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Collection by Zach Edelson

A Floating Theater Hides Within this Art Deco-Inspired Modern Museum

Located on the edge of the University of California, Berkeley campus, the UC Berkeley Art Museum and Pacific Film Archive (BAMPFA)'s new building was once an industrial facility housing offices and printing presses. With its renovation and addition by Diller Scofidio + Renfro, it now hosts luminous galleries, a massive outdoor LED screen, and more.

The story behind this unique design actually begins with another building: Woo Hon Fai Hall, designed by architect Mario Ciampi and former home to BAMPFA. Originally opened in 1970, Ciampi’s building was determined to be noncompliant with earthquake safety standards in 1997. Structural upgrades would limit and alter its gallery spaces beyond usability. An added complication: the building also housed the University’s film program in one of its theaters. A new home for both museum and film program would have to be found; an initial design by Tadao Ando proved too costly when an economic downturn struck. Finally, the University selected DS+R after an ideas competition to renovate and expand an existing Art Deco building – the university’s former press – with a budget of $112 million. The museum will open on January 31, 2016 with the exhibition “Architecture of Life” that will run through May 29, 2016.

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The aerodynamic curves of the addition—which conceals a 232 seat auditorium—were inspired by the Streamline Moderne style of Art Deco. The original building, seen left, will retain its Art Deco facade. While much of the new construction is underground, it’s far from hidden, as the glass wall between the old and new buildings hints.
The aerodynamic curves of the addition—which conceals a 232 seat auditorium—were inspired by the Streamline Moderne style of Art Deco. The original building, seen left, will retain its Art Deco facade. While much of the new construction is underground, it’s far from hidden, as the glass wall between the old and new buildings hints.
Glass walls and floors allow passerby to peak into the spaces below. “That was tricky to do too, the glass sidewalk,” says Renfro, “not only because it's exposed to Berkeley life, which is a little more rough-and-tumble than people imagine [but] we're in one of the highest seismic zones in the country.” In fact, the combination of old Art Deco and modern Art Deco-inspired architecture is far more than symbolic: “the new addition…is actually an armature that helps the old building achieve seismic stability. So, in fact, they don't just visibly support each other and embrace each other, they actually work together structurally in a seismic capacity. They’re codependent elements.”
Glass walls and floors allow passerby to peak into the spaces below. “That was tricky to do too, the glass sidewalk,” says Renfro, “not only because it's exposed to Berkeley life, which is a little more rough-and-tumble than people imagine [but] we're in one of the highest seismic zones in the country.” In fact, the combination of old Art Deco and modern Art Deco-inspired architecture is far more than symbolic: “the new addition…is actually an armature that helps the old building achieve seismic stability. So, in fact, they don't just visibly support each other and embrace each other, they actually work together structurally in a seismic capacity. They’re codependent elements.”
The new 232 seat theater seems weightless within the stainless steel shell. “It literally floats as an object free on all sides,” says Renfro, “in a void above the film archives, studies centers, and education center. That glass allows the object to be seen from… above but it also lets light down to the study center and archives below.” The museum extends farther into the earth where some of the its artworks—which number 19,000 and range from contemporary photography to Neolithic ceramics—are on display. In contrast to the warehouse galleries, these subterranean exhibition spaces are more traditional, enclosed, rectangular galleries.
The new 232 seat theater seems weightless within the stainless steel shell. “It literally floats as an object free on all sides,” says Renfro, “in a void above the film archives, studies centers, and education center. That glass allows the object to be seen from… above but it also lets light down to the study center and archives below.” The museum extends farther into the earth where some of the its artworks—which number 19,000 and range from contemporary photography to Neolithic ceramics—are on display. In contrast to the warehouse galleries, these subterranean exhibition spaces are more traditional, enclosed, rectangular galleries.
A rendering of the main theater’s interior; BAMPFA’s collection includes more than 17,500 videos and films and features “the largest collection of Japanese cinema outside Japan, impressive holdings of Soviet cinema, West Coast avant-garde film,” and more, according to the University.
A rendering of the main theater’s interior; BAMPFA’s collection includes more than 17,500 videos and films and features “the largest collection of Japanese cinema outside Japan, impressive holdings of Soviet cinema, West Coast avant-garde film,” and more, according to the University.
The first floor gallery space features classic industrial architecture: sawtooth skylights and polished concrete floors.
The first floor gallery space features classic industrial architecture: sawtooth skylights and polished concrete floors.
“We loved this idea to adaptively re-use the printing press building along with its administration building,” Renfro adds, “because it contained a space that is the most idealized 20th and 21st century contemporary art space: the warehouse.”
“We loved this idea to adaptively re-use the printing press building along with its administration building,” Renfro adds, “because it contained a space that is the most idealized 20th and 21st century contemporary art space: the warehouse.”
The stainless steel addition—what the DS+R calls the building's “public spine"—begins with the cantilevered café and culminates in a large LED screen with built-in speakers. Capable of showing images day or night, Renfro says the “the opportunities are myriad" for this venue. Previously not a nexus for foot traffic or public interest, he envisions that "people will go around the corner and hang out there, watch the screen during the day, catch a couple of shorts, or see little made-for-that-screen art pieces... this element will completely transform" the adjacent Addision Street.
The stainless steel addition—what the DS+R calls the building's “public spine"—begins with the cantilevered café and culminates in a large LED screen with built-in speakers. Capable of showing images day or night, Renfro says the “the opportunities are myriad" for this venue. Previously not a nexus for foot traffic or public interest, he envisions that "people will go around the corner and hang out there, watch the screen during the day, catch a couple of shorts, or see little made-for-that-screen art pieces... this element will completely transform" the adjacent Addision Street.
At the opposite end of the "public spine" is the café, rendered here looking north from within (or near) the cantilever over the entrance.
At the opposite end of the "public spine" is the café, rendered here looking north from within (or near) the cantilever over the entrance.