven quilt of metal patterns going every which way. These angular divisions in the gently sloping surface—styled in section to resemble a silhouette of the area’s rolling landscapes—create jittery bits of structural framing, with joists and beams crisscrossing about. Steel columns of different diameters—40 in all—are deployed in a calibrated arrangement and are scattered about the entry pavilion. Interspersed amid this hypostyle courtyard are a series of bright yellow poles: multifunctional nodes for lighting, electrical outlets, and wireless internet.

The canopy is punctured by a large, oblong oculus that is mirrored on the ground by a dull, grassy knoll. The gesture is made to add another layer of functionality, as the opposing wall has been detailed to allow for film projection. The space ultimately succeeds in spite of this feature, not because of it. And the wall, entirely blank instead of delicately and intricately combed like the others, feels heavy-handed in what is otherwise a feathery plaza dancing with light.

The building, like the 2002 Boora Architects–designed Mondavi Center for Performing Arts directly opposite, is in axis with the center of campus. When approached from one of the campus’s main drags instead of from the parking lot, the entry pavilion acts as a type of outdoor living room for the university. As the canopy comes close to the ground at the sidewalk—and as a dissonant column causes one to step aside—it’s possible to experience a threshold condition and so properly enter into the designers’ domain.

The entry courtyard meets the fully enclosed portion of the building opposite this column at a convex section of glass wall. When sitting or standing in the courtyard, the effect of the columns and light posts is reminiscent of standing at a busy intersection in a city with broad sidewalks: It becomes possible to have almost private moments, both when no one else is in the space and when the various groups are passing through. Inside the building, a foyer contains a sinuous purple sofa—designed by an in-house team at BCJ—that turns a portion of the room into a viewing station, the now-convex arc of glass creates a televisual view of the courtyard and its many inhabitants. During AN’s visit to the museum, the courtyard and foyer were occupied by a diverse group of people: elderly couples, groups of moms with children, and even teenagers.

The museum works as a generic (in a good way) “somewhere else” type of place, not wholly any one aspect of its program, but as a place where lots of different types of things happen all the time. Simultaneously, the entry areas give the building a quality of comfortable domesticity, something akin to a grandparents’ living room, where shoes need to stay on, but one is free to feel at ease and gawk at whatever collection of curios might be on display.

Moving counterclockwise from the door, a projection room and the main galleries branch off to one side of the foyer. A second lobe, with ancillary functions, extends in another direction. A third wing peels off to the far left and contains a pavilion with a classroom and art studio that open onto the outdoors separately.

The galleries themselves are arranged as a variety of flexible spaces, with certain rooms casually arranged as educational areas, a result of the programming exercises the university brought to the designers. A larger gallery has soaring ceilings capped by extruded aluminum panels, with ductwork and piping visible beyond. The ancillary spaces, more intimate in proportion but correspondingly fussy in detailing, feature lower ceilings where the texture of the ceiling panels changes orientation to align with the long axis of the room. Because the museum’s permanent collection contains many sensitive works on paper, the galleries had to be designed to be completely artificially lit.

Papageorgiou explained: “Although daylight was not allowed in the galleries, we found moments for bringing the exterior through indirect light.” He refers to the central and generous hallway that connects the front galleries to the loading dock at the back of the building. That pathway is capped on both ends with glazing: one looking out onto the entry courtyard, the other, with a framed view of Interstate 80, cars and trucks whizzing by.

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Bohlin Cywinski Jackson designs lecture hall at UC Davis

In November 2015, the University of California Office of the President mandated that the state's ten universities increase its overall enrollment by 10,000 students over the next two years. With many of the system’s urban campuses hemmed in by development controls, certain rural campuses, like those in Santa Barbara, Davis, and San Diego, were designated as high-growth sites expected to absorb most of the increased enrollment.   As a part of that expansion, Bohlin Cywinski Jackson (BCJ) and the University of California, Davis (UC Davis) recently began construction on a 16,365-square-foot, 580-seat lecture hall designed to offer state-of-the-art facilities for the university’s growing student population and relief from the campus’s overcrowded classrooms. The $22-million hall features a clamshell design that allows for a larger interior lecture space. This digitally-savvy lecture space features three large retractable projection screens and is flanked by two generously-proportioned and interconnected interstitial lobby areas designed to accommodate study and social functions. In a press release concerning the hall’s design, Karl Backus, design principal from Bohlin Cywinski Jackson's San Francisco office stated, "The new Lecture Hall is designed to provide much needed instructional space for the University's growing enrollment. We received valuable input from administration, faculty, and students to create a highly interactive learning environment with state-of-the-art technology and advanced sustainability." The classroom is one of many projects currently under development at the university, including new international student, veterinary medicine, and graduate student centers, as well as a new recital hall, refurbished student union, and the nearly completed Manetti Shrem Museum of Art designed by Brooklyn-based SO-IL, for which BCJ is also the associated architect. These projects, completed under the banner of the university’s so-called “2020 Initiative,” will help UC Davis expand total undergraduate enrollment from about 23,844 in the 2011-12 school year to 28,850 by 2020. BCJ’s lecture hall is due to be completed in late 2018.
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Construction underway on SO-IL–designed UC Davis Art Museum

UC Davis is set to open the Jan Shrem and Maria Manetti Shrem Museum of Art to the public on November 13. After choosing SO-IL to design its on-campus museum in 2013, the school has been hard at work constructing what it envisions as a "hub of creative practice." Working alongside San Francisco-based firm Bohlin Cywinski Jackson and Whiting Turner, the museum features a 50,000-square-foot canopy made from aluminum triangular beams. The canopy is supported by straight and curved glass walls interweaving both open and closed spaces. Its shape, according to SO-IL, represents a "new symbol" for the campus with its natural surroundings of long, green plains making up the sensory landscape of UC Davis. In its designs, SO-IL emphasized the importance of capturing the essence of the California Central Valley. Changes in season and lighting will be reflected from within the museum which will play host to a variety of activities and programs both informal and formal. The inaugural show will feature work from artists Arneson, William T. Wiley, Manuel Neri, Wayne Thiebaud and Ruth Horsting among others. And with the date for its grand opening months away, the Jan Shrem and Maria Manetti Shrem Museum looks set to become a site of interactive and cutting edge learning.
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Department of Energy names Solar Decathlon teams, but mum about competition site

Brace yourself O.C.: It’s unclear if the battle of the Solar Decathlon will return to Irvine’s Orange County Great Park in 2017. This week the U.S. Department of Energy (DOE) announced 16 participating teams who are gearing up for the task of designing and building a solar-powered house, but the feds have yet to announce the competition site. Hailing from colleges and universities across the United States and around the world—from Rolla, Missouri to Utrecht, Netherlands—the teams have nearly two years to develop an affordable and energy-efficient design strategy. According to the DOE, the Solar Decathlon teams compete in 10 contests that range from architecture and engineering to home appliance performance. Judges are looking for “[T]he team that best blends affordability, consumer appeal, and design excellence with optimal energy production and maximum efficiency.” In past years, teams had to cover some hefty research, design, construction, and shipping costs. But for one team the gamble will pay off. The winner takes home a whopping $2 million prize. (That’s a pretty huge PV array.) Homes will be showcased and on view to the public for free tours in mid-2017. The Solar Decathlon 2017 teams are:
  • École Polytechnique Fédérale de Lausanne, Switzerland
  • Embry-Riddle Aeronautical University and Daytona State College
  • Georgia Institute of Technology
  • HU University of Applied Science Utrecht, Netherlands
  • Missouri University of Science and Technology
  • Northwestern University
  • Rice University
  • Syracuse University
  • University of Alabama at Birmingham
  • University of California at Berkeley
  • University of California at Davis
  • University of Maryland
  • University of Nevada, Las Vegas
  • Washington State University
  • Washington University
  • West Virginia University
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How landscape architects at SWA created the country’s largest Zero-Net Energy community at UC Davis

In 2011 SWA built the nation's largest planned Zero-Net Energy (ZNE) community. Working in collaboration with the University of California Davis and developer West Village Community Partnership (WVCP), the project houses over 2,000 students and 500 staff and faculty families. When UC Davis started the West Village Energy Initiative (WVEI) in cooperation with WVCP in 2003, the university initially only aimed for a 50percent reduction in energy consumption (compared to the California Energy Efficiency Building Code). However, in 2008 the initiative proposed that without losing quality and at no extra cost to the developer, West Village could become a ZNE community. A public-private partnership with the developer and UC Davis has been able make WVEI's 2008 proposal a reality. SWA master planned the 225-acre neighborhood and prepared landscape strategies for its development. Included in the housing scheme is a network of parks, storm water ponds and corridors, bicycle and pedestrian trails, a community college, and retail and recreational services. These areas incorporate on-site energy generation which are aesthetically designed and in harmony with local environmental conditions. In preparation, SWA conducted analyses at regional, site, and building/garden scales in order to maximize opportunities for passive cooling. Designers arranged buildings in loose clusters that allow breezes from the Bay Delta to filter through the site. SWA also proposed the planting of deciduous shade trees, reducing the need for air conditioning. In a bid to promote zero-energy methods of transportation, SWA integrated an extensive cycling network into the scheme making it the primary way of getting around the neighborhood. Davis is, after all, home to the first bike lane in the United States. SWA integrated drainage into the site's system of parks, sports fields, trails, and gardens. Storm water drains to the site's large northern ponds, where it is purified by native wetland planting in a series of basins. The slopes of the site's ponds incorporate native shrubs and trees, selected in cooperation with UC Davis' horticulturists, botanical garden curators, and ground and maintenance personnel, to provide a sustainable habitat for migratory birds, while also providing a visually appealing natural landscape for residents year-round. UC Davis' internal monitoring shows that the West Village ZNE community achieved an exceptional 87 percent of initial ZNE goals in its first year. In 2013, West Village received the ULI Global Award of Excellence, which honors outstanding development in both the private and public sectors, with an emphasis on responsible land use.
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We Have A Winner at UC Davis: “Grand Canopy”

Last month AN reported that UC Davis had selected a shortlist for its Jan Shrem and Maria Manetti Shrem Museum of Art. Well we have a winner: "Grand Canopy," by  So - IL / Bohlin Cywinski Jackson/ Whiting-Turner. The design features a 50,000 square-foot floating steel canopy which weaves together exterior and interior space for galleries, exhibitions, concerts, art studios, as well as artists' residencies.  Jurors selected the design from a shortlist of three finalists for its unusual incorporation of light, close connection to the UC Davis campus, as well as the ability to adapt and grow over time to the changing needs of its users--the students, faculty, staff, and visitors. The museum will occupy 1.6 acres on the southern edge of the UC Davis campus.Watch Florian Idenburg, design architect and partner for SO - IL, talk about the winning design (Joe Proudman/UC Davis).
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Impressive Shortlist at New UC Davis Art Museum

Three design-build teams have been shortlisted to design the $30 million Jan Shrem and Maria Manetti Shrem Museum of Art at the University of California, Davis. They are: WORKac and Westlake Reed Leskosky with Kitchell; Henning Larsen Architects and Gould Evans with Oliver and Co; and SO–IL and Bohlin Cywinski Jackson with Whiting-Turner. Each team had four months to prepare a bid for the museum. The museum will be named after Jan Shrem, operator of Clos Pegase winery in the Napa Valley, and his wife Maria Manetti Shrem.
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Art Central At UC Davis

The University of California Davis is becoming a cultural force. The school already has three art museums (and arts alums include artist Bruce Nauman and sculptor Deborah Butterfield), and is getting ready to add another, just releasing the shortlist for its new Jan Shrem and Maria Manetti Shrem Museum of Art. The list is impressive, including the following design/build teams: wHYArchitecture and Gensler with BNBT Builders; HGA and DPR; Allied Works with Hathaway Dinwiddie; Westlake, Kitchell, WORK; Gould Evans, Henning Larsen, Oliver; Olson Kundig, Olveraa; and Bohlin Cywinski Jackson, SO-IL, Whiting Turner. The list was culled from an initial list of 19. The 40,000 square foot museum, located on a 1.6 acre site that is part of a long-range master plan for the university’s new south entrance, is slated for completion in 2015,