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COMPUTER ART CONCEPTUAL ST 010 AND EXH IBJT E'.\/VlROi\MENTS

by KONRAD A. JUDD

A THL ' tS IN

ARCHIT TURE Submitted to the Architec ture fa culty

of the College uf Ar hitecture of Texas Tech Univer ny in Partial Fulfillment of the Reqmrements for

the Degree of

BACHELOR OF AR 'HtTECT . RE

Charnnan ot Commntee

Programming instruc tor( AR 'H ·-l395 ): . 1r. Bob Perl Programming Director: .\J r.David Ori luU

Accepted

~--- ----- - - --- ------- ----- - ---- -~· Dean. lJlleg of An:hiLL'. cture

May l '-191

Acknowledgments

I would like to dedicate this program to the people who are most important to me. my family, for all the love and support they have given me over the years. I would especial 1\ like to recognize my mother and sister for their extra ef tort and support.

COMPUTER ART CONCEPTUAL STUDIO

AND

EXHIBIT ENVIRONMENTS

AN INVITATION i to the CUTTING EDGE OF

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CONTENTS

I RESEARCH

A. THESIS RESEARCH

B. COMPUTER ART RESEARCH

C RESEARCH SYNTHESIS

D. THESIS CASE STUDIES

II. THESIS STA t EMENT aiid THESIS VEHICLE

III. CONTEXT

A. CULTURAL CONTEXT and RESPONSE

B. PSYCHOLOGICAL CONTEXT and RESPONSE

C. BUILT CONTEXT and RESPONSE

D. NATURAL CONTEXT and RESPONSE

E. CONTEXT CASE STUDIES

IV. ANALYSIS of ACTIVrnES

A. DERNmON of PRIMARY ACTIVITIES

B. DEHNmON of SECONDARY ACnVITIES

V. ANALYSIS of SPACES

A. RELATIONSHIPS of ACTIVmES to SPACES

VI. RELATIONSHIPS of SPACES

A. RELATIONSHIP of SPACES for ADJACENCY/ SEPARATION

VII. SUMMARY of SPACES

Vm. ECONOMIC ANALYSIS

A. PROJECT COST

B. PROJECTINCOME

C. ECONOMIC JUSTmCATION and METHODS

DC. CASE STUDIES

X. GLOSSARY

XI. DOCUMENTATION

Thesis Research

Mays, Vernon. "P/A Technics: Building in an Electronic Age" Progressive Architecture. May 1989, 98-101

Building in an Electronic Age

Computers are having an ever increasing effect on buildings and the architects who design them. According to Vernon Mays in his article in "Progressive Architecture", "The number of personal computers used by business in the U.S. numbered some six million in 1984, grew to twenty million by 1988, and will likely rise to forty-two million by 1993. Because of this situation, many architects believe that the introduction of these technologies justifies a fundamental rethinking in the way commercial and institutional buildings are designed and built. In this same article. Mays cites Piero Patri, of Whisler-Patri architects in San Francisco, as saying, "Buildings are becoming alive and interactive and almost human." The use of computer, communications, and automated control systems places demands on a building that, until recently, were rarely taken into account. Some of the obvious demands are a glare-free environment, suppression of noise, uninterruptible electric power, and cooling to offset the heat given off by electric equipment. Several less understood demands of the building infrastructure include: an extensive and accessible network of wires and cables; central equipment rooms to house mainframe computers and private communication branch exchange; battery rooms to provide the uninterruptible power; satellite dishes and microwave antennas; a structural framework sufficient to support loads associated with mainframe computers, battery rooms, and rooftop antennas; and freedom from electromagnetic interferences that can contaminate electronic data. Worker comfort is an issue that Volker Hartkopf and his colleagues, Peter Mill and Vivian Loftness, have been studying in regard to the electronic office. Their study seeks to find a way to improve performance characteristics including spatial, thermal, visual, acoustic and air quality concern, and overall building integrity. In this article Mays states, "The NRC report says that to accommodate electronic technology successfully, an office building must be designed from the outset to suit the technological systems that will be put in it." In regard to HVAC controls. Mays suggests that "buildings with extensive electronics are prime candidates for automated control of heating and cooling systems. Direct digital controls are generally favored today over pneumatic or electric controls. Sensors on HVAC equipment transcript data to a microprocessor-based controller that activates a valve or fan to produce the desired change." As to worker comfort Mays's article reveals that "employees' expectation of a computerized office centered around their concerns about indoor air quality, natural light, and the ability to

control the amount of air, light, and heat in their work spaces. In response, the building was given an increased floor-to-floor height which allows for the integration of both a hung ceiling for acoustics, ambient heating, and ambient lighting, and a raised floor for individual fresh air supply and cabling. Movable air diffusion in the floor allows for flexible desk arrangements." As more American companies shift toward reliance or electronics, it becomes clear that new and old buildings will have to be adapted to accommodate these systems.

Berger, Rene, and Lloyd Eby, eds. Art and Technology. New York: Paragon House, 1986.

Art and Technology

When Time Magazine chose the computer as its 1982 Man of the Year, it caused many people to realize what a significant part computers play in their lives. The author of this article poses several questions to his readers:

Would it be true that the computer is altering all our ways of doing things? Would it be true that a new world is taking shape before our very eyes, in our work places and our homes? A new world? Or is it a new ruler of the world?

For the first time in the history of our world, mankind is having to question whether or not he has total control over a machine. Until now man has always told himself that "machines are mindless," therefore implying that "man alone has a mind" because he is the only one to conceive the programs implemented by the machines. However, as this article states, the truth is "if we add their learning capacity, it is certain that computers could create for themselves a whole range of competences and would be able to ^program themselves' in order to solve new problems." In the last few years, the computer has taken a firm hold on all of our activities. It has made its way into the fields of education, teaching, learning, games, office and factory work, scientific research and pre-set horaecare. The arts have also been affected: architecture, painting, theater, dance, music, as well as the massoriented arts: radio, TV, animated cartoons, advertising, etc. According to this article:

Not only does the computer solve an ever-increasing multitude of problems, but it proves capable of transforming analog signals into digital signals. Images, sound, music—all messages can be coded in sets of numbers. Furthermore, it is now possible to create artificially images devoid of any correlative in the preexisting reality, and such images are a true synthesis of a different, self-referring reality.

Walter B. Wriston, the president of Citicorp (the largest banking concern in the world), says, "Whether you think it's good or bad, we've changed the environment." He also says,

"The world is in the midst of a great transformation comparable to those of the Renaissance and the Industrial Revolution."

The two topics of this article, art and technology are defined by its author as:

The concept of "art" is to be under­stood in a wide sense, including all the forms of art with a special stress on those which proceed from modern technology. What is meant by "technology" is especially related to the new technique used by artists, such as movies, slides, video, registered music, records, tapes, computers, lasers, TV, etc.

Having defined the two terms, the author chooses to focus his attention in regard to technology on its two main uses: "as a new medium in the creative process, such as videoart, computer art; as a new medium in the process of disseminating art, such as TV, videocassettes, videodiscs, etc." As to art created by modern technology, he feels that computer art and video art are generally misunderstood and threatened as an art form by the general public; and the artists choosing this medium to produce their art must be careful not to lose their identities as artists.

This article is concluded with a challenge to its readers to remember the fundamental function of art:

to set us free from a destiny that would be strictly biological, economic or political. The might of art is to open wide the borderless expanse of reflection which charts also the span of our freedom.

He also warns the readers that no matter how sophisticated technology becomes, they must not forget the importance of aesthetic experiences.

Norberg-Schulz, Christian. Meaning in Western Architecture. New York: Rizzolli International Publications, Inc., 1983.

Pluralism

Pluralism, according to Christian Norberg-Schulz was brought into practice by the architecture of Enlightenment and carried on by Functionalism. He also states:

Pluralism is not at odds with Functionalism, but extends the concept of function beyond its physical aspects. Meaning and character again receive primary importance, and the building is no longer a mere container, but becomes an expressive presence active in the environment.

Functionalist architecture needed to be further systematized, according to some of the leading architects of the modern movement. The skeleton construction was Mies van der Rohe's further systematization of functionalist architecture. "More fruitful, however, was the ^organic' current, which took a new interpretation of departure," writes Norberg-Schulz. With similar ideas Alvar Aalto became the most influential designer during the first decade after the war. He chose to use an organic approach in his functionalist buildings during the early 1930's. Frank Lloyd Wright's Talieson West, and the Guggenheim Museum in New York also inspired the organic movement. Schultz states that:

During the last two decades accordingly, a pluralism of technically founded formal structures has developed, starting in the 1950's with Le Corbusier and the first great works of Louis Kahn.

He also states;

The basic aim of the pluralist approach to architecture form is to obtain individual characterization of buildings and places, on intention which stems from a reaction to the rather scarce variations in character permitted by early Functionalism.

Louis Kahn's basic opinion is that a building must be what it "wants to be." Mies van der Rohe's dictum states, "Wherever technology reaches its real fulfillment, it transcends into architecture." Alvar Aalto operates with themes that generate spatial patterns. These themes are mainly determined functionally in the "organic" sense. These masters of the later decades of the modern movement.

derived opinions and themes that exceed the narrow mindedness of the early functionalist theories.

Architect Hans Scharoun exemplifies his ideas about architecture in his new concert hall of the Berling Philharmonic Orchestra. Scharoun says "The whole building has to be understood in relation to the idea."

Scharoun buildings return the basic notion that human actions "take place" and that the character of the place and the meaning of the action have a reciprocal relationship. His basic method was always to generate a work of architecture from a meaningful centre, and his buildings were conceived as an "organ" for the functions represented by the centre.

The Philharmonic shows that man's environment as a whole becomes meaningful when a multitude of elements are related to a meaningful centre.

Pluralistic ideas of architecture aim for the understanding of the total character of each task, instead of concentrating its attention on fixed styles or basic principles. Schulz concludes his concepts and ideas relating to Pluralism, writing:

Without giving up the freedom of Enlightenment, it is deeply concerned with meaning. It recognizes the fact that meaning is the basic human need, and that the purpose of architecture is to make meanings manifest as a concrete system of places, paths and domains.

The functionalist's theories began to address the functional needs of building and their relationships with humanistic functional needs, but the movement became sidetracked by limiting principles and styles. According to Norberg-Schulz, the pluralists took into consideration technological advancements and their functional needs as well as their meanings in relation to humanistic reactionary behavior. Therefore, architecture that addresses the physical, mental and spiritual need of mankind was created.

Rowland, David. "The Electronical Arts Archive and Research Institute." Bach, of Arch, diss., Texas Tech University, 1984.

The Electronical Arts Archive and Research Institute

The Electronic Arts Archive and Research Institute (EAARI) was a department of art on the campus of Texas Tech University. The study was funded by a research grant from the institute for Institutional Research, 1982-83. The subject of research became the specialized area of video art. Relative to its beginnings, video art was still in its infancy stage. Therefore, this program has many similarities with computer art. The simple fact that both subjects have very few, if any, physical buildings brings about reason for comparison.

Some of the goals for this particular program are extremely viable in relation to computer art environments. This program wishes for a condition in which the environment is both a medium and an expression of human communication and environmental resources that provide optimum facilitation of state-of-the-art electronic audio and visual media. Due to these requests, the EAARI program also calls for conditions such as the adaptability to the changing trends of electronic media as well as the advancements in the state-of-the-art equipment. Some other physical requirements of the building are suitable acoustics for both electronic music productions along with quiet display environments. The EAARI program is in need of a large amount of achieved research and video equipment. Likewise, a Computer-Art Conceptual Studio and Exhibit Environments facility will need storage space for art work and its equipment. Since, both thesises (EAARI and computer art) have display spaces, both must strive for enhancement perception of the auditory and visual art being exhibited. This will require, as the EAARI program states, special secluded environments for control (remote or physical) and monitoring of the exhibit. An additional concern that this program mentions, is the need for excellent acoustical performances where audio becomes a part of the display. These are the suggested major goals of this particular program that have relevance to a Computer Art Conceptual Studio and Exhibit Environments facility.

The EAARI program contains descriptions of activities that are similar to those in a computer art production and exhibit facility. The ideation of computer art that continues all the way to the final product is an example of a similar activity. Another activity that is necessary for both facilities is the design and set-up of the exhibit(s).

Because both facilities' galleries are open to the public, all precautions must be taken to protect all of the art work as well as the equipment used to create and display. The piiblic visitors must feel comfortable in every

way in order to make their viewing of the exhibit a pleasurable experience. Other similar activities are maintenence, sales, instruction, analyzing, conceptualization, updating equipment, and enlightening.

The break down of space is similar in respect to their activities and relative objective. Both programs require a director's space that should be located in a position that has maximum administration ability. Gallery spaces in this particular program require increased electrical and wiring needs, along with HVAC and lighting specification. The design studios must be comfortable for long periods of use. Storage becomes an important requirement because of the variety of sizes in the art work and the equipment. In order to incorporate all of the equipment into one system, the facility will need a central room. All of these spaces are essential to the facilities' success. In conclusion, both the EAARI and a Computer Art Conceptual Studio and Exhibit Environment facility must exemplify a meaningful source of art and information.

Computer Art Research

Prince, Patric D. "Self Expression: Creating Art with Computers" Personal Computing^ October 1989, 129-131

Creating Art with Computers

Samia Halaby, an abstract painter based in New York, says, "We tend to assume that a new technology will cause a new form of art and that those artists using the newest technology are at the leading edge of formal development."

The use of computers in the creation of works of art is part of a continuum of discovery that artists embarked upon thousands of years ago. Patric D. Prince writes:

Computer art may contain any or all aspects of a tool, a medium, even of a subject. Some artists use the computer as a tool, a sketching device to translate the information to conventional art mediums. Others use the complete computer system as their medium or part of their medium—for example by creating digital images designed to be experienced directly on a monitor or producing computer-driven environmental works or sound pieces. And some artists use the computer as a subject for their work.

One of the best-known artists associated with personal computers is Barbara Nessim. At the annual SIGGRAPH conferences in Dallas, she produced animated exhibitions of her works by stringing together still images displayed directly on the monitor.

Prince suggests that artists can plan their expressions more fully prior to actual execution with a PC. He says sculptors, for example, can now model their objects and preview the results before they begin any physical work.

Karen Guzak states that artists are not shy about experimenting with multiple forms of mediums, they tend not to be loyal to one specific system.

John Grimes, a Chicago based photographer, believes what artists need are abstract visual tools giving them more control over the process of creation.

Samia Halaby explains that looking at animated kinetic paintings is like "observing a process rather than looking at a painting hanging on a wall." She feels her images need the dynamics of movement to reflect the quality of urban life. Prince concludes by saying:

Computers have become a vital resource and creative tool for the art community, the choice of the computer as a creative tool can be an obstacle to acceptance for the art. All new technology has had problems being approved as a legitimate

medium for art. Photography, for example, has been around for more than 15 years, but was only accepted by major museums as art over the last 30 years. Computer art is not an exception to this problem: Although in the 1980's there were a number of shows in major museums, it is only now being treated with seriousness. This can be measured by the number of artists who use computers: The 1989 Boston SIGGRAPH art show had about 1,500 submissions for exhibition.

Weindenbaum, Marc. "Multimedia Performance Art: Computer technology is allowing creators to combine music art in exciting new ways." Verbum 4.2. summer 1990, 22-57.

Multimedia Performance Art

People have, since the beginning of time, invented new techniques for expressing their visions. The computer is just one more step. "Computers are being increasingly absorbed into society and I don't think we have too many years left in which something having to do with computers is automatically going to be put in the camp of the futuristic," says Stephen Nachmanovich, a computer performances artist. The fact that material could be printed by Gutenberg's new media, the printing press, did not make the material new. Similarly, the content of the book that is written on a word processor is not necessarily new. In the case of computer art, though, we are talking about a medium that opens up new types of expression.

Marc Weindenbaum says, skepticism about how much human experience is possible in this new medium may be one reason why many of today's computer artists have injected an aspect of performance into their work (distinguishing it from static purely illustration-derived pieces). But perhaps the most significant factor stringing together music, visual art and computers to produce performance art has been MIDI technology.

Nachmanovich states:

Musical Instrument Digital Interface (MIDI) has the potential of triggering an event that transforms the shape of the sounds envelope, quantifying volume and duration or changing pitch or timbre. Once the music has been translated into numeric form, it need not necessarily be funnelled back to a sound emitter. One can just as easily send the data to a real-time graphics program instead of routing it to your speaker. This procedure of Algorithm can generate visual music pieces that convey the ideal that mathematical relationships define sound relationships and produce certain sounds, certain states of mind, and certain feelings.

Nachmanovich also believes, "that his work expresses both sonically and visually, there is a relationship between shape and rhythm."

Other artist like Brentano Haloon and Christopher Yavelow create images that are visual "fragments," that they call up with voice commands and/or music fragments (VADA) (Voice Activated Digital Art). Yavelow concludes, "I do believe that the audience perception of computer art being merely demonstrations of what future technology promises, is on the decline." The widespread commercial release of CDI (Compart Disc Interactive) is less than a year away, and this will force the general public to embrace interactive media as a

valid form of artistic expression. A whole new realm of performance art is opening up for those who have the desire, skill and creativity to explore the possibilities of MIDI and related technology. Marc Weindenbaum states, "What we are witnessing in their efforts, is not the future of art but is in fact the state of art today."

Hedelman, Harold. "Interactive Media: Multi-Media on the Mac." Microcad News. August 1989, 72-74,

Multi-Media on the Mac

Interactive Multi-Media (IMM) allows the user to access and integrate a wide variety of media tools to design applications for areas such as education, art work, corporate presentations, and advertising.

As an example, Hedelman describes Ray Bradburyish's studio:

IMM could include wind, rain, temperature, smell, or mechanical vibrations. The day is coming when these separate media will be so integrated through IMM technology that the whole experience will be dealt with as a single medium.

The Musical Instrument Digital Interface (MIDI) standard allows a wide variety of devices to communicate audio synthesis information in digital form. A computer can send MIDI commands and data to synthesizers that can be played through speakers.

A large advancement for IMM is optical information storage technology, which has made it possible to access tremendous amounts of information rapidly and economically. Videodiscs offer superior, non-degrading video image quality.

CD ROM discs store as much as 600 mb. of about 150,000 single-spaced type written pages. Digital Video Interactive (DVI) can store 72 minutes of full motion video and audio on a disc.

Randall, Randy. "Imaging Applications: Is it Real or is it Animation?" Cadence, February 1991, 89-90.

Is it Real or is it Animation

Randy Randall states: Great 3D computer art is much like photo­graphic art. A talented or observant amateur photographer, with one camera, one lens, and one roll of film may capture an image worthy of contest money and publication. A professional photographer; however, has the responsibility of producing many pictures of such high quality every day. He or she may need six cameras, more than a dozen lenses, $10,000 worth of lights, two assist­ants and a stylist.

He continues by saying that, in computer graphics it is much the same. "We have all seen extraordinary demo reels produced for noncommercial purposes. An amateur, given enough time to experiment, can also produce some extraordinary 3D graphic images."

Object Reality is the next topic addressed by Randall. He writes that, a sense of realism, believability, and acceptance can be achieved in computer graphics animation, without re-inventing the known world. The key to Object Reality is our level of previous experience and learning with things shaped like certain objects. The level of detail and object accuracy required for the appearance of realism is proportional to the observational skills of the audience. Randall continues:

Our perception of what we accept as real computer graphics is very complex. It requires Object Reality providing object shapes and features that are close enough to reality to be believed. It also requires Associative Reality, putting objects into a familiar environment. And it requires matching object detail to the level of expertise for observation of the audience.

Saffo, Paul. "Future Tense: Virtual Reality is Almost Real." Personal Computing, June 1990, 99-102.

Virtual Reality is Almost Real

Virtual Reality is a new kind of computer interface that enables users to move through computer-generated images in three dimensions. Paul Saffo sets up a scenario:

Imagine donning a set of miniature goggle-mounted screens and a pair of gloves that sense hand movement and position. The real world is blocked out—everything you see is computer-generated including the image of a hand that mimics the motion of your real hand as you move it in front of your eyes. Turn your head and the images shift as if you were viewing a real scene without the computer aids.

This sounds very exotic; however, this is exactly what is needed to view complex models in three dimensions. Relative to computer history, today's movement towards highly interactive virtual environments is comparable to the shift from punch cards to keyboards and to touch-sensitive screens. In the next five years, we should be seeing Virtual Reality applications in a few limited areas. These systems should become affordable by the beginning of the next century, due to today's rapid advancements in both computing and imaging technology. Some examples of these advancements are the use of 3D sound, gesture-controlled input that do not obstruct direct vision, and light weight displays. The same technologies used in virtual environments are likely to converge with current work in "telepresences." Also used are applications where operators remotely command robots in hostile environments by see-through video "eyes," and controlling robot movements with position-sensing body suits. Saffo says, " the research seems to be heading towards direct neural connection. No goggles. Just a link straight into the brain."

Gips, Terry. Computers and Art: Issues of Content. Art Journal, Fall 1990, 229-231.

Issues of Content

Electronics are rapidly being integrated into the world of art. Art and artists are drastically aware of the influence of new technology, not only in the aspect of being affected by it, but the artists are also shaping technology. Some artists may utilize various functions of computers and use them in limited areas of their work while others use technology as the foundation for their art. Although not all artists have incorporated computers into all stages of their artwork, no artist can downplay the credibility computers deserve. For example, Terry Gips expresses his feelings about technology in a recent article. Gips states:

The box containing the labyrinth of circuits and chips serves simultaneously as a mental and physical environment, a "house" for thinking and remembering, a space in which to construct ideas and images. Like many using computers in their art, I move in and out of that cyberspace, maintaining a traditional studio and interest in art objects at the same time that the technology leads me toward more conceptual concerns.

It is not to be concluded that the computer can do everything alone. Computers need human interaction and a skilled hand to operate them. Another artist states that he feels the perfect balance of technology in art would be, "An open-ended communications structure in which each observer is a participant, and without whom there would be no content." Along with other users of computers, artists have learned that cybernetic technology has exceptionally favorable contingencies. Instead of distinguishing between the physical and mental tasks of computers, one might actualize the computer as a phenomenon all together. While the computer's "peripheral devices" such as printers perform manual tasks, the core of the computer expands the thinking mind, not the hand. An artist that has incorporated computers into his art states, "Computers are not really tools at all but rather extensions of the mind."

15

Research Synthesis

Research Synthesis

An indomitable urge to create art can be found in almost every human culture. Ever since the Mayans finger painted on the walls of caves, the ways in which the devices or tools are used have been improving. Chisels, brushes, paints, canvas, pencils, pastels, kilns, and cameras are all products of advances made in earlier devices over the years.

In order to better create works of art, one must first know and understand the medium's tools. In Western cultural art there is a continuous desire to make and devise new tools that extend the capabilities of our bodies and minds. The computer has become one more of these tools. Those that understand the medium find that the computer allows them a different freedom from the normal art constraints of the present day artistic mediums.

In creative, artistic hands it can become a companion, assistant, and communication device for ideas and thoughts expressed in forms and methods never seen before. Utilization of computers has opened up new domains for the artist with a whole new language of manipulation, movement, color, shape, and form. As a device, the computer can allow an artist to create works recognizable to the style of the old masters, as well as art of a new kind. Computer artist are creating new techniques and visual styles that are only beginning to be explored; yet they are radically changing our human perception of art. Art work is no longer limited to media of physical matter, scale, or manipulation.

The new language of computer art has brought about additional needs, issues, and concerns in relationship to the artist, the viewer, and the architect. When using the computer along with other electronic media to create and display art work, new and different concerns pertaining to lighting, structure, heating and cooling, humidity, static electricity, ultraviolet radiation, acoustics, form, texture, anthropometrics, and human interaction come about. Because of technological advancements in computer hardware and software, ideating, creating, and viewing computerized art can require an interactive involvement in both mental and physical ways in a three dimensional space that has yet to be realized. The physical boundaries and overall form of this artistic space must begin to aesthetically convey the needs of the artist, the viewer, and the art form itself. These boundaries must also address and communicate the functional and technological design variables and perimeters. There then exists a new responsibility for architects and architecture to create an environment conducive to the language and communication of the mechanism, the artist, and the world that has been created.

Since computer art is still in its early stages, there are not very many artists or pieces of this kind of art available for display and sale. One of the reasons for this situation is because few of these would-be artists have access to the kinds of equipment required for the creation

of this form of art or the proper surroundings to work in, Therefore, in order to have an exhibiting facility with enough samples of this art to exhibit, it is necessary to provide, along with the gallery, a studio in which the artists will have all the required equipment and an environment which will encourage their creativity. These artists would, in essence, be employed by the gallery and therefore, would have a vested interest in the success of the overall facility.

17

Thesis Case Studies

Loftness, Vivian, Volker Hartkopf, and Peter A.D. Mill. "The Intelligent Office," Progressive Architecture. September 1990, 47-50.

The Intelligent Office

The essential design and environmental requirements for a computer art studio and exhibit environments are in many ways comparable to those of an "intelligent office building." According to Vivian Loftness, Volker Hartkopf, and Peter A.D. Mill in their article "The Intelligent office," the definition of intelligent office buildings is:

Intelligent office buildings provide for unique and changing assemblies of recent technologies in appropriate physical, environmental, and organizational settings, to enhance worker speed, understanding, communication, and overall productivity.

To fit this definition three critical conditions must be met:

First, the intelligent office building must accommodate a compatible package of recent technology, resolving the full range of hardware for managing external power; telephone systems; internal signal propagation; computers (capacity, speed, and networking); peripheral "in-putters," processors, and "out-putters;" environmental management systems; personal management systems; building management systems, including diagnostics and maintenance automation; and command centers. Second, the intelligent office building must provide appropriate physical and environmental settings for this hardware. This involves structure; enclosure-walls, windows, roofs, and basements; building geometry including massing, orientation, horizontal and vertical plenum space, and overall spatial organization; major conditioning services such as heating, ventilation, and air conditioning, as well as power, lighting, and fire protection; and interior elements such as ceiling, partition, floor, and furniture systems.

18

Third, the intelligent office building must address crucial environmental conditions such as spatial quality, including physical safety and security; thermal quality; air quality; acoustic quality; visual quality; and building integrity versus rapid degradation. The "high-tech" building must provide the appropriate setting to accommodate immediate electronic enhancements, as well as future technologies and the anticipated level of long term user requirements.

One approach, being utilized to achieve these critical conditions, as stated by Loftness, Hartkopf, and Mill, is to focus on the workstation. This is the approach currently being used by Americans. Some examples of this approach are the vast range of electronic peripheral (phones, mini or personal computers, printers, fax machines), supported by ergonomic furniture systems, cable management floor systems, and individual environmental control systems included at each individual workstation. A major building design change required to incorporate this approach is a three-dimensional cable network involving both vertical and horizontal cable distribution plenvims. Also, the development of the multiple-zone HVAC has brought about advances in individual environmental control technologies for personally setting light, heat, fresh air, and air conditioning levels. To accomplish this, Johnson Controls has developed a product, the Personal Environment Module, in which fresh air is directed to each dish in an open office, with dimmer controls for cool air, radiant heat, task light, and white noise. Along these same lines, mainframe rooms are being replaced by mini-VAXes and microprocessors at each workstation are linked through local area networks. However, this has not reduced the number of shared facilities, as there has been a growth in group spaces for interactive work, for printers, fax machines, copiers, electronic conferencing, and social spaces.

Another approach cited by these authors used to attain the required condition is the Japanese approach to focus on the building core and its serving systems. This technique operates on the assumption that the workstation arrangement will remain static, while the workstation's hardware will change. Although multiple-zone HVAC has been included in this approach, distributed mechanism systems are employed rather than space-by-space mixing devices. "Cell body" control of light, temperature, and air allows more thermal control in a constantly changing office setting. Because the Japanese are much more committed than Americans to technologies for resource conservation (energy, water, and

air), including gray water management, thermoelectric cooling, load balancing, and off-peak storage, much more work is being done by them in these areas. Likewise, there is more far-reaching development of systems for fire and earthquake management and systems for vertical transportation (elevator and "communication" fire stairs), all of which are located in the core. Japan has also taken the lead in team decision-making. Their design process encourages teamwork from the begining among architects, engineers, constructor, and facility managers; however, it has failed to involve organized input from occupants regarding workstation designs and servicing and individual environmental equipment for light, heat, air, and sound control.

A third approach regarding this matter presented by Loftness, Hartkopf, and Mill is the German approach of focusing on the shell. Some areas of exploration in this approach are the combination of daylight and artificial light interface, lighting management systems (including exterior sun-shading devices and distributed lighting controls), and the interface of mechanical ventilation and operable windows for fresh air. Environmental issues have encouraged a broad range of "intelligent" office technologies, including distributed lighting systems on movable tethers in the ceiling and distributed air systems on movable tethers in the floor. These issues have led to the development of improved raised floor technologies for air and cable management such as the Schmidt-Reute "eggcrate" floor system, provides structural soundness and adequate air and cable management space. The German approach focuses more on providing the vertical and horizontal plenums and on the environmental system needed for the introduction of future computer hardware than on the rapid development of that hardware. This concept has led to advancements in quiet, individual heat pumps, lighting and shading systems, and accessible and easily modifiable central mechanical and electrical frameworks.

The essential design and environmental requirements for an intelligent office building and ways to achieve them as set forth in this article are clearly compatible with the requirements for a computer art studio and exhibit environments. Loftness, Hartkopf, and Mill are correct when they state that, "the creation of appropriate settings for present and future office technologies and activities depends on a better process and a more flexible, occupant sensitive product." As these authors suggest, areas of exploration concerning these settings must include three-dimensional cable management, central versus distributed mechanical systems, movable light and air supply, individual occupant control, and carefully selected materials and equipment at the workstation. If these areas can be successfully developed, today's architects should be able to create the settings necessary to handle today's and tomorrow's technologies.

Physical Considerations for Incorporating Technology

1. Structure 2. Enclosure

a. Exterior Wall/Window b. Roof - Positions,

Configurations c. Basement - Position,

Configurations 3. Building Geometry

a. Exposure and Orientation b. Vertical Distribution: Floor

Plates (Leasing Depths), Location of Cores, Core Configuration

c. Horizontal Distribution: Floor to Floor Heights Structure/Mechanical Systems UMIUKUM

d. Space - Quantity and Adjacencies

4. Major Services a. Heating, Ventilation and Air

Conditioning b. Lighting c. Fire, Life Safety, Security,

Transport d. Amenities

5. Interior Elements a. Ceiling Systems b. Partitioning Systems c. Flooring Systems d. Acoustical Systems e. Workstations/Furniture

EXHAUST DUCT

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Environmental Considerations for Incorporating Technology

Safety and Security a. Physical Safety and Security b. Data Integrity and Security Thermal Quality a. Air Temperature b. Mean Radiant Temperature c. Humidity/Static d. Air Speed e. Occupancy Factors and Controls Air Quality a. Fresh Air b. Fresh Air Distribution c. Restriction of Mass Pollution

(eg. dust)

wmrw. 1 III 11 Ij^^^^^^^^^^^^^H

d. Restriction of Energy e. Occupancy Factors and Controls Acoustic Quality a. Sound Source Intensity

Background Noise Sound Path - Noise Isolation Sound Path - Noise Distribution Occupancy Factors and Controls

Visual Quality a. Ambient Light Levels

Task Light Levels Contrast, Brightness Ratios Color Rendition View/Visual Information and Relief Occupancy Factors and Controls

Spatial Quality a. Organizational Layout b. Workgroup Layout c. Workstation Layout Building Integrity a. Mechanical/Structural Properties b. Physical/Chemical Properties c. Visible Properties

b. c. d. e.

b. c. d. e. f.

Lloyds of London

Cook, Peter. "London Collection." The Architecture Review, October 1986, 49-52.

London Collection

London is a city of contradictions—absorbing the unlike with the unlike. The Lloyds building is a part of this tradition not only in contextual terms but also within its self, says author Peter Cook. It is a laboratory of contradictions: "a collection of pieces that work very well for their individual tasks and conditions on the site and then rub shoulders in a friendly way." The circulation nodes spiral down to ground level rather nonchalantly. However, there is a definite logic to their placement and a certain matter-of-factness to the addition and subtraction of their components. The glass lifts, seen through the window at the end of the lobby, are there to make the point about technology, space, and movement. Cook points out the paradoxes between the workplace within and those of their building:

A strange series of traditions and mythologies results in a collection of quiet opportunists working at desks—

almost like schoolboys—and yet having a realistic degree of clout in a cut­throat commercial world.

Richard Rogers, the architect who designed the Lloyds building, had the rare opportunity to place his "WonderMachine" in the leftover spaces of traditional downtown London and has made it work.

Davis, Colin. "The ^Omniplatz'." The Architectural Review. October, 1986, 59-67.

The "Omniplatz"

Colin Davis states, "the ^omniplatz'—a flexible, fully-serviced, open plan space—is a central idea of High-Tech architecture in general and of the Lloyds building in particular." He explains that the purpose of all that visible technology is to create large uninterrupted areas of flat floor on which underwriters, brokers and managers can set up base camps and be sure that they are never very far from a supply of fresh air, electricity and electronic information. These base camps are in the shape of market stalls called "boxes". These boxes are rented by underwriters who arrange the benches, worktops, storage units, drawers, shelves, telephones and so on to suit their particular needs. Davis further explains:

Each box incorporates a "technology slice" containing electrical and communication runs, air outlets, computer modems and the like. The boxes are High-Tech components in their right but they are also, in appearance at least, pieces of solidly traditional furniture.

All energy systems in the building are computer controlled; therefore within each box, the occupant is provided with a "pod" which allows him to alter his environment at will.

The use of this High-Tech omniplatz idea by traditionalists like Lloyds is easily justified by its practicality and flexibility. Since this was Lloyds fourth building in 50 years, they were looking for a building with longevity and easy adaptability.

23

Loftness, Vivian, Volker Hartkopf, and Peter A. D. Hill. "The Intelligent Office," Progressive Architecture. September 1990, 50-51.

The Intelligent Office

The British approach to intelligent office buildings focuses on materials and details. One example of this is the Lloyds of London building. It was designed with a "fascination with material and detail for their aesthetic qualities justified through their potentially high performance qualities." A limited set of high-quality materials(lead, stone, stainless steel, glass and natural wood) were used to create a modern aesthetic and to guarantee immediate high-performance quality and long-term integrity. The exposed service cores were designed to ensure accessibility to and to accommodate changes in technology. Interior design also follows this same approach of using high-quality materials and well-resolved details:

Light fixtures were engineered to reduce glare and provide individual control (in a heavily automated workplace), while other ceiling assexablies were designed for acoustic absorption assemblies with modest reflection and effective return air (in a high-density workplace). The air­flow design was displayed as an aesthetic both inside and out, with supply and return ducts exposed outside each unit.

These authors feel that even though at some point the aesthetics of this building overwhelmed the design process, there are major lessons to be learned from the selection of its materials, its careful resolution of details, and the integration of its systems.

24

I I

4. section through a box showing the

technology slice containing electrical and

communication runs air outlets and

computer modems

:r-r> 5L-M3bli

key a. cast aluminium arms b. upper support bracket c. pivoi bolt and washer d. monito* units e. lower support bracket f. retaining bracket g. locking knob h. retaining straps

I mild-steel columns J, aluminium cladding K. telephone cradle m telephone tables n granite shelves o support brackets to granite shelves

q. support band

r alumtMKim electronic cabinets s. coarsf socket head cap screws t. cast sif^ei legs u. base p;>ds to legs V. aluminium spun cover w. aluminium conduit lermmalton

P support rings to granite shplves plate

25

Thesis Statement and Thesis Vehicle

Thesis Statement and Thesis Vehicle

Statement;

Computer Art is a an escalating and unique method, style, and language of art form. This heightening art form requires environments that address and communicate its functional and technological design variables and parameters with the latest in adaptive and intelligent controlled systems, equipment, and materials. Therefore, there exists a responsibility for architects and architecture to create an environment conducive to the language and communication of the mechanism, the artist, and the world thus created.

Vehicle:

Computer Art Ideation and Exhibit Environments

The environments of these artistic spaces must begin to aesthetically convey the needs of the artist, the viewer, and the form itself. It is in need of different types of spaces that are responsive to this technological advancement in artmedium, expressed aesthetically in a physical, mental, and spiritual way.

Context

Context

Computer Art is at the leading edge of technologies in art; therefore, it is in need of a context that is on the cutting edge of technological advancements. San Diego, a rapidly growing city, contains the abilities to stay on top of today's and tomorrow's evolving technological creations; therefore, it would be an ideal site for this project.

San Diego's weather of predominate sunshine makes outdoor activity, diversified landscape, and two spacious bays, extremely enjoyable. The climate is mild and semiarid, with an average temperature of 63 F (17 C) and annual rainfall of about 10.4 inches (2655 mm).

Electronics, aerospace suppliers, nuclear and oceanographic research, fishing, marine products, retail and wholesale distribution, imported goods, and clothing manufacturers are the major income producers in a city favored by an excellent climate and generous hotel, motel, and convention accommodations.

Art galleries and museums are cultural highlights of San Diego. Exhibits are held in the La Jolla Museum of Contemporary Art and in adjacent Sherwood Hall. San Diego's Fine Arts Gallery has many original works done by old masters on exhibit. The Institute of Art displays art work by local artists, and the Aerospace Museum features historical aircraft and aviation mementoes.

San Diego presents great opportunities for the escalating art form of Computer Art. It has an extremely strong computer background as well as works of art and exhibits.

In recent years, much work has been done to renovate and revive the downtown area. This move to encourage new styles of architecture and business would be the perfect environment for a facility housing pieces of computer art.

Cultural Context and Response

Cultural Context and Response

The city of San Diego offers many cultural attractions. These include Sea World, the San Diego Zoo, the Wild Animal Park, museums, art galleries, public libraries, theater groups, a symphony orchestra, an opera company, and several universities. Because tourism is its third largest industry, it has a definite influence on the culture and economy of San Diego. Its permanent population consists mainly of young families who have been attracted to the area because of its pleasant living conditions. These young families will spend much of their lifetimes involved in many different cultural activities. Thus, it is an ideal location for new and innovative cultural experiences. Since California has always been a leader in the computer industry, its citizens would be receptive to the concept of computer art. Consequently, this should be a favorable location for a high-tech computer art studio and exhibit environments facility. The local population and the visiting tourists would be drawn to it for its artistic, cultural, and technological value. Therefore, the use of higher levels of technology in the systems, structures, and aesthistics is justified.

28

Pyschological Context and Response

Psychological Context and Response

Since California is well known for its interest in free and progressive thinking, its second largest city would seem to be a logical site for this new and unique enterprise. Because the local population is made up mainly of young families, typically this age group would be more receptive to new concepts and ideas. Therefore, computer art would be welcomed as a novel way to express and experience an untraditional art form. A computer art studio and exhibit environments building in this location could serve the purpose of bringing art into the everyday lives of its citizens in a convenient and personal way. In response to this open and highly susceptible audience, every effort must be made to make the facility and its contents as pleasurable as possible in a mental as well as physical way.

Broadway J=; Broadwoy

Botanical Building. 4 Casa del Prado, 8 Centre Cultural de la Raza. 14 Hall of Champions. 6 House of Hospitality. 5 House of Pacific Relations. 12 Morley Field. 16 Museum of .Man. I Museum of Photographic Arts. 7 Natural Hislur>' Museum. 9

(5rgan Pavilion.. 11 Reuben H. Fleet Space Theater and Science Center. 10 San Dieg:o Aerospace .Museum and International ,\ero9pace Hall of Fame, 13 San Die^o Museum of .\rt, 2 San Dietro Zoo. 17 Spanish Villaee Art Center 15 Timken Art Gallen.'. 3

?9

Built Context and Response

Built Context and Response

At this point in time, San Diego's downtown district is is primed and ready for unique enterprises because it is in a state of transition. With the openings of the Horton Plaza in 1985 and the San Diego Convention Center in 1990, the downtown district has come alive. Therefore, this area should be ready for a computer art gallery and studio. The community has already been prepared for the dynamic and innovative trends in today's architectural designs. Since this gallery would use some of the same ideas and materials as used in these two buildings, it would fit very well into this environment. Other advantages to a site in the downtown district would be that it would provide better access to more members of the community; it would enhance the area with its cultural value; and it would be able to draw people from the already existing hotels, restaurants, shopping areas, and convention center. Since this area is open to this type of architecture it would be important to address the new existing examples of architecture with similar issues of form, function, aesthetics, material, systems, scale and meaning.

Natural Context and Response

Natural Context and Response

San Diego's climate and location make it a very desirable site for this project. Its mild climate lends itself to lush and low maintenance landscaping. The location of the downtown district along the bay offers a ready made spectacular view and background for the exhibits. Every effort should be made to utilize and preserve what nature has abundantly provided in this context. San Diego's natural context and climate will allow for diverse arrangements of indoor and outdoor spaces as well as orientation of views and access.

Torrey Pinesi ^1 Stale Beach\ -^

NAVAl HStRVATION 5YCAMO«E CANYON

ANNEX %

PACIFIC OCEAN

31

Context Case Studies

Canty, Donald J., "Glitter By the Bay," Architectural Record. 1989-90, 56-57.

Glitter By the Bay

Located at the edge of San Diego's recently revived downtown, the San Diego Convention Center has emerged as a model for the new convention center building type which focuses on public space and the relationship of the facility to the community it serves. Donald Canty quotes the convention center's design architect, Arthur Erickson, as saying:

The challenge of the 11.2-acre waterfront site was to accommodate the massive requirements of the center without cutting off access to the bay and the awareness of the bay's immediate adjacency. Every effort was made to keep the structure as low as possible and to distribute the accommodations in a stepped form.

Canty explains that what sets this center apart from less distinctive buildings of the same type is the exuberance of its architecture a billowing glass-and-concrete superstructure that comes across as a high-tech, late 20th-century version of the 19th-century crystal palace. This exuberance is evident in the upper level which is an unusual 100,000-square-foot open-air space, topped by a tensile fabric roof, that exploits Southern California's benign climate and the center's prominent site at the edge of San Diego Bay. The San Diego community, from local architects to taxi drivers, seems to have a genuine pride in the facility. City leaders intent on prospering while preserving San Diego's natural beauty have replaced old shipyards and canneries with hotel towers and waterfront parks which now surround the new convention center. Since its opening in January 1990, downtown has become lively even when the offices and banks are closed. Hotels, restaurants, shopping centers, and housing developments are rising on every square inch of available space as downtown San Diego comes of age.

Local architecture critic, Kay Kaiser, published a review of the structure written in the form of a thank-you letter to architect Arthur Erickson. In her review she quotes Erickson as saying to the port commissioners that his intent from the start was "to make the city and landscape and integral part of the convention center, both inside and out." Also in her review, she had special praise for the generous 107,000 square feet of terraces facing the water. "With these terraces," she concluded,"you gave back as much of the waterfront to the San Diego public as you could, while accommodating the needs of conventioning outsiders."

32

Glitter by the Ba$ , A few well chosen architectural fireworks make San Diejpj'.s new , . : ^ ^

convention center more than ju.st another faceless hox. j ^ ^ ^

Rand, George. "Architecture Comic Opera," Architectural Record. March 1986, 128-135.

Architecture Comic Opera

Horton Plaza was designed to be an architectural surprise itself, a collage of pastel colors with elaborate, colorful tilework marking benches and stairways, cloth banners waving in the air, and modern sculptures marking the entrances. Horton Plaza's innovative architecture has strongly affected the rest of downtown's development, and new apartment and condominium complexes along G and Market streets mimic the pastel colored towers and cupolas of the plaza. Horton Plaza has filled an essential gap for downtown workers and residents, who had few places to shop for essentials. It provides not only shopping but also contains a movie theater complex, major restaurants, take­out ethnic food shops, and the San Diego Repertory Theater. According to George Rand:

After two years in operation Horton Plaza can be judged a success in helping downtown San Diego shake a reputation for seediness. Horton has become the linchpin in a redevelopment that includes a hotel and a convention center. Horton Plaza was seen as part of a long-term commitment to the central city, a policy that convinced department stores to enter the venture and lenders to back it.

The Horton Plaza has played a large role in the rejuvenation of downtown San Diego. It has paved the way for others with innovative ideas to try their hands at new and exciting endeavors in this areas.

34

Analysis ot Activites

Analysis of Activities

The break down of activities can be separated according to priority. The primary activities have a high importance to the success of the facility. One purpose of these environments is to stimulate interest in the computer art work exhibited within these spaces. This is directly related to the visitors activities: viewing, browsing, analyzing, listening, and evaluating. Another primary desire of the facilities is to enlighten the artists that are working in the studios. The artists' activities would consist of: conceptualization, digitizing, manipulation, and illustration. Some secondary activities that take place within these environments are meandering, conversing, relaxing, shopping, selling, maintaining, and exhibiting. These activities will most likely take place on a regular basis. However, each activity's intensity will vary depending on the individual. Even though some activities are considered primary and some secondary, all of them impact one another.

Aclivilo RelaiionshiD Matrix p

Ideation and Creation of Computer Art

Ideation and Creation of flyltiiiiediaArt and HtjDerinedia Art Ideation and Creation of Video Art

Ideation and Creation of C(jber5pacialArt

VietDing / Observation / Contemplating

Arrival and Eperience of Video Art Presentltk

Experiencing Cijberspacial Art

Interactina riaintaining Environmental Systems

riaintaining Electrical hqyiptuient and Systems

Orientation

Guidance

Lecturing

Pacing

Resting / S i t t i q "

Supervision

Buusiness

Clerical Docometation

Shopping

Operating / Managing

Cleaninq / flamtaininq

tiigh interaction [ H I

mediuin interaction [ ^

n no interaction

Definition of Primary Activities

Definition of Primary Activities

Activity: Ideation and Creation of Computer Art

Participant: Artist

Action: The artist conceptualizes and generates ideas and designs for his or her work. The computer is used as the primary tool for the creation of the visual image(s). The final image may take on a variety of different mediums, depending on the artist's method of display. The artist could choose to display the image on the screen of a computer monitor, shoot a slide of the work and project it, print or plot the image to a hard copy, or even display the work on several monitors. There are many other options besides these that the artist could create to display his or her art.

Setting: The artists require an environment that is personal and inspirational, as well as functional and orderly. The artists must also be able to interact freely with one another.

Time: accessibility should be continuous 24 hours a day

Activity : Ideation and Creation of Multimedia Art and Hypermedia Art

Participant: Artist

Action: The artist's ideas and conception are generated through the use of a multiplicity of different tools in the production of multimedia art. Multimedia uses the computer to integrate and control diverse electronic media such as computer screens, video disk players, CD-ROM disks, and speech and audio synthesizers. If connections between these elements and the entire package are made to be interactive, the work becomes an example of hypermedia. This type of art work can be displayed in a number of different ways that allows the artist to be very creative.

Setting: The artists require an environment that is personal and inspirational, as well as functional and orderly. The artists must also be able to interact freely with one another.

Time: accessibility should be continuous 24 hours a day

36

Activity: Ideation and Creation of Video Art

Participant: Artist and Electronic Technician

Action: The ideation and manipulation of images and sound to produce an artistic presentation that is continually in motion. The artist and technician must work together and join their expertise to produce an artistic piece through the use of highly advanced technical electronics. This also involves setting up the necessary equipment and monitoring it during the presentation.

Setting: The ideation of the art may be conceptualized in the artist's studio and/or the technician's studio, but the final piece must be done in spaces that are adjacent to the visitors seating area. This is because the projection(s) of the work needs access to the same space where the visitors are seated. These spaces must be efficient, compact, and highly functional.

Time: Generally from 10:00 a.m. to 6:00 p.m. Some exceptions may necessitate 24 hour accessibility

Activity: Ideation and Creation of Cyberspacial Art (Cyberart)

Participant: Artist and Electronic Technician

Action: The artist intuitively generates three dimensional models of art with the use of the computer. These models can then be transfered into a system that removes all hidden surfaces, and creates bipolar displays that frees the artist from the monitor completely; therefore, allowing the artist to visually see in 3D what the visitor would experience. This particular art form requires physical involvement, therefore physical gestures and movements must be accounted for in the design of this space.

Setting: The artists require an environment that is personal and inspirational, as well as functional and orderly. This space will need to be physically and aesthetically appropriate for the artist that is going from Cyberspace to Reality and Reality to Cyberspace.

Time: Accessibility should be continuous 24 hours a day.

Activity: Viewing/Observation/Contemplating

Participant: Visitors

Adults have the need to intellectually understand the exhibit either through experience or observation.

Children are provided with an opportunity to satisfy their curiosity and playfulness.

Action: The art work as well as the exhibit environments bring about mental growth and enlightenment. Some areas of the exhibit contain works of art that may involve physical interaction in addition to observation.

Setting: The theme and intent of the facility must be revealed through a logical succession of different experiences.

Time: 10:00 a.m. to 6:00 p.m.; for 1-60 minute periods, or when needed between exhibits.

Activity: Arrival and Experience of Video Art Presentation

Participant: Audience

Action: Patrons assemble or meet in a preparation area (lobby), before entering into the seating area. Some will arrive early, some late, and the selection of seating will be obtained accordingly. The video art presentations will be shown regularly through the business day and are included as part

of the entire experience of the facility. The audience after sitting down will be able to keep to themselves or socialize with each other until the presentation starts. Then the audience can view and listen to the latest in high-tech video art. Some presentations may be interactive and require viewer participation.

Setting: Areas for arrival will be gathering spaces to hold the visitors before their entry into the seating area. These areas need to provide the visitor with a relaxed and comfortable setting. The seating area should maximize the accessibility while at the same time not open itself up to an over abundance of noise. The seating area must provide every viewer with the best possible visibility and acoustics.

Time: Generally 10 - 60 minutes at a time, three to five times a day during 10:00 a.m. to 6:00 p.m.

38

Activity: Experiencing Cyberspacial Art

Participant: Visitor

Action: The visitor applies a set of miniature goggle-mounted screens and a pair of gloves that sense hand movement and position, while he or she is standing or walking on a multi directional tread mill that positions him or her according to his or her speed of movement. The real world is removed from his or her senses of vision and touch, and what he or she sees and thinks he or she feels is computer-generated including the image of a hand that mimics the motion of his or her real hand as he or she moves it in front of his or her eyes. If the visitor turns his or her head, the image shifts as if he or she were viewing a real scene without the aid of the computer and its electronic extensions.

Setting: Experiencing Cyberart requires an area that is physical and aesthetically appropriate for pre and post Cyberspacial participation. This area must also be functionally flexible to accommodate electronic equipment as well as physical movement.

Time: 10:00 a.m. to 6:00 p.m..

Activity: Interacting

Participant; Artist/Participant(visitor)

Setting:

Interaction of people with machines (computers); human behavior is perceived by a computer, which interprets what it observes and responds through programmatic visual and auditory display. Interaction of people with people; two or more people socializing physically and/or verbally.

Area(s) for participating in responsive environments, that can accommodate physical as well as verbal speech and/or sounds for maximum interaction.

Time: 10:00 a.m. to 6:00 p.m.

39

Activity: Exhibit Design and Construction

Participant: Exhibit Designer/Curator/Electronic Technician

Action: The designer must work closely with the artists in the planning of the exhibit spaces. This action consists of the conceptualization of preliminary designs for the display of the art. This may require computer generated mock-ups, drawings, or models with the artist's work incorporated within. The final construction of the chosen design will have to be administered and managed by both the designer and the technician. These exhibit environments house works of art for varied periods of time. These activities are constant year round,

Setting: The exhibit designer requires an inspirational space that facilitates his or her necessary equipment. The technician is in need of a highly functional space that is orderly as well as efficient.

Time: Generally from 10:00 a.m. to 6:00 p.m. Some exceptions may necessitate 24 hour accessibility.

Activity: Maintaining Environmental Systems

Participant: Environmental Systems Technician

Action: The person's responsibility is to maintain the operation and efficiency of the heating, cooling, lighting, acoustical, humidity, dust, and static electricity systems. These systems must be controlled to obtain the most comfortable situation for human use. By controlling these systems, the functional requirements of the electrical and mechanical equipment used for the art will also be met.

Setting: This area needs to be private with very limited accessibility. The controls that will be housed within this space are crucial to the operation of the entire facility and must be kept very secure. This space must also be highly functional for the user to access any and all controls as needed.

Time: 10:00 a.m. to 6:00 p.m. Also on call 24 hours a day

Activity: Maintaining Electrical Equipment and Systems

Participant: Electronic Equipment and Systems Technician

Action: The electronic equipment and systems (computers, video, plotters, printers, monitors, interactive devices, multimedia devices, audio, acoustics, transformers, and etc.) must be constantly monitored. They must also be installed, removed, relocated, altered, expanded, replaced, and updated with the latest in technology.

Setting: The technician may accomplish these tasks in the studio, exhibit, or nearly any space that has electronic equipment. Some of these tasks may require a private area for longer more intense periods of work. This space must be very functional and efficient, with plenty of workable and flexible area.

Time: 10:00 a.m. to 6:00 p.m. Also on call 24 hours a day

Definition of Secondary Activities

Definition of Secondary Activities

Activity: Orientation

Participant; Visitor/Artist/Docent

Children will be under adult supervision in most cases, therefore additional guidance for them will not be necessary. Adult or group tours will not require complete orientation, although, a group leader may be necessary for larger groups.

Action: The visitors are seeking an understanding of one's position with in the space/facility. Presenting the visitor with general information about the facility to enlighten their experience.

Setting: A place for physical orientation. A place for interaction between visitor and employee to ask about the building and its contents. A place for the gathering of large and small groups for tours. A place for the visitor to obtain a better understanding of the art work, exhibit, and facility he or she is about to experience. An area that allows the visitor to plan his or her circulation through the exhibit.

Time: 10:00 a.m. to 6:00 p.m.

Activity: Guidance

Participant: Artist/Docent

Action: The decent or artist either explains or leaves open the intent of the exhibit. He or she also explains and demonstrates to the visitor how to interact with the exhibit through participation. It is the responsibility of the artist or the decent to assist the visitor with any question or needs he or she may have. An alternative to the typical decent tours could be the use of computers and/or technical devices that would present background information as well as guidance. An example of this is an informative touch sensitive screen.

Setting: The entire facility from the lobby to the artist studio lends itself to visual presentation and observation. Therefore, presenting the need for continuity in plan and aesthetics. More time is spent in the exhibit areas, although all of the public spaces are used.

Time: 10:00 a.m. to 6:00 p.m.

42

Activity: Lecturing/Demonstrating

Participant: Artist

Action: The artist informs and instructs the visitors about the process that he or she uses to create his or her work. He or she must also relay the intent of their work and the intent of the facility itself.

Setting: These activities may occur in the artist's studio or in the exhibit areas, therefore these spaces must be highly flexible. The area(s) will be used for active and interactive participation with the visitors and the artist.

Time: Generally from 10 - 60 minutes at specific times during the regular hours of 10:00 a.m. to 6:00 p.m.

Activity: Pacing

Participant: Visitor

Organized group tours have the need to have the pace set by one who knows about the museum. Individuals have the need to enjoy the museum at their own pace. Small groups or families similar to organized groups have a leader that functions as their guide.

Action: The manner in which the visitor moves about the facility in order to fulfill his or her desires of participation and contemplation.

Setting: Several areas of varied size, shape, and content; that can accommodate 1-200 people, and allow active participation and circulation when necessary.

Time: Certain exhibits will have scheduled times; others will remain open: 10:00 a.m. to 6:00 p.m..

Activity: Resting/Sitting

Participant: Visitor

The visitor has the need to be able to reflect on the visual and audio information that he or she has already experienced.

4 3

Action: The visitor rests and relaxes by sitting in areas located within the exhibit as well as outside the exhibit, which prevents fatigue and stress.

Setting: Rest areas for the visitors are provided inside the facility and out to offer a relaxing transition between exhibits.

Time: 1-60 minutes, between exhibits, or when needed.

Activity: Shopping

Participant: Visitor

Visitor seeks to obtain additional detailed information, in the form of: graphics, books, art specialized computer software, and art specialized computer hardware.

Action: Shopping involves pacing, browsing, and the choosing of materials within this area that satisfies the customers interests.

Setting: An area for display of books, graphics, software, and hardware to sell to the visitors. This space must convey the nature of the exhibits and the art work within them. The products sold within the store must also exemplify the nature of the artistic environments.

Time: 10:00 a.m. to 6:00 p.m..

Activity: Documentation

Participant: Documentation Director

Action: This job consists of photographing the work that is being displayed in the exhibit. The documentation director will also organize this visual information into a reference system of exhibit examples. Some of the interactive multimedia and hypermedia art will require video record of the work. The filing and organizing of the documented works of art is also a task of this person's position.

Setting: This area is in need of a space or spaces that can provide the viewing, the photography, and the video taping of the art work on display. The storage area or areas need to be extremely flexible and secure. The activity of documentation requires that both of these areas work well together.

Time: 10:00 a.m. to 6:00 p. m.

Activity: Supervision

Participant; Administrative Director

Action; This activity requires tasks such as scheduling and directing all of the special activities. He or she must initiate and promote donations and special gifts. This person is also responsible for the scheduling of art shows and demonstrations. In addition, this administrator is in charge of drafting and administering the annual budget for each fiscal year. He or she also address any or all proposals for improvement and/or expansion.

Settings; An area of privacy; although accessible to other personnel. The space should optimize the needs for operating and managing the facility and its finances.

Time: 10:00 a.m. to 6:00 p.m.

Activity: Business

Participant: Public Relations

Action; A task of this particular activity is the set-up of programs, advertising material and publications as well as contacting perspective advertising clientele. Another responsibility is to put out news releases that would inform the public about the facility's art and artists.

Setting: This should be an area of privacy, and will require accessibility to and from the entire facility, particularly to the administration. This space will need to be an appropriate size for the layout and designing of advertising material.

Time: 10:00 a.m. to 6:00 p.m.

4";

Activity: Clerical

Participant: Secretaries

Action: The secretaries help maintain and operate the day to day functioning of the facility. They also use their clerical and personable skills to assist certain employees with specific tasks.

Setting: An area that is semi-public and highly accessible to the person or persons they will be assisting. The space will need a feeling of comfort as well as productivity.

Time: 10:00 a.m. to 6:00 p.m.

Activity: Operating/Managing

Participant: Bookstore Manager

Action: This person is responsible for the inventory, accounting, and selling of collectible materials pertaining to the intent and theme of the facility and its exhibits.

Setting: This area, in some nature, must resemble the exhibit area. It must also provide easy accessibility to viewing and obtaining the products sold in the space.

Time: 10:00 a.m. to 6:00 p.m.

Activity: Cleaning/Maintaining

Participant: Custodial and Maintenance Personnel

Action: All areas of the building will require upkeep and cleaning, indoors and outdoors. To accomplish this, these persons must take on such tasks as: cleaning, replacing, monitoring, moving, repairing, planting, installing, and etc..

Setting: Maintenance activities occur almost constantly; however these activities must be kept away from the exhibition areas during visiting hours. These activities will need highly functional spaces for the repair and storage of the facilities materials of maintenance.

Time: 9:00 a.m. to 6:00 p.m. - maintenance 7:00 p.m. to 11:00 p.m. - custodian

Analysis of Spaces

Analysis of Spaces

Public Spaces

Exhibit Areas Number of Occupants: 450 Floor Area: 6,000 sf Number of Units: 2 Total Area: 12,000 sf Net to Gross Ratio: 26.8%

Function: To display various examples of computer art in the form of a hardcopy Bit map, multimedia, hypermedia, and/or Cyberspacial media.

Qualitative: This space must be highly flexible for a variety of display designs and art forms. Structural requirements will vary from art work to art work. This space must also be aesthetically enlightening without over powering the art within.

Architecture: Floor: Concrete slab base floor with carpeting for reduction of sound reverberation. Walls: Acoustically insulated paneled walls hung on isolation rails from concrete walls. The panels must be movable for quality acoustical performance. Concrete bearing walls with interior wall partitions (dual functioning: acoustical/display) hung on isolation rails. Ceilings: Acoustically insulated panels hung from isolation rails. The ceiling will require a variety of locations for lighting arrangement, both spot lighting and down lighting. Windows: Double air-lock windows with insulated glass units and acoustical seals for view into studio from adjacent spaces.

Mechanical: HVAC: The system should maximize capacity with a minimum velocity to maintain constant temperature of 68 degrees Fahrenheit, relative humidity at or below 30%, and noise attenuating ducts. This space will use an adaptive and intelligent system to conserve energy and continuously readjust parameters, especially controller gains to match and change load conditions. Lighting: Computer monitors and other screens require lighting that eliminates glare. Due to the variety of equipment used to display the art, the lighting must be highly flexible in terms of intensity and location. General illumination of 80 footcandles should be used during nonproductive periods. Power: Receptacles for both 120V Ac and 240V Ac should be provided and should have maximum efficiency surge protection. The space will use flush floor outlets for power, electronics, communications, and computer cable hookups to main frame.

47

Eguipment: This space contains highly flexible floor and ceiling panels as well as movable wall panels. Exterior windows will require computer controlled sun shading devices in order to protect the art work. Most of the equipment will be brought in along with the art work; therefore, a video camera and laser light security systems are needed.

A u d i t n ^ i i i T n Number of Occupants: 300 Floor Area: 4,000 sf Number of Units: 1 Total area: 4,000 Net to Gross Ratio: 8.9%

Function: To accommodate comfortably 300 visitors and provide each and every one with the best possible view and acoustics available.

Qualitative: This space must have the potential for a variety of different arrangments of presentation as well as seating. The surface(s) that are used for display must also be highly operable and movable. The lighting, mechanical, and acoustical systems are essential for a quality presentation; so they will require the latest in technologically advanced systems.

Architecture: Floor: Concrete slab base floor with carpeting for reduction of sound reverberation. Walls; Acoustically insulated paneled walls hung on isolation rails from concrete walls. The panels must be movable for quality acoustical performance. Ceilings: Acoustically insulated panels hung from isolation rails. The ceiling will require a variety of locations for lighting arrangement, both spot lighting and down lighting. Windows: Double air-lock windows with insulated glass units and acoustical seals for view into studio from adjacent spaces. Doors: Double air-lock doors with acoustical insulation and seals.

Mechanical: HVAC: The system should maximize capacity with a minimum velocity to maintain constant temperature of 68 degrees Fahrenheit, relative humidity at or below 30%, and noise attenuating ducts. Lighting: Each production will vary although most production will be video prioritive. Therefore, only on certain occasions will spot lighting be needed. During entry and exit a minimum of 50 footcandles should be used.

Power: Receptacles for both 120V Ac and 240V Ac should be provided and should have maximum efficiency surge protection.

Eguipment: Multimedia sound and video electronics, consisting of video-disk players, CD-ROM disks, video projectors, computer monitors, and speech and audio synthesizers. Additional high quality speakers may require dolby system. Video camera and laser light security systems are needed.

Lobby/Display Number of Occupants: 150 Floor Area: 2,500 sf Number of Units: 1 Total Area: 2,500 sf Net to Gross Ratio: 5.6%

Function: To provide the visitor(s) with a space to gather, mingle, socialize, and get oriented before entering the exhibit areas.

Qpalitgttive: This space must be a large volume space with a variety of different seating arrangements. This space will serve a dual purpose of gathering and orientation as well as display for new and local art. This requires the space to be very flexible.

Architecture: Floor: Concrete slab base floor with carpeting for reduction of sound reverberation. Walls: Acoustically insulated paneled walls hung on isolation rails from concrete walls. The panels must be movable for quality acoustical performance. Concrete bearing walls with interior wall partitions (dual functioning: acoustical/display) panels hung on isolation rails. Ceilings: Acoustically insulated panels hung from isolation rails. The ceiling will reguire a variety of locations for lighting arrangement, both spot lighting and down lighting. Windows: Double paned glass with ultraviolet tint. Doors: Glass doors with seals and security system.

Mechanical: HVAC: The system should maximize capacity with a minimum velocity to maintain constant temperature of 68 degrees Fahrenheit, relative humidity at or below 30%, and noise attenuating ducts. Lighting; Due to the variety in the equipment used to display the art, the lighting must be highly flexible in terms of intensity as well as location. Each piece of art work will require its own unique setting.

4t)

Power: Receptacles for both 120V Ac and 240V Ac should be provided and should have maximum efficiency surge protection.

Eguipment: This space contains highly flexible floor and ceiling panels as well as movable wall panels. Exterior windows will require computer controlled sun shading devices in order to protect the art work. Most of the equipment will be brought in along with the art work. Also it needs a variety of arrangement for single and multiple seating and a video camera and laser light security systems.

Lounge Number of Occupants: 15 Floor Area: 300 sf Number of Units: l Total Area: 300 sf Net to Gross Ratio: .7%

Function; To provide the visitor(s) with a relaxing environment to sit, stand, or lean in order to rest and contemplate.

Qualitative: This space must be a combination of indoor and out with a large amount of glass for natural sun light. The atmosphere must be casual and comforting.

Architecture: Floor: Concrete slab base floor with carpeting for reduction of sound reverberation. Walls: Acoustically insulated paneled walls hung on isolation rails from concrete walls. The panels must be movable for quality acoustical performance. Concrete bearing walls with Interior wall partitions (dual functioning: acoustical/display) panels hung on isolation rails. Ceilings: Acoustically insulated panels hung from isolation rails. The ceiling will require a variety of locations for lighting arrangement, both spot lighting and down lighting. Windows: Double paned glass with ultraviolet tinting. Doors: Glass doors with seals and security system.

Mechanical: HVAC; The system should maximize capacity with a minimum velocity to maintain constant temperature of 68 degrees Fahrenheit, relative humidity at or below 30%, and noise attenuating ducts. Lighting; Due to the variety in the equipment used to display the art, the lighting must be highly flexible in terms of intensity as well as location. Each piece of art work will require its own unique setting. General illumination of 100 footcandles.

Power; Multiple location of 120V source floor and wall mounted.

Equipment: Seating for 1-15 in a variety of arrangements and phones for local calls. There are video cameras in this area for security.

Public Resti-oomK Number of Occupants: 5 Floor Area: 100 sf Number of Units: 4 Total Area: 400 sf Net to Gross Ratio: .9%

Architecture: Floor: Concrete slab base floor. Tile with drain. Walls: Tile, painted drywall. Ceilings: Painted drywall. Doors: Solid with vent.

Mechanical; HVAC: Extra attention is needed concerning ventilation. Lighting: General illumination of 180 footcandles. Power: Multiple location of 120V source floor and wall mounted.

Utilities: Plumbing: 3-sinks with hot/cold water. Womens—3-flush valve toilets. Mens—2-flush valve toilets, 2-wall mounted urinals

Equipment: 3-paper towel dispensers, 3-soap dispensers, 3-toilet paper dispensers

Bookstore/Giftshop Number of Occupants: 30 Floor Area: 1,000 sf Number of Units: 1 Total Area: 1,000 sf Net to Gross Ratio: 2.37%

Function: To house paraphernalia for gifts and additional information about the art, artists, and facility.

Qualitative; This space must be organized in such a way to maximize circulation. All products need to be highly visible and accessible. Products that require security must be dealt with as such. The attitude of the space must convey the nature of the art and the facility.

Architecture: Floor: Carpet and tile Walls: Painted dry wall Ceilings: Dropped panels Windows: Double paned glass with ultraviolet tinting for exterior, single for interior. Doors: Glass doors with seals and security system.

SI

Mechanical: HVAC: The system should maximize capacity with a minimum velocity to maintain constant temperature of 68 degrees Fahrenheit, relative humidity at or below 30%, and noise attenuating ducts. Lighting: Due to the variety of the products on display, the lighting must be highly flexible in terms of intensity and as well as location. Power: Multiple location of 120V source floor and wall mounted.

Equipment: Lighted showcases, book shelving, computer/cash register, storage, and video monitored alarm system.

Outdoor Public Spaces

Protected Outdoor Number of Occupants: 40 Floor Area: 1,000 sf Number of Units: 1 Total Area: 1,000 sf Net to Gross Ratio: 2.2%

Function: To provide the visitor(s) as well as the artists and staff with access to protective outdoor rest and relaxation, while waiting, standing, or leaning-

Qualitative: Natural settings that relax and comfort humans and allow them to wander mentally and physically.

Architecture: Floor: Concrete slab with tile or brick pavers. Walls: High grade precast concrete slabs. Ceilings: Plexy-glass panels and/or canvas suspended by cables.

Equipment: Bench type seating, sculpture, and landscape.

Private Spaces

Director's Office Number of Occupants: 4 Floor Area: 250 sf Number of Units: 1 Total Area: 250 sf Net to Gross Ratio: .6%

Function: Coordinating office for all personnel related to the facility. To oversee all employee matters.

Qualitative: Space should appear authoritative yet, be comfortable, and should have windows and/or skylights for natural light.

Architecture: Floor: Carpet Walls; Painted dry wall Ceilings: Dropped panel Windows: Double paned glass with ultaviolet tinting for exterior, single for interior. Doors: Solid with security system.

Mechanical: HVAC: Noise illuminating duct. Lighting: General illumination 120V. Power: Receptacles for both 120V Ac and 240V Ac should be provided and should have maximum efficiency surge protection. This space will use movable flush floor outlets for power, electronic, communication, and computer cable hookups. Cominunications: Private visual teleconferences.

Equipment: Personal computer Executive desk Executive chair Computer desk

Curator*s Office Number of Occupants: 3 Floor Area: 200 sf Number of Units: 1 Total Area: 200 sf Net to Gross Ratio: .4%

Function: Duties included selection of art, exhibit planning, assisting documentation, and establishing relation with the inhouse artists. The space must provoke an orderly manner.

Qualitative: This space must convey a business like manner as well

as and understanding of superior art work. The curator is a professional and requires an atmosphere as such.

Architecture: Floor: Carpet Walls: Painted dry wall Ceilings: Dropped panel Windows: Double paned glass with ultraviolet tinting for exterior, single for interior. Doors: Solid with security system.

Mechanical; HVAC: Noise illuminating duct. Lighting: General illumination 120V. Power: Receptacles for both 120V Ac and 240V Ac should be provided and should have maximum efficiency surge protection. Communications: Private visual teleconferences.

Equipment: Computer equipment consists of CPU, monitor, mouse Executive desk Executive chair Computer desk Filing system and modem

Public Relations Manager^s Office

Number of Occupants: 3 Floor Area: 200 sf Number of Units: 1 Total Area: 200 sf Net to Gross Ratio: .4%

Function: Coordinating advertising, fund raising, and special events with the public. This position necessitates continuous social interaction throughout the day.

Qualitative: This space must welcome, comfort, and invite incoming guests. Persons donating large amounts of money to this facility must be taken care of. Therefore, this space must be highly functional and efficient.

Architecture: Floor: Carpet Walls: Painted dry wall Ceilings: Dropped panel Windows; Double paned glass with ultraviolet tinting for exterior, single for interior. Doors: Solid with security system.

Mechanical: HVAC: Noise illuminating duct. Lighting: General illumination 120V. Power: Receptacles for both 120V Ac and 240V Ac should be provided and should have maximum efficiency surge protection. Communications: Private visual teleconferences

Equipment: Computer equipment consists of CPU, monitor, mouse Executive desk Executive chair Computer desk Filing system and modem

Public Relations Assistance's Office

Number of Occupants: 3 Floor Area: 150 Number of Units: 1 Total Area: 150 sf Net to Gross Ratio: .3%

Function: Assisting the Public Relations manager with his social and technical duties.

S4

Qualitative: This space must be highly efficient and adaptable for large advertising and planning jobs.

Architecture: Floor: Carpet Walls: Painted dry wall Ceilings: Dropped panel Windows: Double paned glass with ultraviolet tinting for exterior, single for interior. Doors; Solid with security system.

Mechanical: HVAC: Noise illuminating duct. Lighting: General illumination 120V. Power; Receptacles for both 120V Ac and 240V Ac should be provided and should have maximum efficiency surge protection. Communications: Private visual teleconferences.

Equipment; Desk for personal computer, tools and supplies for advertising layouts. Table and chairs for guests. Computer equipment consists of CPU, monitor, mouse, modem and scanners.

Video Art Studio Number of Occupants: 3 Floor Area: 300 sf Number of Units: 1 Total Area: 300 sf Net to Gross Ratio: .7%

Function: To house the artists' and technicians' equipment that is needed for the ideation and creation of works of video art. This space may also be used for preliminary tests before being exhibited in the auditorium or other exhibit environments.

Qualitative: This space will need to be highly flexible in order to allow the artist a wide range of creative possibilities. This area will house large amounts of electronic equipment; therefore, it requires very reliable and efficient electrical and environmental systems. The acoustics of this space will also be very important, since some recording may take place for the audio part of the art work.

Architecture: Floor: Concrete slab base floor with raised access flooring, with static electricity grounding. Walls: Acoustically insulated paneled walls hung on isolation rails from concrete walls. Ceilings: Acoustically insulated panels hung from isolation rails. Windows: Double air-lock windows with insulated glass units and acoustical seals for view into studio from adjacent spaces.

55

Doors: Double air-lock doors with acoustical insulation and seals. Walls, ceilings, and floors must have a fire-resistant rating of no less than one hour.

Mechanical; HVAC: Computers and other electronically equipment require precision temperature and humidity control. The system should maximize capacity with a minimum velocity to maintain constant temperature of 68 degrees Fahrenheit, relative humidity at or below 30%, and noise attenuating ducts. Lighting; Computer monitors and other screens require lighting that eliminates glare. Due to the variety of equipment used to display the art, the lighting must be highly flexible in terms of intensity and location. General illumination of 80 footcandles should be used during nonproductive periods. Power; Receptacles for both 120V Ac and 240V Ac should be provided and should have maximum efficiency surge protection. This space will use movable flush floor outlets for power, electronic, communication, and computer cable hookups.

Equipment: 2 stations: Including a PC laptop computer with 24" super high resolution monitors, video disk players, CD-ROM disk, VCR, mouse, modem, scanner, voice command head mounted microphone, and Camgaurter (video recorder). The final product will run from a high powered work station. Additional equipment may include cameras, tripods, video mixers, slide projectors, big screen TVs, and etc. Furniture consists of well designed, computer sympathetic, ergonomic, chairs and work surfaces, which provides beam assembly component systems for electrical equipment and computer hookups and maximum accessibility and flexibility. Also, video cameras and laser light security systems are needed.

Relationships of Activities to Spaces

Relationships of Activities to Spaces

Analyzing the relationship of activities to spaces allows one to investigate every and all possible good and bad similarities, connections, issues, and needs. In some instances the performance of an activity necessitates the requirement for a particular physical space. By using the analysis of activities to evalute and compare the needs and requirements of spaces, the overall quality and aesthetics of each space can be most effectively planned and designed.

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Relationship of Spaces for Adjacency/Separation

Relationships of Spaces for Adjacency/Separation and Public/ Private

By evaluating and comparing spaces for their adjacency and separation, the most effective arrangement of plan and overall design can be accomplished. There are certain requirements and needs for each and every space that bring about the reasoning for their adjacency or separation. Every space does not necessarily need to be adjacent and there are some cases were it is mandatory that they are not. As well, there are some spaces that necessitate extremely close relationships in respect to location. Through this process of comparisons, all of these concerns can be addressed.

The nature of space has strong ties to the artists and persons that deal with and function within them. Therefore, there is the need to define these spaces as either public, private, or some where in between.

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61

Relationship of Space For Construction

Due to the numerous amounts of equipment this facility will house and the large live loads (people) that will continuoulsy fluctuate, this facility will require the latest in construction technology. The equipment of this facility is largely a part of the environmental-mechanical, structural, and electrical systems. These systems must be integrated into the final design and construction in order to provide for the optimum functional, aesthitical, and humanistic needs. Some spaces like the exhibit areas will require specific structural specifications for long spans and extra loads. Electrical concerns of particular spaces like the studios, control rooms, and exhibit areas will need additional attention and detail. The mechanical and environmental systems become very important in this facility due to the large amount of heat and changes in humidity along with the screening of dust and other polution in the air. If these and other demands not mentioned are addressed and taken care of, the over-all building can function as a combined singular system and therefore be constructed as such.

Summary of Spaces

Spaces

SPACE

Public Spaces

Public Outdoor Spaces

Private Spaces

Service Spaces

Mechanical Spaces

Circulation Spaces

Usable Square Feet

Gross Square Footaae

SQ,

19,

1,

8,

4j

4,

37,

. FT.

,800

,400

,400

500

,305

,305

,310

OCCUPANTS

965

90

130

6

1,760

44.772

Spacial distribution of this buildng is divided among five areas—public, private, service, mechanical, and circulation spaces. The portion of usuable space devoted to exhibits is 50% of this facility. The other 50% is divided between offices and studios(25%) and service, mechanical, and circulation(25%).

63

Public Spaces

SPACE

Exhibit Areas

Auditorium

Lobby/Display

CONTENTS

exhibition of computer art

video display/ interactive art

information desk

OCCUPANTS

450

300

150

SO. FT.

2@ 6,000 = 12,000

4,000

2,500

Lounge

local art work small receptions

video display & furniture

1-15 300

Public Restrooms

utilities 5 ea, 4@ 100 =400

Bookstore/ Giftshop

computer art paraphernalia

30 1,000

Subtotal Public 19,800 sq.ft.

Outdoor Public Spaces

SPACE

Protected Outdoor

Open Outdoor

Subtotal Publ ic

CONTENTS

display of art furn. & landscape

sculpture, furn. & landscape

Outdoor

OCCUPANTS

35-40

40-50

SO. FT.

1,000

400

1,400 sq.ft

^4

Private Spaces

SPACE

Director's Office

Curator's Office

Public Relations Manager's Office

Public Relations Assistant's Office

Financial Manager's Office

Secretarial Space

Teleconference & Conference/Meeting

Security Office

Exhibit Designer's Workshop/Studio

Exhibit Designer's Office

CONTENTS

comp. & furn.

comp. & furn.

comp. £c furn.

OCCUPANTS

1-4

1-3

1-3

SO. FT.

250

200

200

comp. & furn.

comp. & furn.

computer & furn.

computer & furn.

1-3

1-3

comp. & furn.

comp. & furn.

comp. & furn.

electronic eqpmn

4-8

2-20

3-7

t. 1-6

2-4

150

200

500

350

300

300

250

Video Art Studio

CyberArt Workshop/ Studio

Main Studio

Documenter's Office/Studio

Art work & Documentation Storage

Electrical Technician's Office

electronic eqpmnt. 1-6 computer & furn.

electronic eqpmnt. 3-7 computer & furn.

electronic eqpmnt. 6-12 computer & furn.

electronic eqpmnt. 2-4 computer & furn.

storage shelving 2-4

electronic eqpmnt. computer & furn.

1-3

300

300

2,000

250

350

200

Electronic's Control Room

electronic eqpmnt. computers & furn.

1-3 250

Environmental Systems Technician's Office

electronic eqpmnt. 1-3 computers & furn.

200

Environmental Control Room

Electronics & Exhibits Eqmnt. Storage

Reference/Tech Library

Employee Break Room

electronic eqpmnt. 1-3 computers & furn.

shelving 1-5

stacks & furn. 10

kitchen utilities 1-6

250

550

400

350

Staff Restrooms utilities 1-3 4@ 50 = 200

Subtotal Private 8,400 sq.ft.

66

Service Spaces

SPACE

Loading/ Storage Dock

CONTENTS

loading dock eqpmnt. storage

OCCUPANTS

2-6

SO. FT,

500

TOTALS

Public Spaces

Private Spaces

Service Spaces

19,800 sq.ft.

8,400 sq.ft.

500 sq.ft. 28,700 sq.ft.

Mechanical

Circulation

(based on 15% of total to this point)

(based on 15% of total to this point)

4,305 sq.ft,

+ 4.305 sq.ft. 8,610 sq.ft,

Net Square Feet

Net Tertiary Space

28,700 sq.ft.

+ 8,610 sq.ft. 37,310 sq.ft.

Usable Square Feet 37,310 sq.ft, X 1.2 44,772 sq.ft.

Gross Square Footage 44,772 sq.ft.

67

Economic Analysis

Economic Analysis

Since conceptual economic analysis is used by clients to determine if a project is conceptually feasible, it is not necessary to do a complete economic analysis at this time. It is only essential to include the basic analysis components investment payback, initial project cost, and annual project income. To determine the initial project cost it is necessary to compute the sum of building cost, land value, site work, construction loan cost, and contingency cost. Because this project is not intended to be a profit making organization, it is impossible to figure investment payback or annual project income; and since a definite site has not yet been chosen, the land value cannot be determined.

Project Cost

Project Cost

The 1990 Dodge assemblies cost data for museums of 40,000 sf. was applied to compute the building cost for this project. The high average $/SF figure was used because this particular facility will require higher expenditures due to the above average electrical and mechanical systems requirements. In addition, special types of raised flooring and acoustical treatments will escalate cost.

Average Building Costs

Building Systems

GENERAL CONDITIONS CONCRETE MASONRY METALS WOOD THERMAL & MOIST PROTECT DOORS & WINDOWS FINISHES-LATH & PLASTER

DRYWALL ACOUSTICS FLOORING PAINTING & STAINING

SPECIALTIES EQUIPMENT & FURNISHINGS SPECIAL CONSTRUCTIONS CONVEYING SYSTEMS MECHANICAL-PLUMBING

HVAC SPRINKLER

ELECTRICAL

GROSS BUILDING COST/SF

Ruildina Cost (44,772 sf x

Land Value (no figures available)

Site Work (15% of building cost 4,047,389 x .15) 607,108

Fees & Permits (6% of building cost + site work) 279,270 (4,654,497 X .06)

Construction (11% of bldg. cost - 20% down payment) 356,170 Loan cost (3,237,911 x .11)

Continaencv (start-up cost 5% of bldg. cost) 202,369 (4,047,389 X .05)

Project Cost (without land value) ^.492.30^

High $/SF

5.51 15.51 14.97 1.63 0.00 2.80 .45

0.00 8.59 2.89 5.79 5.06 0.63 1.45 0.00 0.00 6.69

10.76 0.00 8.23

$90.40

0.40/sf)

Average % TOT

6.1 17.2 15.9 1.8 0.0 3.1 0.5 0.0 9.5 3.2 6.4 5.6 0.7 1.6 0.0 0.0 7.4

11.9 0.0 9.1

100%

4,047,389

Project Income

Project Income

The criteria for estimating project income is based on the projected leasing value of comparable property in the area. It is impossible to figure this amount for this project, because no leasing of this facility is planned.

Economic Justification and Methods

Economic Justification and Methods

Economic justification of this project will be rather difficult to defend if taken at face value only; however, with an in-depth study its feasibility is more apparent. The preliminary funding for this project will rely mainly on sponsorships, investments, and donations. However once the facility is open and operating smoothly, it should be able to stand on its own as other museums and galleries in this area are presently doing. With proper advertising and competent, management it should prove to aid and compliment these already existing operations. Art sales, gift shop sales, admission and tour fees, and revenue from special events will be the principle methods for generating income when the facility is fully operational. Sponsorships, investments, and donations will be accepted on a continuous basis. Possible sources of sponsorships will be computer companies (IBM, Macintosh, and Amiga), software companies (Supermac, Strata, and Crichet Paint), and electronic companies (Sony, Panasonic, and Mitsubishi), who would donate equipment for use in this facility in exchange for the use of their names in the gallery's brochures and other advertising media. Since the studio will have its own artists working inhouse and will also be accepting other outside artists' art works, the gallery should be sufficiently supplied with pieces of art for display and sale. Special events such as demonstrations, visiting lecturers, and private showings can be scheduled when convenient or as needed as a supplemental source of revenue.

Case Studies

Dietsh, Deborah, K. "Art in Industry: American Museum of The Moving Image." Architecture Record, May 1989, 116-120.

American Museum of The Moving Image

Gwathmey Siegel & Associates took on a great challenge — the renovation of a three-story industrial warehouse into a museum for moving images. Their intent was to create a rigorous framework for AMMI's (American Museum of The Moving image) growing collection, and future expansion— for only $130 per square foot. Gwathmey Siegel & Associates say their building does not have the preciousness associated with a fine-arts museum, although, "our building has an unfinished quality, with details that are built to last. He compares his design concept to the Centre Pompidee, in which public circulation is first to the outskirts of the perimeter to maximize, what he calls the "black box." This black box functions with the galleries and theaters at the center of the museum. A 7,200 square-foot loft area on the second floor, houses the staff offices. Gwathmey also added to this warehouse a 190 seat theater which he chose to insert into the ramp of a former leading bay that is surrounded by a museum, shop, cafe', community meeting room, and temporary exhibition space. Deborah Dietsh quotes Gwathmey as stating "AMMI is a study in inexpensive materials used in an appropriate way," A goal of the project was to enhance the museum's behind-the-screen philosophy by emphasizing and elaborating on the industrial character of the former warehouse. The theater is equipped for screening various sizes of films, videos, and rare nitrate punts. AMMI's director Rochelle Slovin explains "I want the artifacts to be seen within their architectural setting without a lot of graphics." The museum's proposed structural and mechanical systems allow for tent-like screens to be hung from them for the framing of the museum the movable sound booths that offer commentary by producers on TV shows and movies shown on monitors over-head, along with artist Naim June Paik's "Getaway Car," an 80-monitor installation. The project was limited in terms of its space and funding, but the end product turned what was available into a dynamic and interesting display of moving images.

A Museum That Invites Participation

MASTER PLAN

Moreno, Elena, Marcheso. "A Museum That Invites Participation: American Museum of the Moving Image, Architecture, June 1989, 74-79.

American Museum of the Moving Image

Now a landmark and owned by New York City, the AMMI (American Museum of the Moving Image) is part of the silent-era Paramount Studios complex in Austria. The building was in serious decay and with the assistance of the city and a private developer, the building was transformed into a multimedia center for film, television production, music, videos, and radio. Throughout the 50,000 square-foot three story building, the contrast between old and new elements is celebrated rather than concealed. A primary purpose of this facility is to provide information about the culture of film and the environments in which its artists live and work. Charles Gwathmey says "of all the buildings in the complex, this one with its reinforced concrete column, girder and beam structure, was best suited to the museum functions of theaters and galleries, which support heavy loads and floor areas. The Museum's 190 seat state of the art theater has perhaps the best acoustics among movie theaters in the city, according to museum staff. The first floor area was already sloped and needed to be dropped only another four to five feet to accommodate the museum theater. The architects were given free reign do what they pleased to the rear elevation. So instead of tearing into the building and removing gallery space, they created a monumental star and elevator tower. The new design and the building's existing structure is continually visible to the visitor's eye. In addition, the ground floor has a smaller screening and multipurpose room, a cafe, offices for a local community board, and a gift shop that has one of the highest sales rates of all the museums in New York City. The renovation of this land mark building was obviously a step in the right direction, the art on display and the architectural aesthetic of this new yet old facility has brought great fame to its existence.

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74

Morgan, Bob A. "The Smart Studio." Verbum 4.3. Winter 1990-1991, 24-29.

The Smart Studio

Bob Morgan comments on the Smart Studio saying:

Many artists have bought into the technological revolution in a big way, filling their studios with a collection of cutting edge ^toys.' Although the technology has saved them the chore of completely re-rendering drawings, re-editing video sequences or recording sound­tracks, the real excitement has come with the discovery of new creative tools that enhance the creative pro­cess and offer new forms of expressions. However, many of these artists have found themselves in the ^Studio from Hell.' They got so bogged down trying to learn the new technology or make each black box talk to the others that their creative process gets thwarted. All the software and hardware has to be organized, integrated and automated to the point that the artist can again think about the object of his or her creation.

Christopher Yavelow, a composer of operas to movie scores to CD-ROM- based interactive sound adventures, decided that he needed to redesign his studio so that the controls for every piece of equipment would be at arms length.

The centerpiece of Yavelow's console is a Macintosh Ilfx computer. Besides the movies and keyboard controls, he uses the Voice Navigator to make things happen on the computer. He has a dual headset: one for hands-free operation of the telephone and one for the Voice Navigator microphone. He then tested and set up every fragment of software and hardware for speed and size. Yavelow has also programed his computer to do the applications that are time consuming and less productive in the evenings after he has gone home. The latest in ergonomic seating is accentual, due to its ability to tilt, swivel, raise, lower and roll. "Fluorescent lighting ruined my eyesight," replies Yavelow. Now he uses a collection of gooseneck lamps with incandescent bulbs. Speed and accessibility is what Yavelow yearns for, the quicker and more efficient the computer operation and the more simple the access is, the better.

Prince, Patric D. "Self Expression: A Showcase for Computer Art" Personal Computing, October 1989, 132-134.

The Fine Arts Museum of Long Island in Hempstead, N.Y. has the first major permanent exhibition space committed to computer art, according to personal computing magazine.

"The Computer Imaging Center is devoted to the idea of innovation in the arts", says Joyce Laskin, curator of the center. The center comprises some 2,500 square feet of space, accommodating four exhibition areas for computer assisted art each year. Laskin asserts that artists who work with computers have problems showing their work because of the technology. The main problem she sees is that, because of the technology, many computer artists are able to generate multiple copies of original works.

Laskin also states that:

Because so many people consider part of the value of a work of art its uniqueness, this creates a conflict between art and the marketplace. Gallery owners simply prefer dealing with work that brings a higher price. Additionally, artists must fight the notion that the computer, not the artist, makes the art.

Visitors to the Computer Imaging Center have an opportunity not only to view art but also to test their own creativity by experimenting on the museum's desktop computers. The center has four desktop computers. These computers run various paint programs, enabling museum viewers and participants to be inspired by the art on display while they experiment with self-expression.

Branch, Mark Alden. "Projects: Museums, Architects face new challenges of site and program in museum design," Progressive Architecture, May 1990, 127,

Museums, Architects face new challenges of site and program in museum design

The Museum of Contemporary Art in Barcelona, Spain was designed by Richard Meier and Partners, headquarted in New York. Richard Meier's new museum design is intended to "create a dialogue between the historic forms of its context and the contemporary art within." However, Mark Branch seems to think that the art is winning. Urbanistically the museum works to define three new outdoor public spaces. Meier chose to use materials such as metal cladding, stucco, and glass block; therefore, aesthetically it is pure modernism. A newly created "podium" serves as the entrance to the museum. The next space is the lobby which is in a drum-shaped configuration. The lobby is intended to be a free public space which is adjoined to the museum proper by the curving admission counter. The art is displayed in a series of open loft spaces and special pieces would be placed in the smaller nooks that are inside these loft spaces. Branch says the museum's ramps will encourage visitors to move from floor to floor via a long ramp that moves along a glass exterior wall and an interior atrium; the ramp will have a glass-block floor. Meier created an amorphously shaped tower which is intended to house a special art work. This art work will become a kind of sign announcing the museum presence from a distance. Secondary spaces like the library, museum store, and offices are located in a semidetached structure, because these are less public or private. The arrangement of spaces in accordance to the participants and their activities have been well thought out and appropriately placed. The museum appears to be rather dynamic, although its geometry is fairly simple. The expected date of completion of this Barcelona Museum is in 1992.

VIEW FROM NORTHWEST

THE MUSEUM of CONTEMPC": RY ART in BARCELONA, SPAIN

VIEW FROM SOUTHEAST

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Glossary

NEOHEDIA GLOSSARY

Artificial Intelligence the analysis, representation or application of information by a computer in a way that mimics primitive levels of human intelligence.

Bitmap a means of constructing computer graphic images by selecting and highlighting sequential pixel representations (as opposed to the skeletal representation of vector, or matrix graphics).

CD-I (Compact Disc-Interactive) a multimedia form of compact disc that allows for user interaction. It includes audio, static data, still video pictures, and animated graphics. Philips International will launch a consumer version of CD-I in late 1990/early 1991 as a multimedia "home entertainment center" to be plugged into the family television set.

Cel Animation the process of drawing or painting pictures on acetate sheets that are then photographed as individual sequential frames of motion picture film, the illusion of movement is created when the film is shown as 24 frames per second.

Couch Potato a member of today's noninteractive media audience. It's the couch potato whom we hope to convert to tomorrow's interactive delivery systems.

Cyberspace the commercial name for Autodesk's "virtual reality" environment that will enable users to "enter and explore" CAD-rendered 3D architectural environments.

DataGlove a hand-mounted interface that enables a user to manipulate screen objects and operate within a virtual 3D environment. For example, to travel within a "virtual reality" environment, the user points a forefinger in the direction he or she wishes to explore. In response, the display changes to reveal the new perspective.

DataSuit the extension of the DataGlove for the whole body.

Desktop the metaphor for the migration of once dedicated, high-end expertise to the personal computer. For example, "desktop publishing" is the migration of publishing skills to the PC, while "desktop video" is the migration of video production skills to the PC.

EDOp fErasable Digital Optical Disc) optical discs with writing and rewriting capabilities. Erasable discs are expected to become ubiquitous in our computing culture. CD ROMs will remain important as nonvolatile delivery media, while WORMs (write once read many) will remain important to functions that require nonvolatile record keeping.

Fiber-Opt in Cnhlt^ a transmission medium consists of a glass fiber that acts as a waveguide to carry light signals bearing the digital pulses of transmitted data, sounds or video images. Fiber­optic cabling has many advantages over the media it is replacing, including a tremendous bandwidth capable of allowing the simultaneous transmission of all trees types of data.

Film Recorder an output device that records data onto photographic film or paper.

Fractals computer-generated irregular shapes that seem characteristic of the randomness of the real world. One result of the new field of fractal geometry is a series of computer graphic algorithms capable of rendering extremely realistic cloud formations and mountains.

j?^f*mt> Buffer a special type of computer memory that stores the image data required for a raster display.

Full-Motion^ Full Frame video video as normally seen on television. Popular theory suggests that the mass market will not accept computer and CD-based video until it at least maintains the principal qualities of video currently projected on the VCR or television: full motion (30 frames-per-second), full frame (full screen).

Groupware networked software designed to facilitate or optimize access by multiple users either simutaneously or in sequence.

GUI (Graphical User Interface) the next generation replacement to the alphanumeric interface, GUI is the ascendent interface metaphor for all nearly all major micro- and minicomputer systems, including the Macintosh, MS DOS, OS/2 and UNIX. An interface that uses iconic representations (rather than words or names), thereby encouraging intuitive navigation. In essence, GUI's goal is to make both itself and the computer as transparent as possible to the user.

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HDTV (High-Definition Television) a possible next standard for U.S. television that portends to improve the screen resolution from the existing 525 lines to 1100 or more.

Head-Mounted Display an interface device that users wear on their heads and that projects a computer-generated 3D perspective. Using a dataglove, the user is able to explore this space, interacting with objects as if they were real.

HyperCard an information manager application developed by Apple Computer that allows nontechnical users to create their own applications by a simple process of creating linkages between "cards." Particularly unique about HyperCard are its high-level "HyperTalk" programming language and its ability to operate or "drive" multimedia peripherals through various machine interfaces.

Hypermedia the nonsequential reading and writing of multimedia datatypes. The term is also used to refer to various multimedia configurations (desktop video, digital audio, etc), or to the combination of diverse publishing media such as television, software and music as part of a single product mix.

JCOJl the graphical on-screen representation of a command structure, such as, the Macintosh garbage can that signifies where to drag an image to be discarded.

Infrared Lam a wireless circuit, typically used to connect a local area network (LAN), that transmits information by encoding data as pulses of infrared light that are beamed at the ceiling, reflected and picked up by detectors within a 70 foot radius of the source.

Interactive refers to equipment that allows the user to participate in and affect the unfolding of programs.

Interface the window of connection between user and machine, including all communicative aspects of that window, such as icon representations, keyboard and mouse.

I/O (Input/Output) devices affiliated with the interface, such a scanners, digitizers and keyboards that provide for the translation and exchange of data between user and machine.

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Jjiteractive Cinemft cinema that offers viewers a chance take part in the story construction. By parsing a movie's narrative components into a taxonomy of scenes, sequences and moves that are subjected to a simple set of narrative rules, the program would allow users to make plot-oriented decisions, the computer would then respond by constructing scenes that somehow follow appropriate cinematic logic. Interactive cinema has a long way to go before a computer will actually be able to assist in the creation of significant plot structures.

Interactive Theater live theater in which audience input affects plots and outcomes; ideas of interactive cinema experience and virtual realities will most likely first reach the mass market through interactive theater.

ISDH (Intergrated Services Digital Network) an international digital telecommunications standard that has been developed to enable transmission of simultaneous high-bandwidth voice, data and video signal that remain all digital from end to end, desktop to desktop.

Knowledge Design the idea that knowledge, like other products, must be designed to be effective. The theory of knowledge design suggests that four domains of knowledge must be considered: understanding, representation, retrieval and construction.

Light Pen an input device, much like a writing pen, that is used to draw and manipulate information on a computer display by touching the tip of the pen to the display.

M^ndala Vivid Effect's lower-end response to VPL's mini-based "virtual reality" system. A video camera digitizes a user's body and superimposes it within the on-screen environment. Using DSP technology, the system is able to track the user's movements, corresponding them with objects on screen; thus, a user is able to play a "virtual drum kit" by chopping in proximity of the instrument he or she observes on screen.

Movie Mapping a process by which an entire geographic domain is photographed and recorded to an optical disc in such a way that users can "travel" to any point of that domain as if they were there. MIT's Aspen Project, Michael Neimark's San Francsico disc, and the DVI Palenque disc are all examples of movie mapping.

Natural Language Recognition the ability of a computer to respond to commands given by voice or written in natural language. Typically this process uses digital signal processing, in which the computer compares and matches digital representations of a sound or data entry with representations that already exist in its database.

Overlay the application of one image over another. For example, a user might use a digital videocard to overlay a menu on a moving video image on a computer monitor.

Palette a description of the color choice's a computerbased paint program offers.

Parallel Interface control protocol for the simultaneous transmission of signals between a variety of computer, media and multimedia peripherals.

Parsing to break apart into components that can be reconstructed for various purposes. For example, within the context of synthetic cinema, a movies component plot points are parsed into individual sections that can be reconfigured by the computer, depending on user input.

Partial a single spectral component of a sound that might be manipulated within the MIDI domain.

Pixel the basic building block of an electronic image on a monitor or screen.

PLV (Production Level Video) Intel's highest-quality, non-real-time motion video compression techniques used for the final mastering of DIV products.

Ram (Random Access Memory) the cache of memory in which the computer does its real-time computing.

Raster Display a display device that stores and displays an image (data) as a two-dimensional grid of pixels.

Ray Tracing the use of algorithms that simulate light rays as they illuminate a computer-generated image.

Real-time a state during which data is processed at the same rate that it is taken in or used by a system.

JRejiderJjig the creation of computer-graphic images. A micro-mini rendering scenario might entail the use of a low-end graphical computer, such as a Macintosh, to describe an image through preliminary vectoring and shading, followed by the use of a higher-end workstation, such as a Sun, to do all the time-consuming number crunching (algorithmic calculations) required to finish or "render" the image.

RTV (Real Time Video) Intel's higher-quality motion video compression that is used for the final mastering of DVI products.

Scan-a-Mural a service (offered for several years by 3M Corporation and now offered by Computer Image Systems) whereby a computer image can be transferred to a large-scale canvas.

Scanner a device that converts flat art into a digital representation that can be integrated within computer-generated publications.

Sec[uencer a device that allows the user to "order" and play a sequence of sound algorithms into a musically appealing or otherwise desired shape or pattern.

SIGGRAPH (Special Interest Group Computer Graphics) a conference held each summer, during which international computer graphics companies show their products.

Simulation computer-based representation of scientific or other real-world phenomena. John Scully has suggested that simulation is one of the three most significant factors marking the future of computers (hypermedia and artificial intelligence are the other two).

fiey^jai Learning Theory the idea that people learn optimally within interactive social contexts and that in the process of exchanging data and perspectives, people constantly reshape their understanding of the world. This theory is in direct opposition to conventional models of passive lecture and supports the ideas that interactive technologies can provide a powerful learning tool.

Spectral Envelope the graphic outline of the frequency of a sound.

84

still-video Camera a camera that does not require film but rather makes an electronic record of an image and stores it on a small magnetic disk. The image can then be displayed on a video monitor or put into a computer.

Storyboarding graphically representing the sequential steps of a story or other process.

Synthesizer a device that uses sound algorithms to create sounds, usually in real time.

Synthetic Cinema a computer-based approach to the construction of an interactive cinema. A movie is parsed into component plot points and narrative moves that are reconstructed into various contiguous combinations as a function of user input, and the computer subsequently responds relative to some simple set of narrative rules that it has been programmed to follow.

jgygf- mg Integration the process of integrating divers hardware and software into unified systems.

rarga the family of color boards manufactured by Truevision that has led the way in enabling high-end computer graphics on the personal computer.

Telecomputing the integration of computers and telecommunications within a single communications paradigm.

Thermal Printer a printer that produces output on heat-sensitive paper. It uses heat to melt wire particles that contain ink, which are then transferred to paper.

Touchscreen an interface that allows a user to drive an application by physically touching the commands display on a touch-sensitive screen.

User-Friendly the requirement that equipment be not only readily usable but also responsive to the needs of the user without significant help, instruction or external assistance.

85

Video-Computing a term of art describing the use of computers in the pre-production, production or post-production of video. For example, a video-controlled editor is an example of a video-computing product.

Video Digitizer a digitizer consisting of a video camera with specialized hardware and software that enables the conversion of an image into digital information.

Virtual Editing digitally based editing that provides a graphical "virtual representation" of the completed edits after in and out points have been entered but before the edit has been committed. The AVID Media Composer and EMC's Emc2 are example of editors that operate in this digital domain.

Virtual Realities the computer-generated realities that users can "enter" by virtue of bodily peripherals such a datagloves and head-mounted computer graphic displays. The first virtual reality was designed by Scott Fisher of NASA Ames, was built by Jaron Lanier of VPL, is now marketed by VPL, and has been licensed by such companies as Autodesk to enable clients to "walk about" in a CAD-rendered articulation of nonexistent buildings.

Virtual Surface the surface of an imaginary object defined within a computer.

Visualization creating a visual representation of scientific or other phenomena using computer-based technologies.

VMS (Voice Messaging i ygf-ftmg) hardware and software system designed to route, respond to, and collect messages from incoming callers.

Work Station a relatively small but powerful configuration of computer equipment designed to be used by one person.

WYSIWYG ('What You See Is What You Get') a screen representation of text and graphics that closely approximates the image as it will be printed.

86

Documentation

Documentation/ Synthesis

Computer electronics have become a large part of our e\ery(iay lives. We deal with them in the work place as well as home and leisure. This condition bnngs about se\ eral needs, issues, and concerns that are many times awkward. I choose to use a facility that would take these needs, issues, and concerns to an extreme. A Computer Art Conceptual Studio and Exhibit Environment facility, that requires properly controlled lighting, heating & cooling, humidity, static electricity, and ultraviolet radiation, acoustics, anthropomorphisms, and human interaction to list a few. The architect must view these condition as if he was the artist and\or the visitor.

To accomplish some of the needs, issues, and concerns 1 choose to separate each department into individual buildings wath there own environmental systems and controls. B\ separating all of the departments the intier facility becomes fragmented into a colleague of open and inclosed spaces. I also chose to slant the interior wall outward to reduce direct sun light. There is raised floors in all the areas and dropped ceilings for the environmental system equipment.

Another goal of mine was to develop a facility that was a unique symbol of the art that is being created and exhibited. The building needed to be bold but elegant and sculptural. The building also needed to become a piece of art itself without overpowering the art that it was exhibiting. 1 chose to use large fluid forms to encourage movement and a variety of views for the visitor. The large linear wall was intended to be a symbol of the separation between the creation of the art and the display of the art. The implied circle was meant to suggest the joining of parts to produce the whole. Other types of geometry were used to depict certain functions such as: right angled inclosures became service, elliptical spaces became the lobbies and the more fluid forms became the exhibits, studios, and administrative areas.

Technology will continue to make great advancements and therefore produce new needs, issues, and concerns for the architect. Computer Kiectronics will be one of the forerunners. Smart-building technology is a fairly new example of the direction some architects are heading and as architects of the future we are responsible for solving the new problems that will occur in the ftiture.

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COMPUTER ART CONCEPTUAL STUDK.) AND EXHIBIT HNVIRON.VIENTS

.nc;osed AredS for pe-manenl Viaeo Display

Open Areas ior free vtar.di.iH lemporary U;splav

: Dehverv wi;h Mdir. Morace ^nd Assembly Areis

2 Foreman s Office

3. Delivery Break Room

4 Delivery Receptionist s Office

FIRST iJIVKf, .SPArK LIST

5 First Level Special Exhibit Area

6 Book Store

y Book Store Storage

8. Book Store Manager s Office

9 Controlled Mulli-Media Exhibit Area

10 Exhibit Lobby

11 First Level Public Lounge

12. First Level Exhibit with artificial lighting

13 First Level Exhibit with natural lighting

14 First Level Assembly and Storage Area

15. Secunty Office

16 First Level Display Storage

17. Omni Theater Lobby

18 Omni Theater

19. Cyber Art Studio

20 First Level Studio Areas

21. Studio Managers Office

22. Control Room for Studio electronics

23 Conference Room

24 Public Relation Assistance Office

25. Public Relation Office

26 Secretary and Receptionist Area

27 Presidents Office

28 Administration Lobby

29 First Level Administration Wailing Area

SKCOND I.FVFL SPACK LCT

10 CvDer \r. ExniDil Storage

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22 Cv^e^ ^r. Ex:init

22 Full Body C.ber Arl Lnviror.n.f'ir.

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25 Exhibit A f j

36 Pr.vate Exhibit Area

27 Second Leve; Public .xurge

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29 Second Leve. Ex.nisit with natural lienline

4i; Second Level Assemblv ana .-^lo'aee Area

41 Exhibit Storage

42 Documentation Office

42 Exhibit Designers Office

44 Omni Theater Director s Office

45 Video Art Studio

46 Second Level Studio Area

47 Studio Employee Break Room

48 Covered Outdoor Area

49 Employee .•/eferTur Room

50 Administration Outdoor Break Area

51 Adm;n;s'.rat:on BreaK Room

52 Exhibit Designer s Office

53 Financial Manager s Office

54 Curators Office

55. Director s Office

56. Second Level Administration Waiting Area

^N.

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