870 Raymond Building

870 Raymond Building

洛杉矶的Darin Johnstone Architecture（DJA）最近将美国南帕萨迪纳市的邮局改建成为艺术中心设计学院的教学基地。整个改建历时仅六个月。
改建完成后，建筑师在建筑内举行了一场名为“Drawn Out: Didactic to Haptic”的展览，期望通过展示新旧建筑之间的对比图纸与装置，让大家更深
刻的理解原有建筑与新建筑。

870 Raymond Building

Client:    Art Center College of Design
Building type:   Educational
Size:   36,000 sq ft
Architect: Darin Johnstone Architecture
Team:    Darin Johnstone, Sandra Hutchings, Matt Liese, Daniel Romero, Kris Ibranan, Jesus Guerrero, Kaylee Hyun
Engineers:    Buro Happold, Integral Group, Waveguide
Project manager:    gkkworks
General contractor:    MATT Construction
Design build engineers:    Wittler Young, A.J. Kirkwood, Muir Chase
Photo credit:    © Lawrence Anderson Photography, Inc.

当一种特定的强大元素塑造建筑项目时，那么直接地呈现这一元素便成为最简单的设计方法。
该项目是将位于美国南帕萨迪纳市的邮局改造成为艺术中心设计学院的现代艺术和插图系教学基地。对于该项目来说，时间表就是塑造该项目的元
素。2013年5月，DJA应邀提交项目报价表。同年6月，DJA接受委托开始实施该项目。2014年1月，院系入驻并开始授课。这项35,000平方英尺的
改造工程从设计、提交文件、批准到建筑完成仅仅只有六个月的时间。直观而紧凑的时间要求清晰地勾勒出整个项目进程。

Anytime a project is heavily shaped by a particularly forceful factor in the process it is easiest to open with a simple description of that factor. For
the renovation of the existing post office building in South Pasadena, designed to house Art Center College of Design’s Fine Art and Illustration
departments, that factor was the schedule. In May of 2013 DJA was invited to submit an RFQ for the project. In June of 2013 DJA was awarded the
commission. In January of 2014 the departments moved in and started holding classes. The 35,000 square foot renovation was designed, documented,
permitted and constructed in six months’ time.  That direct and challenging outcome clearly shaped the overall process.

紧迫的时间表颇具挑战，但更多有趣的挑战来自于如何结合现有环境将原邮局改造成艺术中心设计学院的现代艺术和插图系教学基地。画廊、教室
和办公室充满整个旧体量，同时需要引入大量的自然光线。旧建筑包含五个自然光源：建筑中心两层高的中庭空间上方的天窗（30平方英尺）、大
楼四角两层高的中空区域—我们称之为“阳光庭院”。循环状的画廊连接所有的阳光庭院，将明丽的阳光引进教室、工作室和办公室。

Though we enjoy quoting the sheer audacity of the schedule the more interesting challenge posed by the charge to transform the original ‘Post Office’
building into a home for Art Center College of Design’s Fine Art and Illustration departments had to do with negotiations between the existing
conditions and the program. The program of galleries, classrooms and offices filled the entire existing volume while still requiring an abundance of
natural light. The existing building contained five natural light sources: a thirty foot square skylight above a double height atrium space in the center
and double height voids in all four corners that we termed ‘light courts’. Formal galleries and circulation-conceived as informal gallerieswere used to
connect all of the light courts effectively carving the mass of classrooms, studios and offices with light.

Drawn Out: Didactic to Haptic

Installation title: Light Mass
Client: Art Center College of Design
Architect: Darin Johnstone Architecture
Team:  Darin Johnstone, Sandra Hutchings, Jesus Guerrero, Aida Hassan   
Special thanks to:
Art Center College of Design leadership, fine art and illustration departments and facilities.
Tru-Roll and Advanced Entertainment Technology, Ralph Cichetti  
Grosh Custom, Creative Director, Greg Viera
Cinnabar, Project Manager, Daniel Congdon
Dan Boer

展览展示了新旧两个部分的设计图，反映了原建筑的设计方案，同时深化和延伸了我们对原建筑的理解。其图纸和展示装置反映了从客观性到主观
性的变化。

Drawn Out: Didactic to Haptic
For this exhibit a two part drawing series was conceived to reflect upon the original design approach while deepening and extending our understanding
of the building. The drawings and processes are intended move from programmatic to projective.

第一部分“直观呈现”，通过示意图、平面图和轴测图展示了原建筑的改变。第一套图纸的核心是对原建筑结构内九个方格网结构的改造。我们在严格
九宫格布局的原建筑基础上增加了新的组织结构和透光孔洞。

Part one ‘didactic’ depicts the transformation of the existing building through diagram, plan and axonometric. A focus on figure ground transformations
rooted in a nine square grid inherent in the existing building structure serve as the armature for the first set of drawings. This quintessential disciplinary
exercise is explored and extended through drawings of the new organizational fabric and light voids within the original building mass.

第二部分“触感式呈现”，通过新增展示装置及向中庭上端主光线入口处延伸的图案进行呈现。这部分挑战了传统的展示语言，从第一套图纸直接、客观
性的展示转变成主观性的呈现。其图案设计和造型带来多重体验。

Part two ‘haptic’, undertaken in parallel as a set up for the installation, shifts to an interrogation of the main light void at the central gallery. The drawings
challenge the representational language and conceit of the first series by moving from objective to subjective modes of representation. The drawings are
constructed and scripted to posit multiple experiential outcomes.

建筑项目的时间十分紧迫—从设计，建造到使用仅花费6个月的时间。也许，正是这紧凑的时间安排促使我们接到该项目设计的展览任务时想到很有
必要采用装置来延伸整个设计。当代建筑装置通常能够很好地表达和试验预期的建筑理念和设计语言。我们以前实践过，但是这个项目略有不同。
在这个项目中，我们希望直接在精心改造的原建筑结构中增加展示装置，从中发掘建筑本身隐藏的其他潜力。

Light Mass
The original building project occurred within an incredibly tight time frame. In less than six months the project was designed, constructed and
occupied. Perhaps this is why when we were invited to create an exhibit about the design of the project, we felt compelled to do an installation
extending the design. Often a contemporary architectural installation is an opportunity to express and test preconceived architectural notions
and languages. We have certainly done that in the past but this project represented a different type of opportunity. Through this work we sought
to reveal another set of potentials inherent in a situation that we had already structured in a very particular way.

“触感式”设计图围绕中庭空间上升，将客观的呈现方式变得富有主观性。图形深度和平整度的变化带来了多重体验。以图形为出发点，我们试图将建
筑材料浸浴在阳光中，并模糊线、面和体量之间的界限。图形的创意和其物理特征展示了设计空间的变化特点。它既是画作也是装置体；是多重效果
的影射也是一种思考的呈现。

The ‘haptic’ drawing series moves up and around the central gallery space while shifting from objective to subjective modes of representation. Depth
and flatness toggle in and out as the drawing itself suggests multiple formal outcomes. With the drawings as a point of departure we sought to render
material in light and ambiguify distinctions between line, surface, and mass. The idea of the drawing and its physical attributes are exploited to reveal
the shifting qualities of the spaces we designed. The installation is intended to be drawing and object simultaneously.  It is a projection of multiple
outcomes and a rumination on presence.

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