Conceptual proposal for improving the overall operability of a Sculptural Center by optimizing the connection to the street for delivery of large pieces of art. The size of the artwork that could be exhibited in the courtyard was limited. Improving the access calls back to SculptureCenter's early days before the new addition, such as when Erik Smith's In Who, Among You, Deserves Eternal Life? (2008), deposited two crashed cars in SculptureCenter's courtyard. Before, this was possible by way of delivering from the front of the property facing Purves Street.
The design introduces a three paneled sliding gate along the edge of the courtyard that operates within SculptureCenter's property line, and allows for varying degrees of openness. During deliveries, two thirds of the opening can be cleared, while daily pedestrian access is maintained with one third open through segmented panels. Small forklifts can continue to access the courtyard through the Purves Street gate adn lobby doors, while larger trucks may back up to the other opening, where forklifts can recieve and lower sculptures directly into the space.
This approach is paired with a minimalist design strategy that prioritizes durability and low maintenance. The material finishes and formal restraint references the site's industrial history, while the courtyard itseld is conceived as a blank canvas that supports artwork without competing with it. Because there is a higher side on the courtyard, the design incorporates a stepped platform that descends into a small amphitheater with integrated searing around a central open area for art. An ADA accesible ramp descends from the highest side like a fallen I beam serving as both an architectural element and a means of inclusive access.
