HomeMy WebLinkAbout2001-12-03 City Council (3)TO:
City of Palo Alto
City Manager’s Report
2HONORABLE CITY COUNCIL
FROM: CITY MANAGER DEPARTMENT: COMMUNITY SERVICES
DATE:DECEMBER 3, 2001 CMR: 438:01
SL~JECT:PALO ALTO ART CENTER PROGRAMMING STUDY
REPORT IN BRIEF
This CMR responds to a request from the Policy and Services Committee to review the
recent programming study performed by the architectural firm of C. David Robinson,
Architects. This report gives a brief history and description of the Art Center, and
provides the background to the programming study. The report outlines why the
programming study was initiated and describes the facility deficiencies and program
needs leading to the study.
CMR: 438:01 Page 1 of 8
RECOMMENDATION
Staff recommends that Council review and comment on the Palo Alto Art
Programming Report, submitted by C. David Robinson, Architects.
Center
BACKGROUND
The Palo Alto Art Center was founded through intensive lobbying by citizens who
wanted a place where visual arts by professional artists could be presented for public
enjoyment and education, Constructed in 1951 as City Hall, The Palo Alto Art Center
(formerly the Palo Alto Cultural Center) was converted to a center for the arts in 1971
after City Hall was relocated to 250 Hamilton Avenue. In February 1969, the City
Council approved the establishment of the Art Center based on the recommendations of
the Mayor’s Citizens Advisory Committee of Future Uses of Existing City Hall and Site,
chaired by William Hawley. The Hawley Report recommended that "the City of Palo
Alto establish an ART CENTER in the present city hall building" and that "the
unimproved portion of the Site be reserved for possible future expansion of the Art
Center.
Recommendations included:
Facilities should be !’available to people of all ages, for all levels of skill, and to
residents of neighboring communities as well as citizens of Palo Alto" and should
provide "a comprehensive arts program."
¯Programs should eventually extend into other City facilities, retaining the Center as
core but branching out like the library system.
¯Open space and exterior appearance of building should be preserved.
¯Comprehensive Master Plan for eventual further development of building and site
should be prepared.
¯Formationof a separate Arts Department on level with Library and Recreation.
¯There should be nominal charges for programmed activities as well as for use of
rooms, studios, and auditorium, with higher fee schedule for non-residents.
¯Associations supportive of the Art Center should be encouraged as should gifts and
contributions, and grants.
¯Council Chamber should be converted to auditorium.
¯Flexibility in space utilization should be provided and maintained to maximize
dynamic, creative program responsive to community needs and developing interests.
¯Advance the arts of the community and the mid-peninsula through cooperative
leadership among organizations and individuals.
The Art Center’s programs include exhibitions, community-outreach educational
programs, such as Project LOOK! and Cultural Kaleidoscope (funded entirely by the Art
Center Foundation), the Art and Tech Studio, and studio art classes for adults and
CMR: 438:01 Page-2 of 8
children. From the day the Art Center opened its doors to the public it provided
exhibitions of visual art works by local, regional and California artists as well as national
and international artists representing the best of contemporary fine art, craft, and design.
Currently the Art Center organizes approximately ten exhibitions annually for installation
in its three galleries. The art works are borrowed from other institutions, free art
galleries, and collectors.
The Art Center has an annual visitation of approximately 80,000. It is uniquely situated in
the midst of the Silicon Valley, near the midpoint of the San Francisco Peninsula; it is the
only such facility between San Jose and San Francisco, and residents from communities
throughout the greater Bay Area also visit the Center. The programs serve an audience
that is diverse ethnically, economically, and educationally. The Art Center is committed
to serving individuals, families, and school groups from all segments of the community,
and it recognizes the value of enriching its programs by incorporating within them work
by artists who reflect this diversity.
The Art Center has always offered a wide selection of studio-based instruction for adults
and children. In addition, Project LOOK!, a museum education program initiated in
1979, brings K-8 school groups to the Art Center for docent tours and hands-on art-
making activities. Cultural Kaleidoscope, an outreach program begun in 1989 as a
regional collaboration with East Palo Alto, partners young children and youths from
ethnically and economically diverse school districts for the purpose of creating art
projects. In 1999, with support from Intel, Hewlett Packard, other technology companies,
and the Art Center Foundation, the Art Center launched the Art and Technology Studio
that offers art-based curriculum using technology as the medium. Project LOOK!,
Cultural Kaleidoscope, and the Art & Tech Studio expose more than 6,000 school-age
children annually to both the content and the techniques of the visual arts, supplement the
art curricula of surrounding school districts, explore the creative possibilities of evolving
technologies, and involve families in having fun together through the arts. The Studio Art
program offers 5,000 children and adults some 400 hands-on classes and workshops
annually. All of these programs benefit from the 6,500 hours of service that 278
volunteers contribute each year. In the last three years student attendance has increased
16%.
This past year the children’s programs received $200,000 in grants, including a $116,000
California Arts Council grant for Cultural Kaleidoscope and a $30,000 grant from the
National Endowment for the Arts. Two exhibits organized by the Art Center received
National Endowments for the Arts grants, enabling the Art Center to produce catalogues
and travel the exhibitions to other museums nationwide, such as the Renwick Gallery,
National Museum of American Art, Smithsonian Institute in Washington D.C.; the
CMR: 438:01 Page 3 of 8
American Craft Museum, New York City; the Mexican Art Center, Chicago; and the
Contemporary Museum in Honolulu.
From its founding, the Art Center has been a municipally owned and operated institution
with a regional reach. The Art Center’s radius, in addition to Palo Alto, includes Menlo
Park, East Palo Alto, Mountain View, Los Altos, Los Altos Hills, Atherton, Portola
Valley, Woodside, Redwood City, and Stanford.
There is a great value and benefit to the City by extending programs to residents of
surrounding communities.
A broader audience has made it possible to attract and bring professional artists with
greater expertise and experience to teach the classes and workshops at the Art Center.
¯It allows for the development of a greater diversity in classes, specia! programs and
workshops for beginning students and professional artists.
¯The expanded mid-peninsula audience leverages increased funding. In 2000-01 non-
resident donations of 71% ($188,088) came from individuals, COl~orations, and
foundations, in comparison to 29% resident ($77,495).
Below is a breakdown of the audience served in FY 2000-01"
Pro~am
Exhibitions
Children
Classes
Adult Classes
Project
LOOK~
Cultural
Kaleidoscope
Other
TOTAL
AUDIENCE
Total
Attendance
30,893
2,455
2,368
4,646
children
190 classes
487
children
22 classes
32,698
80,192
Resident
Unknown
506
1,274
13 schools
11 classes
Percent
of
Resident
N/A
21%
54%
27%
50%
Gross
Revenue
N/A
$26,439
$79,728
$1,929
N/A
Non
Resident
N/A
1,949
1,094
36 schools
11 classes
Percent
of non
resident
N/A
79%
46%
73%
50%
Gross
Revenue
N/A
$105,758
$69,917
$5,217
N/A
Facility Deficiencies
The 28,000 square foot Art Center building and its systems exist essentially as they were
built and installed in 1951. Since its conversion from a City Hall more than thirty years
ago, the only significant repairs to the Art Center have been seismic improvements made
in 1987. The facility deficiencies were clarified in 1994. through a Museum Assessment
Program grant (MAP I). The MAP I is a pre-requisite to museum accreditation.
CMR: 438:01 Page 4 of 8
Through the grant, which was funded by the Federal Institute of Museum and Library
Services and administered by the American Association of Museums, a museum
professional did a site visit to the Palo Alto Art Center and submitted a report detailing
both facility and programmatic concerns. These include:
The Center has one 700 square foot space for Project LOOK!, the children’s art
education program in conjunction with exhibition. There are no classrooms for the
children’s art class program, offered through the Enjoy catalogue. The Project
LOOK! space also doubles as a storeroom and preparation area for art works in
upcoming exhibits. The art and technology studio offers classes for children part of
each week. All art classes for children (except summer classes offered in the Project
LOOK! studio) and summer art camps are held elsewhere in the city in classrooms
that are more and more difficult to hang on to because of the need for community
¯ service space throughout the City. Although the Art Center intends to continue
holding some of its children’s classes in other locations within the community, by
bringing the majority of them onsite, more students will be able to experience gallery
presentations, and the Art Center can further its commitment to establishing the
connection between viewing and making art that is essential to building a child’s
understanding of visual art.
Exhibit lighting systems are obsolete. Parts are no longer available and because of the
age of the system it will not accept energy efficient bulbs. The system is brittle and
cannot be adjusted easily or adequately to light exhibitions. The inadequacies of
sound and lighting in the auditorium are noticeable at most cultural events and
meetings and when sound amplification or videotaping is required.
There is neither good ventilation (natural air movement) nor climate control. This is
an issue of expressed concern by visitors and volunteers to the Art Center who are
sometimes unable to endure the temperatures in the galleries on hot summer days. If
volunteers leave, the exhibit must close because volunteers provide security. In 1998,
the Council was presented with a petition signed by a group of individuals outlining
these concerns and asking for improved ventilation throughout the Center, and climate
control in the galleries. During Youth Art 2001, both the City Manager’s Office and
the Art Center received calls from parents in regards to the excessive heat in the
galleries. Improved ventilation and climate control will make the experience of
participating in Art Center programs more comfortable for visitors and for volunteers
and staff.
Some works of art cannot be exhibited because there is no temperature control. It has
becoming increasingly difficult to find lenders to the exhibition program because of
CMR: 438:01 Page 5 of 8
the lack of climate control and controlled lighting systems. When the gallery spaces
and exhibition storage and preparation areas have adequate climate and lighting
controls to protect artwork that is sensitive to changes in temperature, humidity, and
light levels, the Art Center can apply for accreditation from the American Association
of Museums (AAM). With this designation, the Art Center will be able to borrow and
display delicate artworks that are not now available to it, thereby raising the quality of
its exhibition program and presenting a wider variety of exhibitions. AAM
accreditation will also positively affect Art Center’s ability to raise funds for all
programs.
There is severely inadequate storage and in most cases no storage on the ground floor.
There is no elevator to the basement, limiting its usefulness for needed storage of
chairs, tables, supplies, display cases and exhibition furnishings. It poses hazards to
staff bringing heavy supplies and furniture from the basement.
There is no preparation space for exhibition. Project LOOK! studio doubles as a
children’s classroom and exhibition preparation. This is a situation that jeopardizes
the works of art on loan to the City.
The deficiencies of the facility hamper the Art Center’s ability to receive funding,
especially government funding. The Art Center’s 2000 application to the Institute of
Museum and Library Services for a two-year General Operating Grant of $145,000 was
turned down because of low scores to "Physical Facilities/Safety and Security."
Reviewers’ comments were: "Facility limitations severely hamper PAAC [Palo Alto Art
Center] .... "; " .... HVAC & lighting not up to professional standards"; and "Storage and
climate control are areas that will [need to] be addressed as facilities are renovated".
DISCUSSION
In the past two years, the Palo Alto Art Center Foundation (formerly the Palo Alto
Cultural Center Guild), a private nonprofit 501(c)(3) organization, has worked
proactively toward the needed expansion and renovation of the Art Center facility
focusing on two identified issues: 1) upgrades to the exhibition spaces, and 2) additional
children’s art classrooms and activity space. In March 1999, the Palo Alto City Council
approved a proposal from the Palo Alto Art Center Foundation to explore the
development of a public/private partnership that would make possible the capital project
to expand and renovate the Art Center. The Foundation intended that part of its role in
this partnership would be to raise one-half of the funds required for the project.
In March and May 2000 the Foundation applied to the David and Lucile Packard
Foundation and the Non-profit Facilities Fund and received $50,000 to conduct a facility
CMR: 438:01 Page 6 of 8
master planning process, matched by $50,000 from the City. The Foundation contracted
with Architect David Robinson to conduct a programming survey of existing useable
.spaces in the Art Center and the areas required to properly accommodate the programs.
The Palo Alto Art Center Programming Report, June 1, 2001 is attached. The
programming report details space use as defined by current program needs. The survey
addressed interior layouts and immediately adjacent exterior areas. A site analysis is
being conducted separately. In addition, building systems performance criteria were
described to better establish the quality and operational characteristic of the diverse
spaces. An adjacency diagram was developed for critical components of the building.
The architect was requested to lay out the space needs for different options: (1) an
improvement plan that addresses the center’s immediate critical needs ("Enhanced"); (2)
the ideal facility ("Expanded"); and (3) a plan that looked at collaborative spaces with
the main library ("Library").
Working from detailed interviews with staff, volunteers and Foundation Board Members,
including Board Member and architect Robert Steinberg of The Steinberg Group, the
architects developed three alternative growth strategies. The "Enhanced" goal included a
list of priorities, which yielded a gross area addition of 10,000 square feet, for a total of
38, 859 square feet. There would be minimal impact on current parking levels as the
"Enhanced" children’s classroom expansion consists of mainly drop-off and pick-up.
°~Expanded" includes additional (example: adult studio space) or relocated program space
(example: auditorium) in a larger structure totaling 55,816 square feet. The third option
evaluated potential shared space, which might mutually benefit the Main Library and the
Art Center. Possible shared facilities includecl lobby space, caf~, storage, meeting rooms,
and auditorium.
During the process of developing the Facility Master Plan (includes the Programming
Report, building and systems assessment, community forums, and conceptual drawings),
a universally supported plan of the Art Center will be created that can be clearly
conveyed to the general public. This clarity will make subsequent architectural planning
more efficient and prepare the groundwork for the Art Cen~er Foundation to launch a
capital campaign.
Joint Site Survey
With two programming studies underway (Art Center and main library), a committee of
stakeholders to collaborate on issues surrounding the site was convened. The committee,
called the Joint Site Planning Committee, includes representation from the Art Center
Foundation, the Library Commission, City staff., the community gardens, and citizens
involved in the library master plan (Attachment 2). The goal is to seek a site design that
would allow the Main Library and the Art Center to expand while addressing the
limitations and opportunities offered by the site, neighborhood concerns, and the desire of
CMR: 438:01 Page 7 of 8
the community, and other stakeholders (Attachment 3). The Art Center Foundation
submitted a second grant request to the David and Lucile Packard Foundation, receiving
another $50,000 that was again matched by the City. Mark Cavagnero and Associates
were contracted by the Foundation to develop the joint site plan. The plan will be
complete by January 2002 and submitted to City Council for approval.
RESOURCE IMPACT
There is no resource impact in accepting the Art Center programming report developed
by C. David Robinson, Architects. Should the Council approve an Art Center expansion
and renovation project there will be a resource impact with respect to matching funding
and a capital campaign conducted by the Palo Alto Art Center Foundation.
POLICY IMPLICATIONS
These recommendations are consistent with existing City policies.
ENVIRONMENTAL REVIEW
This program is not a project as defined by the California Environmental Quality Act and
is not subject to CEQA requirements.
ATTACHMENTS
Attachment A:
Attachment B:
Attachment C:
PREPARED BY:
Palo Alto Art Center Programming Report, June 1, 200!
Libraries and Art Center Site Committee
Guiding Principles for.the Joint Development of the Main Library
and A~.~ ~,
Director, Art Center
REVIEWED BY:
PAUL THILTGEN
Director, Community Services
CITY MANAGER APPROVAL:
~ON
Assistant City Manager
CMR: 4a8.01 Page 8 of 8
Palo Alto Art Center
Programming Report
June 1, 2001
C. David Robinson Architects - 250 Sutter Street Suite 600 - San Francisco. CA 94108
Jim Jennings Architecture - 49 Rodgers Alley - San Francisco, ~A 94103
PALO ALTO ART CENTER
Programming Report
June 1, 2001
Table of Contents
Executive Summary .............................................................1
A. Existing Building Floor Plans .............................................3
B. Area Summaries .............................................................4
II.
III.
Background
A. Mission ..............................................................5
B.Audience ..................................................................5
C.Programming Concept ..................................................5
Space
A.
B.
C.
D.
E.
F.
G.
H.
I.
Use Program
Site Considerations .....................................................7
General Public Services ................................................7
Pro gram ..................................................................10
Program Support ........................................................12
Adminis~-ation ..........................................................14
Space Use Summary ...................................................15
Space Use Requirements ..............................................23
Adjacency Diagrams ...................................................31
Conceptual Construction Cost Estimate .............................34
IV.Building Systems Performance Criteria
A.Circulation Systems ....................................................35
B.Environmental Controls ............................... .................36
C.Structural Criteria .......................................................37
D.Mechanical Program Requirements ..................................38
E.Electrical Program Requirements .....................................40
F.Fire Protection ...........................................................42
Palo Alto Art Center
Executive Summary
C. David RobinsOn Architects, in association with Jim Jermings Architecture, were
commissioned by the Palo Alto Art Center Foundation to conduct a programming survey of
existing useable spaces in the Center and the areas required to properly accommodate their
popular and growing programs in the future. This survey addresses interior layouts and
immediately adjacent exterior areas. A site analysis is being conducted separately. In addition,
building systems performance criteria were described to better establish the quality and
operational characteristic of the diverse spaces. Adjacency diagrams have been developed for
critical components of the building.
Working from detailed interviews with PAAC staf~ Foundation Board Members, and
extensive notes and requirements developed under Linda Craighead’s direction, the architects
developed three alternative growth strategies. The "enhanced" or "responsible minimum" goal
included a list of priorities which yielded a gross area addition of approximately 10,000 square
feet, for a total of 38,859 square feet. This was the maximum amount of construction which the
Foundation determined to be fundable on a short-term basis. The goals of this proposal
included improved building systems, better environmental controls in areas housing art, and
additional space for general public uses, exhibitions, children’s programs, administration and
storage.
A more ambitious "expanded" plan includes new or relocated programs in a larger structure
totaling 55,816 square feet. Priorities of this alternative include all the improvements of the
"enhanced" option plus new studios for jewelry, sculpture, printmaking, photography and other
adult classes.
A third option evaluated potential shared spaced which might mutually benefit the library and
the Palo Alto Art Center should site studies indicate the desirability of combining the two new
programs. These facilities include shared lobby, caffi, shops, and storage.
A summary of the programming report’s area calculations is attached:
Palo Alto Art Center ProKarnming Report
1
USEABLE AREA CALCULATIONS
Assignable
SUBTOTALS
1. GENERA_L PUBLIC SERVICES
2A. EXHIBITION
2B. CHILDREN’S PROGRAMS
2C-F. ADULT PROGRAMS
3A. ADMINISTRATION
3B-F. SUPPORT / STORAGE
Existing
4499
3784
812
7173
3083
4716
Enhanced
5215
4700
3790
8194
4342
6148
Expanded
7515
5350
4520
16926
5062
7365
Library
9295
5350
4520
16926
5062
7465
TOTALS
Assignable Existing Enhanced Expanded
24067 32389 46738
*Non-Assignable 4803 6470 9078
Total Square Feet 28870 38859 55816
Library
48618
*Computed @ 20% of assignable
** Tota! assig-nable area shared with library = 1,880 sq. ft.
Exterior Area
Existing Enhanced Expanded Library
Courtyard 3788 3788 3788 5000
Sculpture Garden 6487 6487 7000 7000
Rakqa Area 795 795 1000 1000
Garage Storage 500 500 500 500
11,570 11,570 12,288 13,500
Project conceptual cost estimates for the enhanced scope oi’work range from $5.6 to $6.6 million dollars
Including hard construction costs and soft costs, but excluding site costs and escalation.
Palo Alto Art center Pro~amming Report
2
00~-~
00~ n,,’
114
~D0
H. BACKGROL q)
A. Mission
The mission of the Palo Alto Art Center is to foster creative process and thought by
forging a greater appreciation and understanding of the visual arts through exhibitions,
studio experiences, and related educational programs.
The Palo Alto Art Center was founded in 1971 to champion the value, the appreciation,
and the understanding of the visual arts. A guiding philosophy of the PAAC is that
public appreciation and understanding of the visual arts is best achieved by connecting
the experience of viewing art ,~dth a direct involvement in making art through high,
quality exhibitions and professionally designed educational programs for children and
adults. PAAC’s exhibitions focus on a wide range of concepts and directions,
presenting the best of contemporary art, craft, design, ethnic, and folk art, as well as
new art forms and technologT-based media. Exhibitions document the art of the San
Francisco Bay Area, investigated expressions of a culture, introduce new genres, or
emerging artists, address issues of our time, and provide a springboard for community
dialogue, symposia, master artist presentations, and associated lectures. The PAAC
provides maximum public access and involvement in the arts, for a broad and diverse
audience through programs that are relevant to the general public, as well as
specialized audiences. PAAC studio offerings encompass a wide range of media for
diverse levels of experience. Studio experiences, formal instruction, and critiques of
work provide opportunities for adults and children to gain and improve artistic skills.
No Audience
The PAAC is uniquely situated in the midst of the Silicon ValleY, near the midpoint of
the San Francisco peninsula, which includes a wide diversity of socioeconomic and
ethnic populations. Its prim .a.ry audience is formed fi-om a diverse population in the
mid-peninsula cities of Palo Alto, East Palo Alto, Menlo Park, Los Altos, Mountain
View, Redwood City, San Carlos, Woodside, and Atherton. Because of the unusual
nature of the Silicon Valley workforce and the Icroximity of Stanford University, the
diversity of this audience is reflected educationally and economically, as well as
ethnically. The evening classes serve a working population from the greater peninsula.
The audience is composed of both traditional non-traditional museum visitors.
Exhibitions and related educational events attract individuals, families, and school
groups from all segments of the community. The Palo Alto Art Center also has a
national audience through its traveling exhibitions.
C. Programming Concept
A priority is education through excellence in programs that challenge, engage, and
expand audiences. A connection is made with the viewing and the making of art, and
the ~4sitor is involved in an active process of learning through their own exNriences.
Exhibitions offer a depth of content for the more experiences art viewers; are visually
challenging for all levels of understanding; and present programs that involve all
audiences. Whatever the level of visual arts awareness or understanding a participant
might possess, programs are designed to be multifaceted and accessible, allowing an
individual to grow at his or her o~n pace.
Exhibitions and educational programs celebrate roots of multiculturalism, helping to
build an intuitive understanding of the wealth of common instincts behind our
Palo Alto Art Center Pro~arnming Report
5
differences and our affinities; they foster the creative process, basic to critical thinking;
and they create a dialogue within ourselves and with others. The intent is that the
juxtaposition of concurrent exhibitions creates a visual dialogue and opportunity to
expand audiences.
Since the core philosophy of the Center includes the premise that a comprehensive art
experience includes both the aesthetic appreciation of art at a visceral level and the
opportunity to respond to art through physical creative expression, one of the center’s
goals is to ensure that visitors are exposed to both of these components. This suggests
that visitors to the galleries should be made aware of the studio classes and their
creative output, and that all students are exposed to components of the exhibition
program
In addition, the location of the Center in a park setting with largely benign weather
suggests the desirability of maximizing the indoor-outdoor experience in all
programmed area.
Palo Alto Art Center Progamming Report
6
SPACE USE PROGRAM
A. Site Considerations
PAAC shares its current site with the Palo Alto Public Library and with a
community Garden development. The Library is, at present, also developing
programming information to inform a potential facility expansion. Decisions
regarding how the agendas of each institution, as well as how other public uses
may be accommodated on this site, are beyond the scope of this study. It is
anticipated that at a furore date, an assessment of what program elements might
be shared between PAAC and the Library as well as other considerations
related to the common use of the site will be explored.
Of importance to PAAC will be the need for additional parking, a new adequate
loading dock, high visibility from Embarcadero’Road, and the presentation of
as much outdoor area for activities and sculpture presentation as possible.
B.General Public Services
1.Main Lobby
Concept
The lobby should appear inviting without undo formality, and professional
without intimidation. This entrance offers the fn~st impression of the center. It
should also act to facilitate the transition between the outside and the cultural
experience within. In additidn to housing the functional requirements of entry,
it may house art objects and along with the Auditorium may be a venue for
small receptions, entertainment, fund-raisers and rentals. Since art may be
displayed here, consideration should be given to some unbroken wall areas,
appropriate backgrounds for sculptural work, and proper light control for all
presentation of art. Acoustics for large crowds must be addressed.
Function
The main entrance will be the orientation and entry point for all of the Center’s
activities. Access to the Galleries, Studios, Front Office, and other activities
should be clearly defined. Since some of these activities may be open to the
public while others are closed, each entry point should be clearly defined and
controlled.
The following functions must be accomplished within this area:
1) Entry Control
2)Membership promotion and sales (if appropriate)
3)Center Security (if appropriate)
4)Visitor information, orientation to the building, directional signage and
information regarding current exhibitions
5) Donor recognition
Palo Alto Art Center Progamming Report
7
6)Coat and parcel check
7)Docent Availability
8)First Aid
9)Receipt of hand-carried mail, UPS parcels, etc.
Front Desk
A critical function of the Main Lobby will be direct access by thepublic to
those members of the staff responsible for class registration, memberships,
rental agreements and other functions..rfthis desk is combined with a desk
devoted to information and admissions, each of these functions must have
sufficient counter space to effectively address public needs. A more private
venue may be required for some transactions.
Group Staging Area
This area, directly adjacent to the Main Lobby, is intended for the orientation of
special groups, specifically school groups. It should prm~de direct access to the
children’s ~ing. It should provide facilities for their special needs including group
control, storage areas, acoustical treatment, and easy access to restrooms. Its
ambience should be appropriate to the drama and excitement of entry.
Coat Room
This area is intended to permit checMng of coats, umbrellas, parcels, strollers,
wheelchairs, cameras, etc. It is not intended to provide the capacity required to
handle coats for large crowds during inclement weather, and it is possible that
coat-hanNng capacity will need to be supplemented by temporary movable racks.
It should be designed to permit service by the attendant on slow days, or to enable
self-ser~,ice when attendance is stronger.
4.Gallery Shop, Office, and Storage
Concept
This commercial facility can become a sig-nificant source of supplementary
income for the Center, as well as an important and expected amenity for
visitors. Success of this commercial operation wil! depend on:
1) Focused selection of merchandise, which is appropriate and related to
Center activities and complementary to but not in competition with other
commercial outlets in the area.
2)Efficient management; experience suggests that shops run by professionals
yield the best economic results.
3)Location and design that is readily accessible and attractive to visitors.
Function
The design of the store should have the follo~dng functional characteristics:
1) Maximum space for inventory presentation; inventory should be on public
view as much as possible.
2)Entry or entries directly adjacent to checkout desk to minimize shoplifting
and facilitate efficient handling of checkout and sales.
3)Minimum areas not visually accessible from checkout counter.
4)Simple office for store manager and staff including a desk and a small safe
for overnight cash depository.
5) No provision for mail order is included in programmed areas. AI!
inventory and administration of mail order business (if developed) is
recommended to be off-site.
Palo Alto Art Center Programming Report
8
6)Storage, unwrapping and receiving area for new inventory prior to
presentation in sales area, and for old inventory to be shipped to off-site
storage or returned.
7) Secure cases (behind glass) for small, perishable or high valued items
including objects and books.
8)Computer program integrated with Center-wide system, which ties sales
records to inventory and Center accounting.
5.Card, Kitchen and Storage
Concept
Although no detailed market analysis has been conducted, this program
assumes that the Center’s food service will be a small, limited menu operation,
which provides a desirable amenity for the Center’s users and staff. It should
not be seen as an opportunity to generate supplemental income, as most cafes
of this sort are not highly profitable to the institution. It is intended that the
operation of the cafe will be by a franchisee. The caf~ is seen as bright, active,
and attractive, oriented to the outside, perhaps the sculpture court, and as a
significant component of enriching the visitor’s stay at the Center.
Function
The caffi should be desi~maed with the following functional considerations in
mind:
1) Menu will be pre-made salads, custom made sandwiches and some hot
offerings in addition to coffee and tea.
2)A maximum effort will be made to isolate food odors from the rest of the
building through negative pressure, air circulation and filters. This
requirement is of the utmoit importance.
3)All chairs and tables will be moveable for maximum flexibility.
4)A direct route from kitchen to loading area should be developed with
emphasis on the need to isolate the movement of food and garbage from
both Center visitors and art.
5)It should be assumed that the franchised caf~ kitchen and storage facilities
may not be fully available for the service or catering of other functions at
the Center, not involving franchise. However, staff and volunteers should
have access to some proprietary stores and equipment.
The Auditorium
At the heart of the Center’s role as the center of community cultural activities
and public interaction, the Auditorium will be a large space with a wide range
of capabilities. This flexibility will permit flat floor activities such as
reception, colloquia, dinners and fund-raisers, as well as more audience driven
presentations such as film and video projections, lectures, and performance art
presentations. The Auditorium is intended to be open and welcoming to the
public and easily accessible from the main lobby, but will have the capability,
to house private occasions. A second entrance for presentations when the
Center is closed may be considered. Among its other uses, the Auditorium
should provide information in all the center’s programs.
Projection Booth
An accessible space with capabilities for the projection of 16mm,
35mm film and video, as well as storage for additional AV equipment,
Palo Alto Art Center Pro~amming Report
9
Co
o
DVD, and computers, Intended to have full range of audio, video, and
internet conductivity.
Storage
Sufficient storage is required for 200 chairs, 25 5’ diameter tables and
2 grand pianos.
Courtyard
Exterior courtyard space used for receptions, parties, weddings, art sales,
Project Look, Family Days, as well as art events in association with
exhibitions and children’s programs. Should be hard surfaces, with sun, shade,
and places for seating. Accessed from Main Lobby.
Sculpture Gardens
This outside area may be used for all the activities which take place in the
Courtyard, as well as temporary exhibitions of art (the Great Glass Pumpkin
Patch) and large more permanent exhibits of the City’s Art in Public Places
Collection. Adjacent to the Adult classrooms.
Program
Exhibition
Exhibition spaces should be of high architectural quality. This does not suggest an
ambiance of grandeur or intimidation, but rather of a presence which dignifies and
reinforces the impact of the work it houses.
The galleries should have the following characteristics:
a.Arrangement of galleries should permit easy circulation even if one or more of
the spaces is closed for installation.
b.Flexibility and adaptability to a variety of mediums and installation types is
essential. Accordingly, while natural light is not desirable in all galleries, it
may be appropriate for some. Where provided, it must have the ability to be
controlled and/or eliminated if desired.
c.Galleries should have enough electrical circuits and computer outlets to ensure
adequate service to a variety of presentations including new genre electronic
and interactive pieces.
d.Galleries should provide a variety of spaces, with the opportunity to easily
subdivide them into smaller areas when necessary.
e.Artificial lighting should be a flexible track lighting system, preferably using
incandescent lighting with multiple switches and dimmer controls.
f. Wall surfaces should be as unbroken by openings as possible and should be as
high as appropriate spatial proportions permit.
All galleries should be provided with opportunities to sit as well as occasional
spaces in which to relax and view the outside.
The Palo Alto Art Center will not retain a permanent collection, but will house
the City’s permanent collection. Accordingly, all exhibits mounted in the
galleries will be of a temporary nature, either originated by the Center, by a
traveling exhibition organization, or by other institutions. Exhibits may be
housed in one or more of the available galleries. In an attempt to ensure that
the viewing and the art making experiences are closely connected, it is
P~lo Alto Art Center Pro~amming Report
10
conceived that galleries and studios may be connected by circulation spaces
which provide opportunities to display objects or representations of both
activities (see Circulation/Exhibition). This will be contingent upon
satisfactory resolution of the practical, and technical aspects of their proximity.
Children’s Art Education. Programs
The PA_AC Children’s Art Educational Program id to foster children’s
creativity and to deepen their understanding of themselves and the world
around them through art. Programs include school tours with supporting
teacher curriculum materials, Artist-in-the-Schools residences, and hands-on
art classes and workshops offered in a variety of media including digital art,
painting, drawing, sculpture, tinkering, printmaking, fiber art, book art, sound
art and video.
Children’s art programs include a commitment to combining experiences in
making art with the visual experience of art exhibitions. Accordingly, all
classrooms and studios should retain easy access to the Center’s galleries. As
many off-site facilities as possible will be incorporated into the program
ensuring neighborhood accessibility to all classes. At the same time, it is
envisioned that the PAAC’s spatial organization be reconfigured to combine
all children’s programs into a separate area, which is clearly defined. This
Children’s Wing will provide the students with a direct sense of identity as
well as provide the ability to address the young students’ specific practical
needs. This will also allow for the mini camp format, which is enhanced by at
least ~,o adjacent dedicated art rooms.
Programs offered include:
a. Project Look! K-8t~ grade school tours of PAAC ga!leries with
related hands-on art activities in the Project Look Studio.
b. Project Look! Family Days which will fill all available public space
in the Art Center.
c. Cultural Kaleidoscope Artist-in-the-Schools residences and class
collaborations between K-8 Pa!o Alto and Ravenwood School
Districts, these take place off-site but culminate in a PAAC Family
Day.
d. Children’s Art Classes are offered to children 18 months to 18
years, and include preschool, after-school, and Saturday classes held at
the PAAC and off-site locations which include the Junior Museum and
Zoo and Mitchell Park Community Center.
e. Children’s Art Workshops are offered to 5-18 year olds and include
specialized workshops, a summer program with week-long art mini-
camps and free art and diNtal intensives. These are held at the same
above locations.
-Adult Studio Program
This program offers classes, workshops, open studios, and special education
programs targeted for adult audiences. Media include painting, drawing,
ceramics, jewelry, enameling, collage, printmaking, and new media. The
program includes off-site studio locations for printmaking and jewelry. Safety,
such as ventilation of toxic fumes and handling and disposing of hazardous
waste materials are some of the primary considerations for all of the Studio’s
Palo Alto Art Center Programming Report
11
programs. The character of these studios, the open space, the quality of
lighting, both overhead and natural light, and the ability to physically and
visually communicate with the outdoors is of significant importance to the
success of programming this area.
Volunteer Program
The Volunteer Program plays a critical role in the support of all PAAC
programs. It is also an arts education program for the volunteers themselves.
The Volunteer Program serves all art center programs by recruiting, placing,
and educating volunteers as needed.
Raku Area
Exterior area adjacent to the Ceramics area to house kilns, clay etc as well as
to conduct workshops and classes. Easy access from loading area for delivery
of bulk clay etc.
Garage, Storage Area
Exterior area adjacent to Studio Classes for storage and workshop area.
D. Program Support
Loading Dock
Loading dock will receive and send the following types of materials on a
regular basis:
a. Art, crated and uncrated, including paintings, large sculptures,
and other objects and artifacts.
b.Building supplies and building trash, exhibit construction
materials.
c.Program supplies for adult and children’s studio programs
d.Caterer’s and caffi supplies, food, furniture, temporary selaTice
equipment, and garbage.
e.Office supplies, equipment, and mail, including large parcels.
f.Gallery Shop inventory.
Loading dock should have the following characteristics:
a.250 lbs./SF live load capacity.
b.Ability to secure the dock from the exterior, and house one 50
ft. tmc~trailer inside.
c.Ability to side and rear load one truc~trailer.
d.4 ft. dock height receiving area with 20,000 lb. capacity dock
leveler.
e.15’-6" ft. ceiling truck clearance of all pipes, ducts, lights, and
dock hoists.
f. Security surveillance of all loading and receiving activities by
camera or guard.
g.Access and orientation of loading dock area consistent with ability
of 65 ft. long trucks to maneuver into dock area.
h. Assess for employees and staff., during and after working hours.
i. Accommodate a fork lift.
Palo Alto Art Center Programming Report
12
Receiving
Because of the variety of materials that pass through the loading area, the receiving
area must be large enough to appropriately segregate objects being handled, as that
art is handled independently from other material, and must be directly accessible to
the final locations of each type of material. Double doors should be provided
between the loading dock and receiving to ensure environmental control.
a. Ceiling height of 12 ft. minimum below ducts, pipes, lights,
etc.
b.200 lb./SF load capacity.
c.Durable, easily maintained materials.
d.Em~ironmental control.
Freight Elevator
a.For movement of artifacts and heavy or large objects between
levels.
For staff use only, requiring a special security key.
Minimum interior dimension: 12’ x 9’.
The top inside of elevator should be removable or open to
permit large objects to extend upwards.
To facilitate the use of the forklift, loading should be from the
wide side only.
Location: must be centrally located to the loading dock,
artifact circulation corridors, and all exhibit spaces.
Capacity: 10,000 lbs. should be minimum capacity.
General Storage
Storage for construction materials, materials for studio classes, exhibit materials
such as pedestals, etc. and building maintenance such as vacuums, buffers, china
and flatware, paper goods and lighting materials shall be provided ~ith access to
the loading dock, programs and administrative areas.
Carpent73~ and Framing Shops
Characteristics of the shop areas include:
a.Storage for major building materials, i.e. lumber, plywood, and sheet rock.
b.Major power tools including power saw, joiner, drill press, circular, hand and
miter saws, and sander.
c.Sawdust collection and evacuation system.
d.Paint spray booth.
e.Fireproof paint storage locker.
f.Glass, matting, and framing materials storage.
g.Final matting and assembly of frames to be separated from carpentD, shop.
Art Handling and Storage - General Concept
The intent of this area of the Center is to provide appropriate space to permit safe,
efficient movement of works of art in and Out of the Center. This requires
adequate environmental controls, close security, sufficient vertical and horizontal
clearances for the easy maneuvering of large works of art, and thoughtful
separation between the circulation and location of "clean" (art related) objects and
"dirty" (carpentry, trash, crate, food) objects. Most important, spaces must be
sized to permit staff to exercise due diligence in handling art objects without
resorting to dangerous ad hoc procedures.
Palo Alto Art Center Pro~amming Report
13
Art Storage Areas
Areas for the storage of art both temporary and permanent must be directly
accessible to both the receiving area and the galleries. All storage areas must be
maintained with the em4ronmental controls specified for exhibit areas. Water or
steam pipes should be eliminated from storage art area, except the sprinkler
system, the primary means of fire protection. Sprinkler lines must be waterproofed
and water alarms provided at all storage floors. Art storage areas should be
provided with sliding rack storage to maximize efficiency and safety of the objects
as well as open shelving and floor space for sculpture, rac "ks, and drawers for
works on paper. All storage components to be designed for safety of objects
during seismic event.s, as supplement to individual object protection where
necessary. In addition, storage areas will use light painted walls, ceiling and floor
surfaces.
Eo Administration
General Comments
a. Administrative areas should not be ostentatious or luxurious, but the ambiance
must be professional and the areas frequented by visitors must be comfortable.
A presence of art on the walls will support the unique character of the staff’s
endeavors.
b.A maximum of flexibility should characterize the interior design. While the
need for private office is recognized, movable partition workstations should be
employed wherever practicable, both to maximize the ability to change
organizational patterns over time and because of their inherent space
efficiency. Departmental units can generally share a large work area, which
includes several workstations as well as common files and a conference/work
table. Administrative areas should not be hidden, nor should they be readily
accessible to the general public. Visitors will generally announce themselves
at the main lobby and will be accompanied to the administrative offices by a
staff member.
c.Staffpersonnel should have visual access to outdoor views from their work
area, if possible.
d.The administrative area should be planned for future expansion.
e.All workstations and offices should be wired for computer and
telecommunications networking throughout the Center.
f. Functions such as mail, copying, and supplies should be centralized as much as
possible to maximize efficiency and should be a separate room adjacent to the
office workstations.
~Administrative area needs to be adjacent to the front desk.
Palo Alto Art Center Pro~amming Report
14
F. Space Use Summary
Descriptions:
The following nomenclature is used in the documentation below:
Assignable (N~t) Area: Area specifically assignable to a space use.
Non Assi,~.~able Area: Mechanical equipment spaces, restrooms, circulation spaces (stairs and
corridors), and structure.
Gross Area: The tota! area of the building including assignable (net) and non-assignable
spaces.
Existing Area: The net area of the existing building.
Enhanced Area: Additions of net space use areas deemed essential for the effective conduct of
existing Center activities.
Expanded Area: Additional net areas to serve an expansion of the Center’s current programs
and their support.
Shared with Library: Total area of spaces which would be shared ~ith the Library should be
the two institutional programs join into one building. The percentage of these total area
to be assigned to each institution is yet to be determined.
Pa!o Alto Art Center Programming Report
15
1.) General Public Service
Shared with
Assignable Area Existing Enhanced Expanded Library
Main Lobby 886 1000 1000 2000
Info/Admissions ! 00 100 150
Front Desk 100 100 150
Coats 100 200
Group Staging Area 300 400
Sales Area 100 350 350 500
Storage.100 150 150 150
Manager’s Office 100 100 100
Presentation Hall.I728 1735 1735
Stage 514 560 560
Storage 231 400 400
Green Room!Dressing Room 420 200 300
Projection Booth 150 150
Presentation Hall 1200
Projection Booth 150
~oodSeI~ce 620 :_-:/0 I200
Caf~
Seating 550 750
Kitchen 70 70 150
Storage 50 50 100
Catering; Selving/Prep 620 250 150 200
General Public Sen’ices
Subtotal 4499 5215 7515
Palo Alto Art Center Pro~amming Report
16
9295
2.) Program:
Main Gallery 2724 3500 3500
Special Galleries 380 500 500
680 700 700
Community Gallery 500
Wall Storage 70 150 150
Exhibition Subtotal 3784 4850 5350 5350
Project Look! Class Room 812 1200 1200
Storage 100 100
Art Room 2D 700 700
Storage.30 30
Art Room 3D 700 700
Storage 30 30
Drop-In Art Room/Interactive
Gallery Space 700 700
Storage 30 30
Art Suppiy Storage 300 300
Additional Classroom 700
Storage 30
Children’s Subtotal 812 3790 4520 4520
Note: In addition to program areas defined in this section additional space to be retained exists off site
at Mitchell Park School, the Junior Museum, and Lucie Stern Theater. These areas are not part of this
program report.
Palo Alto Art Center Pro~amming Report
17
Assignable Area
Studio AfB
Storage
Studio C
Storage
Model Changing Room
Faculty/Teachers Office
Ceramics Studio
Kiln Room
Rakm Area
Storage
Glazes
Clay
Office
Multi-use, Jewelry
Storage
Printm "aking Studio
Storage
Photogaphy Studio
Storage
Dark Room
Sculpture Studio
Storage
Existing Enhanced
1268 1268
100
1440 1500
100
2340 2340
322 625
273 400
150 250
offsite
offsite
Expanded
1300
100
2000
150
50
200
2340
625
OUTSIDE
400
250
1400
200
1400
200
1300
100
200
1400
200
Shared with Library
Art & Technology Classroom 1102 1102 1102
Hub Room 78 75 75
Storage 50 50
Palo Alto Art Center Pro~amming Report
18
Assignable Area Existing Enhanced Expanded Shared with Library
Office
Assistant
Volunteer Lounge
200 120
64
200
Dance Studio
**BAGI
**Community Impact TV
1500
TOTAL FROM
PROGRA_M SECTION
**T~3D
7173 8194 16926 16926
Palo Alto Art Center Pro~amming Report
19
Assignable Area
3.) Program Support
Existz’ng Enhanced Expanded
Shared with
Library
Director .a~rt & Culture 250 250 250
Assistant 100 100 100
Director’s Office 130 150 150
Assistant!Reception 100
Development Office 150 150
Foundation Office 150 150
Curator 140 140 140
Education Office 620
Children’s Art Supe~’isor 120 120
Art + Tech Director 120 120
Project Look Director 120 120
Music + Dance Director 120
Children’s Program Assistant 64 64
Front Offices 775
Program Assistant 120 120
Office Assistant 120 120
Class Registrar 64 64
Publicity 120 120
Publications 100 100
Evening Supervisor 64 64
Meeting Rooms 648 800
StaffWork Room 250 250
Copy/Printing/Mail/Fax 150 150
Storage/Supplies 100 100
Meeting Room 1068 1440 1440
Plus Gr. Rm 420
Staff Lounge 450 450
Expansion 500
ADMINISTRATION SUBTOTAL 3083 4342
Palo Alto Art Center Pro~amming Report
20
5062 5062
Assignable Area
City Collection
Temporary Exhibition
Exhibition Storage
Building
Misc. Program & Admin. Storage
Existing
Shared with
Enhanced Expanded Library
600 843 1000
308 500 750
700 700 1000
100 100 100
2000 2000 2000
Carpentry Shop
Paint Storage/Spray Booth
1008 1000 1000
60
Preparator’s Area
Matting + Glazing
Pac "king Supplies
Freight Elevator
Conditioning/Photography
200 200
200 200
100 150
155 155
Registrar Work Room
Loading Dock
Receiving
Trash Room
Security
200 200
100 200
50
100
200
50
100
SUPPORT & STORAGE
SUBTOTAL 4716 6148 7465 7465
Palo Alto An Center Pro~arnming Report
21
Assignable
I. GENERAL PUBLIC SERVICES
2A. EXH~ITION
2B. CHILDREN’S PROGRAMS
2C-F. ADULT PROGRAMS
3A. ADM-]INqS TRATI ON
3B-F. SUPPORT / STORAGE
Existing Enhanced Expanded
4499 5215 7515
3784 4700 5350
812 3790 4520
7173 8194 16926
3083 4342 5062
4716 6148 736___~5
24067 "V~.389 46738
Library
9295
5350
4520
16926
5062
746__A
48618
TOTALS Existing Enhanced Expanded
Assig-nable -24067 32389 46738
*Non-Assi~nable 4813 6478 9348
Total Square Feet "28880 38867 56086
*Computed @ 20% of assignable
** Total assignable area shared with library = 1,880 sq. ft.
Library
48618 **
NA
NA
Exterior A.rea Existing Enhanced Expanded Library
Courtyard 3788 3788 3788 5000Sculpture Garden 6487 6487 7000 7000Rak-u Area 795 795 1000 1000Garage Storage 500 50___Q0 500 500
11,570 11,570 12,288 13,500
Palo Alto Art Center Programming Report
22
G.Space Requirements
1.GENEIL&L PUBLIC SERVICE
Prog Primary
No.Name Adjacencies Equipment
Entrance
1.10 Main Lobby Exhibitions
Admissions and Bookshop/Care
Information, Front Classroom
Admin. Desk, Security Studios
Auditorium
Restrooms
Information
Membership Desk
P.C.
Phone
Description Of Space
Impressive and inviting architectural space. Provides
first impressions oft.he Center. Directs visitor to all
Center activities. Primary information, security point.
1.11 Group Orientation Exhibitions Security Desk Generous area for accommodating large groups
Children’s Wing Lockers or of kids arriving together.
Restrooms Cubbies Staging area and orientation
Small Theater for children’s
coats, etc.
1.12 Coatroom Main Lobby Coat Racks
Lockers (lockable)
GALLERY SHOP
1.20 Sales Area Main Lobby Cash Register Open when Center is closed, if shared with Librar3,.
Telephone Visible from Lobby but not dominant.
1.21 Storage Bookshop Sales Shelves Simple, serviceable space.
1.22 Shop Manager Bookshop Telephone, Files Serviceable office space--8’ 6" ceiling.
Sales P.C. and Safe
CAFE
1.30 Dining Area Main Lobby.Tables, Chairs,Bright, attractive, efficient. Limited
Outside Views Service Stand,menu, no cooking on-site. Accessible
Serving Line,to public Center is closed, if shared with Libra,,
Water Fountain
1.31 Service, Food Prep Dining Area Sink!Disposal;Ser~,iceable area, Compliant with Health Codes
Area Refrigerator;Franchised service/operator.
Microwave Oven,Facilities not available to staff.
Wall Oven,
Shelves
Plugs; Lockable
Storage
1.32 Sin -k/Disposal
Counters
Microwave
Wall Oven
Refrigerator
Electrical Outlets
Catering Kitchen Auditorium,
Exhibitions,
Courtyards
Catering for 350
AUDITORIUM
1.50 Presentation Hall Main Lobby 200 Seat, flat floor theater; lectures
Catering Kitchen & film/Audio/Visual presentations and acoustical
music. Accessible when Center is closed;
available for catered events, private parties.
1.51 Green Room Sofa, Chairs Comfortable, well appointed room for performer’s
Phone preparation and relaxation.
1.52 Projection Booth Video, Film ADA accessible.
and Slide
Projector
1.53 Storage Simple serviceable space for chairs, tables, dance floor
LECTURE ROOM
1.54 Presentation Hall Main Lobby Fixed Seats Sloped floor Theater for 100 seats, high quality venue
Secondary for lectures and projected work.
Entrance
Projection Booth Video, film, slide ADA accessible
Palo Alto Art Center Progamming Report
23
2. Program
Prog Primary
No. Name Adjacencies Equipment Description Of Space
2.10 MAIN GALLERY Main Lobby
2.12 Special Galleries Main Gallery
Main Lobby
2.13 Community GalleD, Main Lobby
Benches
Electrical Outlets.
Computer Outlets
Trail Light
Benches
Track Lights
Electrical/
Computer Outlets,
Exhibition
Furniture
Benches
Track Lights
Electrical!
Computer Outlets,
Exhibition
Furniture
Large impressive space, flat
floor, minimum 16’ ceiling
height. Exterior views.
Controlled natural light and
artificial light.
Temperature, humidity
controlled
Well proportioned smaller
galleries + 12’ ceiling max.
Controlled artificial and!or
natural light. ~emperature,
humidity controlled
Well proportioned smaller
galleries =’ 12’ ceiling max.
Controlled artificial and/or
natural light. Temperature,
humidity controlled
Available for paintings
and sculpture
exhibitions, lectures.
2.15 CLASSROOMS Secondary Entrance Electrical Outlets
Project Look Small Theater Paper Working
Cultural Kaleidoscope Exhibitions Supplies
Art Room 2D Restrooms VCR, Computer,
Art Room 3D Music, Slide
Drop-in Art Room &Projector:, LOw
Gallery 4x8 Tables;
Chairs, Flat Files,
Sink, Phone,
Intercom
2.16 Storage for Each Classrooms Supply
Classroom Cupboards, Areas
to hang coats,
backpacks,
bookshelves
2.17 Art & Technology Classrooms Computers,
Studio Hub room Printers, Scanners
Storage & Video
Projection,
Electrical and data
outlets. Phone,
whiteboards.
Classroom w!natural light,
durable finishes, acoustically
absorbent wall space for pin-
up. Easy to maintain.
Serviceable
Room w/lighting,
natural!artificial designed to
minimize screen glare
(skylights). Computer stations
shared by 2. Central area for
instruction and construction
display walls.
2.18 Hub Room A & T Studio Servers for Serviceable
Computers
2.19 Storage A & T Studio Supplies for Serviceable
Studio
Palo Alto Art Center Pro~amming Report
24
2.21 Studio A, B, C Main Lobby Countertops
2-D Work, 3-D Work w/cabinets under
High, naturally lighted space;
open feeling, durable, cleanable
display cases,surfaces.
Studio C Acoustically Lockers & coat
separated w!privacy rack Secured from other areas at
screens 2 sinks,center.
Track Lights
Oil Paint
Collection.
2.22 Model Changing Studio C Bench, Han~ng Private, enclosed area.
Room rod/hooks.
2.23 Faculty Office Studio A, B, C Desk, Phone, P.C.Semi-Private area for
instructors work.
2.24 Ceramics Studio Kiln room Hydraulic lift,Open airy space, durable
must be fully Outside rak’-a area wheels, tables,cleanable finishes, natural light.
compliant w!hazardous Glaze and clay slab rollers,
waste and equipment rooms,bulletin boards.
use requirements per Loading dock.rolling carts,
best practice,dr3,ing shelves,
work storage, dust
collection, clay
traps on sinks, (4)
phone, intercom
4 low fire gas
fired kilns.
w!through roof
vents, built-in
shelves.
2.26 Raku Area Studio Raku kilns-Open to sky.
Glaze and clay Dumpster Freight gate in wall.
storage Toxic waste
Loading dock disposal tanks
Hosebib.
Electrical
intercom
Shelves
2.27 Glaze Mixing and Studio Raku Full height Organized/Clean
Storage cabinets, Long Durable/cleanable finishes
counter for
mixing glazes,
Dust collection
sink.
Gas Lines and
Vent Hoods at
each work station,
Jewelers
workbenches,
lockers, display
tool storage
4 sinks.
Intercom, phone
2.25 Kiln Area Studio Minimum t 0’ ceiling height-
heat resistant materials.
2.28 JewelrT and Main Lobby Open, air),, natural light-
Enameling Studio Adult Studios Durable finishes.
(relocated from
Cubberly)
Palo Alto Art Center Pro~amming Report
25
2.29 Sculpture Studio Main Lobby Cubicles for Natural light,
Adult Studios student work.Open, airy - Durable finishes.
for 3D metal and Ceramics.Table saw,
woodworking handsaw, jigsaw,
drill press, rotary
sanded
dust collection.
workbenches
2 sinks.
2.30 Printmaking Studio Main Lobby Wall display cases Open, airy, natural light.
Adult Studios"Countertop Ink/acid resistant finishes.
(relocated from private A & T Studio w/cabinet storage
facility)3 etching press
4x8 benches
3 sinks
2.31 Photography Lab Main Lobby Storage Cabinets No Natural light. Chemical
Adult Studio Student Lockers resistant finishes.
Chemical mixing Area A & T Studio Cold Storage for
Dark Room film.
Toxic Collection
System.
2.32 Dark Room Photo Studio 15 enlargers Controlled light entry
Film Processing and Sink w/chemical Sterile, clean
Loading trap.
Safe lights.
2.33 DANCE STUDIO Main Lobby Music System (at Open, airy, natural light
site)
Auditorium Sprung Floors OPEN WHEN CENTER IS
Restrooms (shower)Piano CLOSED.
Lockers for
Students
Drinking fountain.
2.34 BAG I TBD TBD TBD
2.35 Community Impact TV TBD TBD TBD
Palo Alto Art Center Pro~amming Report
26
3. Program Support
Prog Primary
No. Name Adjacencies Equipment Description Of Space
STORAGE *
3.10 City Collection Loading Dock Painting Racks Paintings, sculpture, 3-D
Storage Freight Elevator Shelves, Flat Files artifacts.
3.11 Temporary Art Storage Galleries Steel Shelving
Loading Dock Painting Racks
ALL STO1L&GE &
HANDLING AREAS
All areas for the
storage of works of
art or artifacts on
loan or from the
permanent collection
are to be simple
durable finishes:
A clear height
of 12’ 0" to be
maintained in all
corridors, doorways
and use spaces.
Environmental Control
Environmental ControlGathering of art for temporary
exhibits, incoming and
outgoing
3.12 Exhibition Storage*Freight Elevator Crates and crated exhibits.Environmental Control
Crate Storage/Loading Dock Exhibit supplies, traveling
Pedestals and Vitrines/Exhibit Prep exhibit:panels; loan exhibit
Partitions, Wood and Carpentry Shop crates. Exhibition
Equipment Storage construction materials.
EXEIIBIT-
SUPPORT
3.20 Carpentry Shop Loading Dock Power tools For the construction of Power tools include:
Freight Elevator Sawdust vacuum,exhibits, temporary partitions circular saw, table
Exhibit Prep. Paint and general building saw, miter saw, drill
and Spray booth maintenance construction,press, band saw,
sander. Frames.
3.21 Paint Storage and Carpentry Shop Shelves Spray booth to have
Spray Booth Spray Booth -independent exhaust system to
Fireproof paint exterior
lockers
3.22 Exhibit Preparation Carpentry Shop Work-counters,Desk and layout area for
Galleries tables labels, mount making, photo
assembly.
Preparator’s Office Shop, Loading Desk, PC,
Temporary storage Telephone
Shelves
3.23 Matting Exhibit Prep Work tables,Construction of mats, frames,
Glass Storage shelves, fiat files glass and other clean
activities.
3.24 Building Storage Receiving Shelves Storage for light bulbs, paper
goods, maintenance
equipment.
Palo Alto Art Center Pro~amming Report
27
Prog Name
No
3.311 Loading Dock
Primary
Adjacencies Equipment Description Of Space
Receiving Freight
Elevator Temporary
Storage Exam
Room
Load leveler or 4’-
0" grade change.
Covered area for maximum
size :interstate trailer trucks.
Designed for rear or side
loading-Trailer and cab to fit
within dock without blocking
sidewalk and street. 14’ 6"
ceiling minimum
LOADING!
RECEIVING
The handling and
distribution of
materials received
at the loading dock
should be separated
into perishable and
unperishable items.
3.31 Security Office Loading Dock
Receiving
3.32 Trash Room Loading Dock
3.33 Receiving Loading Dock Exam
Room Storage
Security/
mechanical/
electrical
monitoring
equipment
Trash Compactor
Dumpster
Simple finishes large
surveillance windows
Located to permit nightly
dumpster pickup from
exterior
Area for initial receipt,
unpacking examination and
distribution of supplies,
artifacts, crated exhibits,
environmental control, etc.
3.34 Freight Elevator Loading Dock For vertical movement of Art,
Storage trash, etc.
Galleries
ART l~u’qD LING
3.40 Examination Room Loading Dock Scanning light Examination and conditioning
Photography Studio Freight Elevator Art easels, counter,of incoming objects, fully
Storage photography controllable lighting,
equipment and environmental controls
lighting,
slide storage.
3.41 Registrar’s Workroom Receiving art storage Counters,For inspection and accession
Telephone reporting.
3.42 Registrars Office Workroom Desk, PC,
Collections storage Telephone
Shelves
Palo Alto Art Center Programming Report
28
Artifacts, exhibits, etc.
should be routed to
examination, galleries,
and storage areas
through a route
separated to the degree
possible from
distribution of building
supplies, construction
materials, food and
wastes, etc. Areas for
hafidting of all building
deliveries should be
generous enough to
ensure safe
maneuvering of
carts, etc., to minimize
potential damage to
valuable items
4.Administration
Prog Primary
No. Name Adjacencies Equipment Description Of Space
ADMINISTRATIVE
OFFICES
Director’s Office P.C.9’-0" Ceiling. Simple.
4.10 Assistant/Reception Telephone Outside Awareness
* In general, private
offices will be kept
to a minimum with
maximum flexibili~,
achieved through the
use of open
workstations, planning
4.1t Curator P.C.9’-0" Ceiling. Simple.
Telephone Outside Awareness
4.12 Registrar P.C.9’-0" Ceiling. Simple.
Telephone Outside Awareness
4.13 Preparator P.C.9’-0" Ceiling. Simple.
Telephone Outside Awareness
4.14 Children’s Axt P.C.9’-0" Ceiling. Simple.
Supervisor Telephone Outside Awareness
4.15 Art &Technology P.C.9’-0" Ceiling. Simple.
Director Telephone Outside Awareness
4.16 Project Look Director
4.17 Music & Dance P.C.9’-0" Ceiling, Simple.
Director Telephone Outside Awareness
4.18 Volunteer Coordinator P.C.9’-0" Ceiling. Simple.
Telephone Outside Awareness
4.19 Assistant P.C.9’-0" Ceiling. Simple.
Telephone Outside Awareness
4.20 Program Assistant P.C.9’-0" Ceiling. Simple.
Telephone Outside Awareness
4.21 Office Assistant P.C.9’-0" Ceiling. Simple.
Telephone Outside Awareness
4.22 .Class Registrar P.C.9’-0" Ceiling. Simple.
Telephone Outside Awareness
4.23 PR Director P.C.9’-0" Ceiling. Simple.
Telephone Outside Awareness
4.24 Publications Director P.C.9’-0" Ceiling. Simple.
Telephone Outside Awareness
4.25 Evening Supervisor P.C.9’-0" Ceiling. Simple.
Telephone Outside Awareness
4.26 Director Art & Culture P.C.9’-0" Ceiling. Simple.
Telephone Outside Awareness
4.27 Meeting Rooms Table, Chairs,
A!V Capability,
Telephone
4.27 Staff Lounge Table, Chairs,For 20 people
Coffee Machine
Refrigerator
4.28 Volunteers Lounge Table, Chairs,For 20 people
Coffee Machine
Refrigerator
Palo Alto Art Center Progamming Report
29
4.29 Coffee/Copy Center Gen. Admin. Area Coffee Machine,
Conference Room Water Cooler,
Photocopier
4.30 Supply Storage Shelving
4.31 Mail/Fax Fax Machine
Shelving
Palo Alto Art Center Pro~arnming Report
3O
SUMMARY OF MAJOR SPACES
ADJACENCY DIAGR~a2vIS
.I PARKING AND BUS SES LANDSCAPED OPEN SPACE
SUMMARY OF ENTR,~,~CE SPACES
ADJACENCY DIAGRJkMS
CHILDREN’ S ADULT
ART AUDITORIUM STUDIOS
GROUP
ORIENTATION
GALLERIES
ADMENIS TP,_ATION
CATERING
KITCHEN
I[-~’TO LOADING
DOCK
GALLERY
SHOP
CAFE
A A A
PROGRAM SUPPORT SPACES
ADJACENCY DLAGR_aflVIS
TO E.X_q-tIB1TION S
TO ADULT STUDIOS
I. Conceptual Construction Cost Estimate
Existing Areas
In view of the unconfirmed, but expected mechanical, electrical, plumbing and structural
deficiencies in the existing buildings, as well as the relocation of walls, etc, we propose a
square foot cost of $100-125 per square foot in this area. For new construction, $175-200 per
square foot.
Accordingly the estimate would look like this:
Enhanced Expanded
28,880 x 100 - $2,888,000.00 (say $2,900,000)
x 125 = $3,610,000.00 (say $3,600,000)
10,000 x 175 = $1,750,000.00
x 200 --- $2,000.000.00
Hard Costs Range $4,638,000 to $5,610,000
28,880 x 100 = $2,888,000.00
x 125 = $3,610,000.00.
27,206 x 175 = $4,76!,050
x 200 = $5,441,200
$7,649,050 to $9,051,200
Soft Costs at 20%, approximately $1,000,000.00
Fees 12%
Permits 2%
Testing .5%
Legal, Etc.1%
Misc.415%.
Total Approximate Cost: $5.6 to $6.6 million
$1,600,000
$9.2 to $10.7 milIion
Pato Alto Art Center Progamming Report
34
1%r. BUILDLNG SYSTEMS PERFORMANCE CRITERIA
A. Circulation Systems
Public/Visitor
Circulation for public visitors to the museum must be carefully organized to ensure
that the available public facilities are clearly identified and located, and that
secured areas for support, staff, and administration are carefully segregated from
the visitor’s normal circulation path. These distinctions are, in part, a function of
effective directional graphics, but must also be accomplished by judicious
planning.
a.The most sQmaificant aspect of the Center’s museum is the commitment to have
each visitor experience both the visual involvement with an exhibition and the
more tactile effort of actual art making. To ensure that this is facilitated,
circulation paths should, where possible, include views of all Center programs.
b.For security and staffing reasons, and for clarity, the number of entries to the
building for the public must be limited. The only other public entry should be
possible access to the auditorium, the gallery shop and the cafe at the time
when the rest of the building is not open.
c.All public exits from the building should also be from the main lobby, again
for security reasons. Additional exits required for fire and safety egress should
be operable only in emergencies, and should be alarmed. Outside areas should
be enclosed by a secure perimeter.
d.Areas for staff should not be part of the flow of visitor circulation between
program areas.
e. Semi-public areas like administrative offices should be easy to locate for the
visitor, although not prominent.
f. All pedestrian circulation to be designed to ADAAG Requirements,
2.g¢orks of Art
All works 0fart will arrive at the building by way of the loading dock, and will
be checked in by security personnel and the registrar at the receiving area.
From that point they will proceed on one of the two optional routes:
¯If crated, a work will be taken directly to temporary storage or exhibition
staging area, where it will be uncrated, and its condition recorded by the
registrar. It will then be either stored or moved to galleries. If galleries
are empty, work can be uncrated in the galleries.
¯If uncrated, it will be conditioned immediately by the registrar and then
placed in temporary storage until ready for installation. If the work is to
be installed immediately, it will go directly to the galleries.
Circulation of art as well as exhibition furniture from storage to upper or lower
floors should be accomplished by freight elevator as necessary. This elevator
should be sized to transport the largest work that could be accommodated in
gallery, and will be a minimum of 12’ x 10’. Doors will be a minimum of 10’
high and the ceiling should be removable.
Pato Alto .art Center Prog-ramming Report
35
o
Staff must have access to the museum at all hours. This is most efficiently
accomplished by providing access throughout the receiving/loading dock area
where the building’s security office or security system can monitor entry and
eg-ress.
Construction Materials/Trash/Food
A circulation route for trash, crates, supplies, food, and construction materials must
be identified separate from the flow of art, visitors, and staff. Preservation of
"clean" (art, staff) and "dirty" (trash, etc.) routes, similar to such precincts in
hospitals is important.
Handicapped
While it is axiomatic that the new building will comply with all applicable ADA
and other codes for accessibility for the handicapped, the new Museum will focus
special attention on making collections and exhibits accessible to the sight and
hearing impaired and others beyond the strict obligations of the law.
B. Environmental Controls- General
Temperature and Humidity
Temperature and humidity are interdependent environmental conditions that effect
the condition of the art. Fluctuations in temperature and humidity will cause the
expansion and contraction of the objects, which will eventually lead to damage.
The objective should therefore be to provide a tightly controlled, non-fluctuating
environment for areas where art is displayed or stored.
Concentrated light of any kind can be deleterious to artwork. Damage increases
with the time of exposure. The principle effect of infrared as it strikes an opaque
material is to heat it, which would cause deterioration. Even more damaging are
the effects of ultra-violet rays at the other end of the spectrum. Ultra-violet causes
chemical reactions resulting in color fading in many materials. Visible light also
causes damage, particularly if it is of high intensity over a long period of time, but
to a lesser degee than infrared and ultra-violet. The objective of gallery lighting is
to utilize the minimum amount of light necessary for the safe and enjoyable
presentation of materials.
The safe maximum foot-candle levels will vary with the "kind of work displayed.
The museum should be designed to adjust to gallery light levels from 5 to 50 foo~
candles. To this end, all natural light sources should be filtered and designed for
blackout, and all lighting systems should be dimmable. Dimming systems should
be used with care as reduced power changes the color rendition of lamps.
Palo Alto .Art Center Pro~amming Report
36
Pollution and Particles
Pollution and particles are both internally and externally generated and should be
addressed, particularly in the design of mechanical systems and their filters. The
building’s urban site must be considered. Smog pollution is a factor because of the
presence of a major thoroughfare adjacent to the site. More significant is the
presence of studios and workshops within the building, which can create
considerable dust, etc. Both primary and secondary filters, including carbon
filters, should be considered.
The building should be so designed to clearly separate the air circulation from such
areas as studio’s carpentry shops and cafe from other areas in the building. The
inevitable and inescapable presence or particulate that would occur during gallery
installations (sheet rocking, painting, etc.) must be quickly and efficiently removed
by the building filtration system.
Organization of Controls
Care must be taken to visually organize grilles, diffusers, thermostats, fn-e
sprinklers, smoke detectors, switches, etc. when they appear in exhibit and public
spaces.
C. Structural Criteria
1.Building Protection
.a.Seismic Design for Building
This building will be designed to comply with all applicable codes for new
buildings. See also protection of artifacts section.
Design Live Load
Exhibit and studio spaces should be designed to support floor live loads of 200
pounds per square foot. Offices and other spaces should be designed to
support loads as specified in Table 16A of the Uniform Building Code.
Hanging points, each capable of holding 600 pounds should be provided on a
15’ x 15’ ~m-id at the ceilings ofalI exhibition areas.
o
Life SafeO,
The 1997 Uniform Building Code will be the governing criteria for Life/Safety
issues for the building.
Artwork Protection
In the protection of objects from seismic events there is a range of approaches
which can be taken to provide for their safety. The three broad categories include
attachment of the object to the structure, use of an internal or external framework
and isolation of the object fi:om the structure. Which approach should be
undertaken varies with different objects.
Considerations such as size, weight, stability and fragility of the object to be
protected are critical. Criteria established for the building structure relating to the
anticipated likelihood and magnitude of a seismic event should be utilized in the
selection of strategies and design of systems to protect individual artifacts. These
Pato Alto Art Center Pro~amming Report
37
strategies and systems involve common sense and can be executed in a number of
ways.
¯Secure the object directly to the structure with a connection to both the
object ancl the structure that can withstand the predicted forces involved in
a seismic event.
Attach the object to a framework which is either internal or external. This
framework then takes the load of the lateral forces and displaces them
directly to the structure. A range of strategies may be considered from
steel structures to small Plexiglas or thin wire mounts depending on the
object. There must be sufficient attachment to the object and the structure
to achieve adequate strength.
¯Isolate the object from the structure which allows the object to move freely
from the structure in a seismic event. Several methods may be used here.
a. Allow the pedestal to move freely so that the floor slides under the
object. This depends upon the materials involved but may be as simple
¯ as Teflon pads on a smooth floor.
b. Allow the pedestal to roll freely on the floor within a given
displacement range. For heavy delicate objects there may be a 10 inch
allowed movement.
Other common sense precautions should be taken to protect the artwork. This
varies widely depending upon the particular exhibit, gallery, objects and surfaces.
Pedestals should be wider than they are high. Also, weighted pedestals may be
used to lower the center of gravity so they rock but do not overturn.
Insta!lations require careful planning in order that the objects are best displayed
and viewed. Evacuation of the objects must also be considered in case of
emergency. Stored objects may be strapped down, palleted, or placed in padded
drawers or crates. Shelving for smaller objects in storage should be provided with
lips to prevent objects from sliding off shelves.
Do Mechanical Program Requirements
The building and HVAC systems design shall be in compliance with ASHRAE/IES
Standard 90.1-1989, "ENERGY EFFICIEI’,rF DESIGN OF NEW BLKLDINGS".
Ventilation should be provided in accordance with ASHRAE Standard 62-t 989,
"VENTILATION FOR ACCEPTABLE INDOOR AIR QUALITY".
Cooling Source
The Center wilt require cooling water 24 hours every day as air side economizers
should not be used for cooling where a constant humidity level is required.
HVA C Systems
The HVAC systems must be designed to meet the special needs of each individual
space relative to its usage, occupancy loading, temperature and humidity requirements,
and sound control. Each sp~ce with different functions, different occupancy, different
exposure, or different usage schedule should be furnished with indi~idual room
temperature controls. Rooms with similar exposure, occupancy, function and schedule
may be zoned together. Combined rooms should not exceed 1000 square feet per zone.
Palo Alto Art Center Pro~amming Report
38
Multiple air handling systems may be provided. Areas requiring special temperatures
and humidity requirements should be served by dedicated air handling units. The air
distribution system must be designed to minimize drafts and preclude stratification
within rooms or short circulating between supply and return outlets.
HVAC piping should not be run overareas which display or store museum collections.
A dual duct HVAC system should be seriously considered for these areas, if financially
feasible.
Sound & Vibration Control
In order for the majority of spaces to function as desired, sound or vibration cannot be
transmitted into the spaces from the mechanical systems. Duct and pipe velocities
should be kept extremely low in critical spaces.
Ductwork, piping, and mechanical equipment must be adequately supported with
vibration isolators to prevent transmission of vibration and sound into the sensitive
spaces.
Temperature & Humidification
Constant temperature and humidity levels should be maintained in all areas of the
building where art may be present. The detailed Space Use Description portion of this
program defines spaces where art will be located in this building. It is essential that the
HVAC systems serving these areas be capable of maintaining constant temperature and
humidity levels. The humidification system should be capable of maintaining any user
selected space relative humidity set point between 35% to 55% and should not vary
from set point more than 2% in any 24 hour period. The target relative humidity level
in areas with art is 48%. Lower humidity levels are acceptable in other areas of the
building, but should not be below 30%.
Room temperatures in areas with art should be maintained constant at any user selected
set point between 70 to 75 degrees with no more than a 2 degree change in any 24 hour
period. Temperature in other areas of the building should be maintained within normal
control limits of 65 to 75 degrees.
Humidity and Temperature zones must be capable of being individually controlled so
that areas displaying or storing different materials can meet the different temperature
and humidity requirements. Thermostats should be carefully located to accomrfiodate
flexibility in room utilization for exhibits and frequent repainting of exhibit walls.
Air Filtration
Higher efficiency filters should be used in this building. Dual filter banks should be
used. Upstream filters should have a nominal 30% efficiency rating. Downstream
filters for systems serving areas with Art and!or Artifacts should have a nominal
efficiency rating of 90%. Downstream filters for other areas of the building should
have a nominal efficiency rating of 60%.
Special Exhaust
A dedicated exhaust system will be required for kiln area. A dedicated exhaust system
will be required for paint and welding booth areas. A dedicated exhaust system may
be required for the food preparation area. The dedicated dust collection system will be
required for the Carpent~5, Shop area and ceramic studio. A dedicated make-up air
system may be required for the paint booth area. Noise is a consideration in selecting
and locating exhaust and make up air systems.
Palo Alto Art Center Pro~amming Report
39
Plumbing
The actual number of plumbing fLxtures required will depend on maximum occupancy
as determined by the Building Code, plus a factor which accounts for intensive use
during auditorium performances, etc. The fixtures shall be in compliance with the
requirements of the Americans with Disabilities Act Architectural Guidelines
(ADAAG). Plumbing piping should not run over areas where museum collections are
displayed or stored. Gutters under roof drains or any other lines which must pass over
storage or display areas and moisture alarms should be installed.
Fire Sprinklers
The Museum should be fully sprinkled with a wet pipe sprinkler system except in art
display and s.torage areas. A pre-action system should be considered in these areas.
Multiple vertical risers should be used in lieu of long horizontal runs where possible.
Eo Electrical Program Requirements
_Power
Primary Sere,ice
Supply 277/480 volt, 3 phase, 4 wire, 60 hertz power to the building. A main
switchboard will be provided for the distribution of 277/480 volt power to large
mechanical loads, fluorescent lighting and elevators. Small motor loads and
convenience outlets will be supplied by 120/208 Volt panel boards served from 480
to 120/208 volt transformers throughout the building as required.
The electrical system shall comply with all applicable codes and NEC rules and
regulations.
Electrical equipment rooms must be located so as to minimize interference with the
functions of the interior space and allow for future expansion.
Service equipment panel boards, feeders, transformers and electrical rooms shall
be sized for anticipated building load, plus 25% spare capacity for future growth.
Prelimina~ building load estimate shall be based on the following:
Equipment and Receptacles
Computer equipment
Lighting
HVAC
Miscellaneous loads
Spare Capacity
1.5 watts/SF
2.0 watts/SF
6.0 watts/SF
10.0 watts/SF
0.5 watts/SF
25% of estimated load
UPS and emergency standby generator, sized to accommodate the equipment
requiring continuous operation, shall be provided. Emergency power shall be
provided for but not limited to the following systems:
HVAC to art areas
Elevators
Fire Alarm and Security Systems
Exit and Emergency Lighting
Sump pumps
Palo Alto Art Center Pro~amming Report
40
Office space shall be supplied by two power sources to each work station, one for
computers and the other for miscellaneous use. Color coded receptacles will be
installed for computer power.
All electrical feeders in the building will emanate from the electrical switchgear
room. Branch circuit distribution will be in the ceiling for lighting and below the
floor for receptacles and equipment connections. Lighting and Power panel boards
will be provided on each floor.
Lighting
Lighting shall be provided to all building spaces in accordance with Illuminating
Engineering Society recommendations and any other applicable codes. The
lighting system shall be designed for required illumination levels while meeting
the performance requirements for automatic or occupant sensor control and ener~2
efficiency.
Lighting - Functional and Technical Requirements
Minimum illumination levels will be as follows:
Nominal Illumination
Space
Public Areas
Galleries
Offices
Studios
Conference Room
Mechanical Rooms
Storage
Toilet Rooms
Level (foot-candles)
15
5-20
50
50
30
20
10
20
The lighting system shall consist of the following:
¯General lighting (administration, storage, and support areas): Fluorescent
fixtures with deep cell parabolic louvers and UV filtering sleeves, T8
lamps and electronic ballasts shall be used.
¯Museum general lighting: Minimal fluorescent lighting for cleaning and
set-up of displays.
¯Museum display lighting: Track and directional control light fixtures that
utilize PAR 150W and MR16 lamps, fLxmre to be capable of utilizing
appropriate filters for high lighting of display items, and for dispersing
heat in low voltage spots.
¯Lighting Controls:
1. Offices: Provide electrical light switch control with switch located on
strike side of door. If practicable and affordable, provide movement
sensitive switching.
2. Corridors: Light switches will be located adjacent to entries and
elevator lobbies.
3. Display areas: Programmable lighting controllers will be provided for
individual control of exhibition galleries and central control of lighting
from one area of the building.
Palo Alto Art Center Programming Report
41
Fire Alarm System
Building will be protected by an Addressable Fire Alarm system. The system will
utilize fbxed temperature!rate of rise heat detectors, smoke detectors, duct mounted
smoke detectors and monitor the fire sprinkler system to initiate alarms within the
space. ADA compliant audio/visual horn strobes will be provided throughout.
The system will also report any alarm to city fire stations.
SecuriO~. System
In addition to protecting from natural causes, the building should be designed to
protect the contents from accidental or intentional damage. A combination of
volunteer security personnel in the public areas, closed circuit television, door
monitoring, and space monitoring systems should be investigated. Various levels
of security will be accessed through a card reader or other identification system.
All electronic systems should terminate at the security console, which will also act
as the monitoring point for fu’e l:rotection and building mechanical systems. It is
anticipated that the security control panel would be interconnected to a "central
station" monitoring company via a multi-plex system capable of monitoring
numerous building signals and collecting historical data.
F. Fire Protection
Art must be protected from not only fires, but also the suppression systems used to put
out fires. "Wet" sprinkler systems, inadvertently triggered, can cause more damage
than fires alone. Alternative suppression systems havebeen considered for art
protection.
One favored system today, both from the contents and occupant safety standpoint is the
pre-action "@-pipe" system. Sprinkler system heads are not activated without the
presence of both smoke and heat or the fusing of a sprinkler head. Sprinkler pipes are
not normally filled with water until smoke is present and only after a time delay to
allow system overrides. However, many fire marshals will not accept pre-action
systems, and most new museums use standard "wet-pipe" sprinklers with protected
heads to avoid accidents for all but the most sensitive areas.
Pato Alto Art Center Pro~amming Report
42
ATTACHMENT B
Libraries and Art Center Site Committee
Libraries - Mary Jo Levy 270 Forest, PA 94303
329-2403 maryj o_levy@city.palo-alto.ca.us
Secretary Evelyn Cheng 329-2516
Diane Jennings
329-2668
1213 Newell, PA 94303
diane_i ennin gs @city.p al o- alto. ca .us
Tony Angiletta 711 Clark Way, PA 94304
725-2520 (w) 725-1068 (fax) tanNlet@sulmail.stanford.edu
Shelby Valentine 3116 Stelling Dr, PA 94303
494-2012 (ph) 494-1377 (fax) shelbyvm@aol.com
Karen White
494-7026
146 Walter Hays Dr, PA 94303
kvwhite.~,nanospace.com
Art Center -Leon Kaplan 1313 Newell, PA 94303
329-2218 leon_kaplan@city.palo-alto.ca.us
Secretary Darlene Katsanes329-2227
Linda Craighead 1313 Newell, PA 94303
329-2519 linda crai~head(~city.palo-alto.us.gov
Office Assistant Pat Broadwin 329-2367
Rob Steinberg
408) 295-5446
The Steinberg Group, 60 Pierce Ave, San Jose 95110
rsteinberg@ts ~arch.com
Carolyn Tucher
941-6479
4264 Manuela Way, PA 94306
4cat,compuserve.corn
Community Gardens -Pauline Jacobus 342 Seale Ave., PA, 94301
327-7933 pumlub ~yahoo. corn
Dr. Richard Sibley 1722 Newell Rd, PA, 94303
725-5182 (o), 328-1758 (h)rsibley,@,,stanford.edu
Barbara Pande
323-0561
555 Byron St. #208, PA, 94301
hm@lmi.net
Public Works -Kent Steffens 250 Hamilton, PA, 94301
329-2270
Bob Morris
329-2454
Planning - Tricia Schimpp
408) 298-2155
Kent Steffens~city.palo-alto.ca.us
250 Hamilton, PA 94301
Bob_Morris@city.palo-alto.ca.us
26 Tillman Ave., San Jose, 95126
Tricia_S chimpp@city.palo-alto.ca.us
Legal advice - Richard Yankwich, Gray, Cary, Ware & Friedenrich, 3340 Hillview Ave,
PA 94306 320-7438 (o) rvankwich~gcwf.com
Director of Comrnunity Services - Paul Thiltgen 1305 Middlefield Rd, PA, 94301
463-4950 paul_thiltgen@city.p alo-alto.us, gov
Administrative Assistant Erin Solheim 463-4952
Architects - Mark Cavagnero Mark Cavagnero Associates
1045 Sansome St., Suite 200, SF, 94111
Elizabeth Shreeve, The SWA Group,
Roslyn Cole, contact
415) 398-6944 (o)
Renate Lee - Mark Cavagnero Associates
Gurdo Aquino - SWA Group
Art Center Foundation Staff- Helen Sanders
617-3138
Sausalito
Mark Cavagnero Associates
415) 398-6943 (f)
1313 Newell Rd, PA, 94303
ATTACHMENT C
Guiding Principles for the Joint Development
of the Main Library and the Art Center
1)The library and art center facilities should enable the two institutions to fulfill their
respective missions.
2) The building/buildings should create a unified, complementary appearance.
They should create a presence and have a clear identity.
The entrance should be obvious for both pedestrians and drivers.
Site design should encourage the use of both facilities.
3) Space should be used efficiently.
4) Provision should be made for new ideas, new programs, and new synergies.
5)The library and art center should seek ways to coordinate and integrate services and
programs.
6)The site design should provide for the easy flow of foot, car, and bidycle traffic as
well as ample parking.
7) The building/buildings should be environmentally sensitive.
"green buildings"
trees and landscaping
outdoor spaces
indoor - outdoor circulation
9)
Both capital costs and operating expenses of the new buildings are important.
The library and the art center want to be good neighbors.
community gardens
neighborhood