After analyzing in conjunction Spencer Finch’s Painting Air and Paul Rudolph’s Yale School of Architecture, the overlap of the two projects lies in the ambiguity of the in-between space.

 

The layers of multiple rotating glass panels constantly implies a new space created by the overlays of reflections. Below is a plan analysis of a portion of the piece in describing the phenomenon.

The idea is carried in Paul Rudolph’s main exhibition space in the YSOA as edges between one pocket of space to another are blurred through the subtle changes in elevation and partition walls.

The site is located in the heart of Providence’s Jewelry District. The project proposes to occupy an existing parking lot with a film research institute that houses editing labs as well as public programs.

 

Responding to the urban context, the building has three masses each with its own major public service:

1. Cafe - most light
2. Library - less direct light

3. Theater - black box 

The center is circulation space filled with activity. It is the connective tissue that provides a continuous path from the ground floor to the rooftop stopping at each major public space between the three masses.

Working with the existing topography, the slope of the site allows greater sectional qualities and half floors. The ground floor is entirely accessible with three entrances straight into the theater and atrium lobby 

The cantilevered volume that houses the cafe, creates a space underneath to house outdoor screenings. The ground beneath also slopes down to encourage viewers to comfortably lie down while watching the show. The deep cantilever is anchored and held up by the other two masses.