Hyde Park Art Center - Architecture

Architecture

The Hyde Park Art Center’s current building was designed by internationally recognized Chicago architect Douglas Garofalo of Garofalo Architects. The new building was converted from an old Army warehouse leased indefinitely to HPAC by the University of Chicago for $1 a year. The total budget for the project was $3 million. Garofalo "was selected to design a building that would highlight accessibility between artists and the public, transparency of the process of art making and exhibiting, and encourage experimentation with technology and concepts." Two of the building's most notable architectural features function to both problematize and undermine the institutionalized boundaries, both tangible and intangible, that often exists between art organizations and the public: the first floor of the building includes "five metal garage-style doors that open up to the main gallery from the sidewalk," thus extending the gallery space into the street and allowing the public to enter the Art Center easily and at will; and the second floor features "a 10x80 foot glass facade ... outfitted with a system of high range projectors, computers, scrims and screens used primarily to show large-scale digital artworks," that can be viewed from both inside and outside the Art Center.

Read more about this topic:  Hyde Park Art Center

Famous quotes containing the word architecture:

    Polarized light showed the secret architecture of bodies; and when the second-sight of the mind is opened, now one color or form or gesture, and now another, has a pungency, as if a more interior ray had been emitted, disclosing its deep holdings in the frame of things.
    Ralph Waldo Emerson (1803–1882)

    And when his hours are numbered, and the world
    Is all his own, retiring, as he were not,
    Leaves, when the sun appears, astonished Art
    To mimic in slow structures, stone by stone,
    Built in an age, the mad wind’s night-work,
    The frolic architecture of the snow.
    Ralph Waldo Emerson (1803–1882)

    In short, the building becomes a theatrical demonstration of its functional ideal. In this romanticism, High-Tech architecture is, of course, no different in spirit—if totally different in form—from all the romantic architecture of the past.
    Dan Cruickshank (b. 1949)