Author: Pamela Narisma
Professor: Juintow Fox
California Polytechnic State University
Situated in Culver City, the Immersion Galleries is intended to merge two worlds together. In this place, the East of Los Angeles would be connected with the West and everywhere in between due to its close proximity of the Expo Line. As a pioneer in the filming industry, the city’s exponential growth has spearheaded its own success. Thus, my inspiration for the skin of the project are wood panels that run vertically around the museum whilst the bottom is angled in a sloping fashion that indicates growth.
The massing of the museum is oriented in a way in which the fictitious artworks would have the optimal space for the specific works. From top to bottom, the individual galleries are placed in a hierarchy though would meet in equilibrium in the medium point. Visually, the volumes are placed symmetrically in a vertical angle. In response to the urban context, the facade is to represent the linear growth of the city itself.
For the aperture, the vistas in the city from the inside plays with the transparency of the facade. Visitors feel as if they are being embraced in the structure itself and may only feel the relief once outside the rooftop sculpture garden. For the ground floor access, visitors are able to enter from the street side with a grand staircase that leads them to the upper lobby area and bookstore whilst people in wheelchairs are able to access the lobby with a ramp that runs alongside the Expo Line side.
In terms of the general building orientation, the museum itself is situated at the end of an industrial block, a perfect scenario for different modes of transportation to lead potential visitors to go into. The circulation starts off at the lobby which can be accessed from the ground floor. Once there, the auditorium can be directly accessed through the lobby. If a visitor or passerby would like to only go to the bookstore or ground floor cafe, they would only have to go to the staircase.
When navigating to the galleries, the visitors would need to take the elevator shaft or emergency staircase. Arthur Ganson’s work is at the basement level of the museum while his single-piece work is at the third level, alongside Sol Lewitt’s sculpture gallery. Up at the top gallery is also dedicated to Sol Lewitt’s works of art, but this time it is all about his wall drawings. At the end of the museum, there is the rooftop sculpture garden that is dedicated to Lewitt’s works.
In utilizing lighting strategies, clerestories are placed in the auditorium and the staff offices. For Sol Lewitt’s upper galleries, floor-to-ceiling windows are placed in order for visitors to see the facade and the city. Lastly, the curatorial strategy for the museum is mostly centered around Ganson’s kinetic sculptures and Lewitt’s wall drawings from the early 1950s. Although, Lewitt’s complex sculptures and minimalist cubes have been placed in, as well.