Monday, April 9, 2007

new scheme

Landscape Ground Plan

East Elevation: Avenue of the Arts

North Elevation: Cut through Plaza/arch

South Elevation:

Plaza Section Study: Light Wells, gallery below, landscape becomes roof becomes plaza.

Wednesday, March 28, 2007

Sketchup images to be rendered/explored by hand

Entry between Temporary Exhibits and bar into main lobby

Long Section Facing West

Sketchup Shadow Studies

MORNING_Main Entry Overhang: Facing bar, looking into lobby with gift shop/cafe on left.

EVENING_Main Entry Overhang:

View from Center of Arts Campus_afternoon

AFTERNOON_Main lobby, temporary gallery on left, condo tower/services on right.

AFTERNOON_ 2nd floor Permanent Gallery, temporary gallery on right, condo tower/services on left.

Preiminary Diagrams

Ground Floor Diagram
Concerns: lighting if main entry overhang, elevator placement, vertical circulation, lobby scale and engagement

Lower Level Diagram
Concerns: Organization of educational spaces/conference center and their relationship to the administration above, lighting of lobby space.

Upper Gallery Diagram
Concerns: Separation between gallery space and gallery entry spaces, movement through condo tower, lighting from above, program within condo tower.

Roof Diagram
Concerns: Public accessible democratic access, condo access, restaurant overhanging the arts avenue=code issues.

Wednesday, February 21, 2007

The UCLA Hammer Museum

"The Hammer Museum is a unique, cutting-edge arts institution that connects the classics and the contemporary through its varied collections, wide-ranging exhibitions, and provocative programs.
The Museum is positioned—both physically and metaphorically—at the gateway between the city of Los Angeles and the University of California, Los Angeles (UCLA)."

Ann Philbin Director

John Baldessari Person With Guitar (Red)2005

Five-color screen print construction. Hammer Museum, Los Angeles. Purchased with funds provided by Brenda Potter and Michael Sandler.

Mission Statement
The Hammer Museum explores the capacity of art to enhance the full range of human experience. Through its collections, exhibitions, and programs the Hammer illuminates the depth and diversity of artistic expression through the centuries, with a special emphasis on the art of our time. At the core of the Hammer’s mission is the recognition that artists play a crucial role in all aspects of culture and society. As cultural center, the Museum advances UCLA's mission by contributing to the intellectual life of the campus and the community at large.

Vincent van Gogh Hospital at Saint-Remy1889 Oil on canvas.

The Armand Hammer Collection, Gift of the Armand Hammer Foundation.


The Armand Hammer Museum of Art and Culture Center (AHMACC) opened to the public in November 1990. Founded by Dr. Armand Hammer, former Chairman of Occidental Petroleum Corporation, the Museum was designed by architect Edward Larrabee Barnes. Financed by Occidental, the Museum was built adjacent to the Corporation’s international headquarters in Westwood. At that time, the Museum featured galleries for Dr. Hammer’s collections — old master paintings and drawings, and a collection of works on paper by Honore Daumier and his contemporaries — as well as galleries for traveling exhibitions. Dr. Hammer died in December 1990, three weeks after the opening of the Museum. Upon his death, all construction was halted and the building was never completed, leaving many spaces unfinished — most importantly, the 300-seat theater on the courtyard level.

Rembrand Harmensz van RijnJunoc. 1662-65 Oil on canvas. The Armand Hammer Collection, Gift of the Armand Hammer Foundation

In 1992, the Museum began negotiations with its neighbor, University of California, Los Angeles (UCLA), to assume the management and operations of the institution. In April 1994, the partnership with UCLA was finalized and the following year the University relocated to the Hammer its collections and the staff of the Wight Art Gallery and the Grunwald Center for the Graphic Arts. The Hammer also assumed responsibility for the Franklin D. Murphy Sculpture Garden, located at the north end of the UCLA campus.Henry Hopkins, then director of the Wight gallery and professor in the Department of Art, became director of the Museum until his retirement in 1998. In 1999 Ann Philbin was named director.

HonorĂ© Daumier I never laughed as much as I did at the funeral of Bourdin’s daughter . . . (Henri Monnier)1852Lithographic stone. Gift of The Armand Hammer Foundation.

Katsushika HokusaiFuji Behind the Waves off Kanagawa (The Great Wave)
1831-1833From Thirty-six Views of Mt. Fuji, published by Nishimuraya Yohachi (Eijudo). Oban.Full-color woodcut (nishiki-e).Collection UCLA Grunwald Center for the Graphic Arts, Hammer Museum. Purchase.

Today, the Museum’s exhibitions present contemporary and historical work in all media of the visual arts. Through its exhibitions, the Museum is committed to promoting cultural understanding, to introducing the work of underrepresented artists, and to interpreting art of the past and present. In addition to selections from its permanent collections, the Museum has a series of temporary exhibitions, including Hammer Projects. All of the Museum’s exhibitions are accompanied by extensive public programs.In its role as a cultural center, the Museum endeavors to be a vibrant intellectual forum for the exploration of cultural, political, and social issues. To this end, the Museum offers a rich variety of public programs such as lectures, symposia, film series, readings, and musical performances.

The Hammer Museum is one of three public arts units of the School of Arts and Architecture at UCLA. For more information about the school and its departments, visit

August Rodin The Walking Man 1905 Bronze, H: 83.75Given by the UCLA Alumni Association and an Anonymous Donor as a tribute to Franklin D. Murphy, 1966

William Wegman Still from Deodorant

1972 Black and white video with sound. 1 min. Courtesy of the artist.
In 1994, the Hammer Museum made headlines by selling Leonardo Da Vinci's Codex Leicester to Microsoft founder Bill Gates for $30.8 million. The Codex Leicester was one of Mr. Hammer's proudest acquisitions, one which he unsuccessfully tried to have renamed as the Codex Hammer. Most museums have collection guidelines for deaccessing art, which require profits from sales to be used for future acquisitions. The Hammer Museum sold the 72 page scientific notebook to fund the museum's exhibitions and programs.

On January 19, 2007 the Hammer Museum and the Armand Hammer Foundation agreed to dissolve their relationship, dividing the remaining 195 objects which founded the museum; the foundation retaining 92 paintings valued at $55 million, while the museum retaining 103 objects, valued at $250 million.

In 1994, UCLA assumed management of the Hammer Museum, but the Armand Hammer Foundation retained some control of the museum, including a "reversionary clause" which gave the foundation rights to reclaim the art collection and some of the endowment funds. The museum had long desired to eliminate these clauses.

Lovell Beach House

Constructed in 1926, the Lovell Beach House was perhaps the first pure International Style house built in America. Designed by Rudolf Schindler for the same progressive physician who later commissioned Richard Neutra to design his well known Los Angeles home, the Lovell Beach House consists of a series of five concrete frames that form the main structure. The rhythm of these planes provides a striking composition of forms, and elegantly elevates the main living spaces above the surrounding ground level for a panorama of the ocean beyond.

"living space was developed inside of five free-standing reinforced concrete frames, cast in the form of square figure eights. Schindler objected to pipe column stilts, calling his own system 'projections of five visible concrete frames which form an organic skeleton." —Esther McCoy. Five California Architects. p165

"The Lovell house was not primarily a drawing board solution—as was much of the work done at that time by the Constructivists in Europe. Schindler's purpose in using the frames was to raise the house above the public beach, and also to develop a skeletal system solid and flexible enough to withstand earthquakes."—Esther McCoy. Five California Architects. p165

Image from:

Proportion and Beauty- The Lovell Beach House By Roudolph Michael Schindler, Newport Beach, 1922-1926

August E. SarnitzThe Journal of the Society of Architectural Historians, Vol. 45, No. 4. (Dec., 1986) pp. 374-388

Thursday, February 8, 2007


Floor with Primer

With Gray textured Venetian plaster.


Laths in Aromatic Red Ceder. Ruff side up to hold the plaster.

Vertical wood. before and after

Wall edge.

Aromatic Red Ceder. Ruff v.s. Planed

Lath wall with light

Bench lighting

Scratch Coat on Lath Wall

Back of lath wall

Thursday, February 1, 2007

Sketching_preliminary details

Floor Construction:
+Platform made from two sheets of 3'x5'6" double ply 3/4" MDF with tung+grove center connection. Shims as required to balance against floor.

+White Venetian Plaster applied with a large trowel. Three coats, burnished, waxed and polished to a high gloss.

+White Maple Trim around exterior edges with a 1/8"x1/8" reveal. Screwed in place after plaster application. Pre Drill MDF prior to plastering. Reveal painted black=emphasize the gloss of the plaster and also create the illusion of depth and weight.

+White Maple 1/8" 'shim' with center joint of panels.

Light Scoop Construction:
Construction Undecided: - Purpose - To Direct light under wall to reflect onto floor and also to direct light up along the back side of the laths.

Need to Determine:
Connection to floor - smooth, reveal between flat panel and curves.

Framing material - could be lath, could be metal sheet

+Finish with white and Orange Venetian Plaster. Orange colour hidden, only its reflected light gives warmth to reflections on the floor.

+4' florescent light attached to 2x3 sill of wall frame.

Wall construction:
+ 2x3 White Maple Framing with 3/8"x1 1/2" Ceder Lath strips set into maple and spaced 1/4" apart.
+ 1/2" Skim Coat Gypsum plaster over lath with sand and horse hair added to improve structure.
+3/4" Gypsum plaster stucco (slow drying and thick). While plaster is wet, textured cloth is layered over plaster and surface is impressed with knees, hands elbows, etc...

Plaster is applied in sections beginning at the bottom. After drying textile is removed.

Construction of Mezzanine Construction:
Details to come...
Plaster 'cloth' will wrap over mezzanine floor.

'Making' Time line:
Weekend_ Prime MDF, Purchase materials (Gypsum Plaster, Screws) wood is delivered. Finalize detailing of wall/light scoop design. Layout photshop panel.
Monday_wood shop. Prepare the maple trim, the framing and lath. Build the wall and mezzanine connection.
Tuesday_Venetian Plaster arrives. Apply layers of plaster, begin scratching/marking to determine walls character. Work in wood shop between coats.
Wednesday_Skim Coat Plaster on wall. allow to dry. Continue marking floor.
Thursday_plaster 'cloth' layer on wall.
Friday_Wax floor. Document details to include in presentation panels.

Jen Said...

Chloe,Thanks for the sketches; very informative.Is there a reason that the base is slightly longer than the wall?Your 'color' light will stop at the wall (I assume) and then what?If it matched the wall width would it be more clear as an integral system?Did you mention what would be etched on the floor? Is the wood trim exposed with the wood finish? If so, seems like it would be more effective for the plaster to seemingly float away; frameless? Just imagining a painting.Just some thoughts to consider in the realm of the minute.Jen

Chloe said...
Jennifer,I think you are very right about the base/floor being the same dimension to the wall. I was considering having the floor/base larger to have a larger surface to reflect the wall, but after looking at the light scoop, I realized it makes more sense for the floor to be slightly smaller then the wall. In that way the scoop/base can directly 'scoop' into the wall cavity (avoiding the framing) and I think you are right when you suggest that it would bring cohesion between the elements. I am still considering the coloured plaster. It is my hope that by applying it to the bottom of the scoop the light would reflect its colour onto the floor and in a subtle way back onto the walls surface, but without any direct view of the colour. I am now planning that the back of the scoop/base might be a bench and that it could be plastered in the orange. That the orange plaster might wrap abound the curves. I am still thinking about the edges of the floor. The sides of the MDF is ugly and I think need some sort of treatment. I think I will wait till I plaster the floor and then make the decision with some tests. I am waiting for the white Venetian plaster to be delivered and intend to use that surface to etch my plans for the surface of the wall, also I am hoping to include quotations by baldessari subtle in the layers of plaster. Perhaps the "betweenness" quotation running between the imagined crease of floor to wall. Right now my major concerns are;1) Cohesion between the floor, to base, to wall2) The plaster on the vertical wall. The lime plaster I was planning to use cracks very badly. So I now need to switch to a gypsum based plaster. 3) The construction of the light scoop and integration of colour.4) Making sure that my intention of 'baselessness' is clear.Thank you for your comments, they address many of my own concerns and it was helpful for me to attempt to clarify them. (Sorry for the long email as a result) I will post renewed sketches/process for Wednesday morning. Chloe

Jen said...

Chloe,All good thoughts. It is the essential connections that you mention in you’re (a) that make for elegant detail. I use the work elegant because I once had an amazing conversation with a neuroscientist at Salk. He spoke about an elegant experiment….in the same way that we do about design…I may talk about that a bit at my lecture.As far as edges and plaster go, for me the most gracious combination has been a solid metal; brass, hot rolled steel. It seems to capture the elasticity of the plaster in a determined manner.Jen