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哈默博物館于1990年開幕，建筑由愛德華·拉拉比·巴恩斯 (Edward Larrabee Barnes) 設(shè)計(jì)，博物館在2015年得以擴(kuò)充，將毗鄰的由克勞德·貝爾曼 (Claud Beelman)在1962年設(shè)計(jì)的一座辦公樓納入旗下。2018年博物館宣布，該建筑被命名為琳達(dá)&斯圖爾特雷斯尼克文化中心。

? Iwan Baan

? Iwan Baan

2000年，博物館啟動(dòng)了與洛杉磯著名建筑師Michael Maltzan的合作，契機(jī)源于Maltzan與設(shè)計(jì)師Bruce Mau為博物館打造的品牌標(biāo)識(shí)和總體規(guī)劃。后續(xù)的數(shù)十年間，哈默的領(lǐng)導(dǎo)層和Maltzan對(duì)這座建筑持續(xù)開展改造更新，以便為游客和社區(qū)提供更好的服務(wù)。

? Iwan Baan

項(xiàng)目早期的里程標(biāo)包括打造比利·懷爾德劇院和哈默咖啡館、開發(fā)俯瞰林德布魯克大道的露臺(tái)、將博物館庭院重構(gòu)為公共空間，以及通過(guò)三層展廳的約翰·V·通尼橋連接起過(guò)去一度被分隔的空間。

? Iwan Baan

最近階段的改造始于2016年對(duì)博物館展廳的更新，以及對(duì)自鄰近辦公塔樓收購(gòu)的40,000平方英尺空間的整合工作。2023年3月，改造工作迎來(lái)高光時(shí)刻，威爾希爾大道上醒目的新入口向公眾開放，顯著提升了哈默的城市形象。該入口通向新的大廳、空間擴(kuò)充達(dá)60%的展廳，以及從新入口綿延整個(gè)街區(qū)，位于威爾希爾（Wilshire）和格倫登（Glendon）的具有高識(shí)別度的新的大型展覽館。

? Iwan Baan

首期（2016年）：改造從位于三樓的特別展廳的全面更新開始，首期耗資1000萬(wàn)美元，于2017年1月在預(yù)算內(nèi)準(zhǔn)時(shí)完工。

二期（2017-2019年）：2017年秋季，項(xiàng)目二期啟動(dòng)，包括對(duì)Annex演藝空間的重大更新，目前這里被稱為蘇珊·貝·尼莫伊&倫納德·尼莫伊工作室（貝·尼莫伊工作室），以及在庭院層打造新媒藝展廳，及重新配置三樓展廳的洗手間。貝·尼莫伊工作室曾為原始的黑匣子空間，現(xiàn)在配備了可折疊的玻璃外殼、升級(jí)的舞蹈和表演樓層以及先進(jìn)的燈光和音響技術(shù)。面向韋斯特伍德大道的全新的大型外窗向周圍社區(qū)展示了博物館的活力。這些空間于2018年6月開業(yè)。

? Michael Maltzan Architecture

項(xiàng)目二期持續(xù)進(jìn)行，在2019年2月開設(shè)了一家新餐廳，并對(duì)林德布魯克大道上方的露臺(tái)進(jìn)行了改造，現(xiàn)被稱為安納伯格露臺(tái)。由于安裝了溫度控制系統(tǒng)和靈活的玻璃圍護(hù)結(jié)構(gòu)，這里全年可用于一些教育、裝置、項(xiàng)目和活動(dòng)的空間。林德布魯克大道入口處還安裝了可供輪椅通行的無(wú)障礙坡道。

連接三樓展廳的主展廳樓梯和長(zhǎng)廊也進(jìn)行了更新，在現(xiàn)代美學(xué)和材料選擇上與Michael Maltzan之前更新的庭院相統(tǒng)一。其他功能上的提升包括LED節(jié)能照明設(shè)施、清水混凝土地面以及新的不銹鋼和玻璃欄桿。

? Michael Maltzan Architecture

三期（2018-2020年）：相鄰塔樓的四至五層在基礎(chǔ)設(shè)施、室內(nèi)及機(jī)械系統(tǒng)經(jīng)過(guò)全面更新后，成為了員工辦公室和后勤空間。

? Iwan Baan

四期（2020-2021年）：在三樓新建展廳用于展示博物館的紙類藏品。加州大學(xué)洛杉磯分校格倫沃爾德圖形藝術(shù)中心（UCLA Grunwald Center for the Graphic Arts）是全美最重要的紙品收藏方之一，并擁有一個(gè)引人注目的新自習(xí)室，供學(xué)生和學(xué)者觀賞和學(xué)習(xí)藏品。此外，博物館商店也進(jìn)行了改造，室內(nèi)空間由洛杉磯的The Archers事務(wù)所設(shè)計(jì)。

五期（2022-2023年）：位于威爾希爾大道和韋斯特伍德大道拐角處的入口的重新設(shè)計(jì)，以動(dòng)態(tài)電子標(biāo)識(shí)和大型窗戶為特色，人們可以從中了解到博物館的活動(dòng)。這里廣迎各路訪客，無(wú)論是通過(guò)自駕、公共汽車、自行車、步行，或是未來(lái)乘坐規(guī)劃中的地鐵前來(lái)，地鐵站點(diǎn)將設(shè)置在街道對(duì)面。新的入口將游客引入一個(gè)寬敞的新大廳，里面有定期更換的藝術(shù)品裝置，以及一組慶祝博物館收藏的新展覽。

前城市國(guó)家銀行的舊址上建造了一個(gè)大型的新展館，為博物館增加了5,600平方英尺的空間，并將博物館的底層延伸至威爾郡沿線從韋斯特伍德至格倫登的整個(gè)街區(qū)。威爾希爾和格倫登的轉(zhuǎn)角處設(shè)有一個(gè)新的戶外雕塑露臺(tái)。

? Eric Staudenmaier

? Iwan Baan

Designed by Edward Larrabee Barnes, the Hammer Museum building opened in 1990. In 2015, the Hammer gained the ability to expand into an adjoining 1962 office tower designed by Claud Beelman. In 2018, the museum announced that the building would be known as the Lynda and Stewart Resnick Cultural Center.

In 2000, the Hammer initiated a collaboration with renowned L.A.-based architect Michael Maltzan, which began when he and designer Bruce Mau developed a brand identity and master plan for the museum. Over the next decades, Hammer leadership and Maltzan have worked on an ongoing basis to transform the building so it can better serve its visitors and community.

? Iwan Baan

Early project milestones included the creation of the Billy Wilder Theater and Hammer café, the development of a terrace overlooking Lindbrook Drive, the reimagination of the museum's courtyard as a public space, and the connection of previously separated spaces by the John V. Tunney Bridge between the third-floor galleries.

? Iwan Baan

The most recent phase of the transformation began with the renovation of the museum's exhibition galleries in 2016 and the integration of 40,000 square feet of space acquired in the adjacent office tower. The transformation culminates in March 2023 with the opening of a prominent new entrance on Wilshire Boulevard-giving the Hammer a much-heightened urban presence-which leads into a new lobby, exhibition galleries with 60% more space and a highly visible new large-scale gallery a full city block down from the new entrance, at Wilshire and Glendon.

? Iwan Baan

TRANSFORMATION CAMPAIGN TIMELINE (2016 - PRESENT)

Phase I (2016):?The transformation project began with the complete renovation of the Hammer's third-floor special exhibition galleries. This initial $10-million phase was successfully completed on time and under budget in January 2017.

? Iwan Baan

Phase II (2017-2019):?Begun in fall 2017, Phase II included a major renovation of the Hammer's Annex performance space, now known as the Susan Bay Nimoy and Leonard Nimoy Studio ("Bay-Nimoy Studio"); the creation of a gallery for new media art on the courtyard level; and reconfigured restrooms on the third-floor gallery level. Previously a raw black-box space, the Bay- Nimoy Studio now features a folding glass enclosure, upgraded floors for dance and performance, and advanced lighting and sound technology. A new, large exterior window facing Westwood Boulevard displays the Hammer's vibrancy to the surrounding community. These spaces opened in June 2018.

? Iwan Baan

Phase II continued with the February 2019 opening of a new restaurant and the transformation of the terrace above Lindbrook Drive. Now known as the Annenberg Terrace, this space is a year-round asset for education, installations, programs, and events thanks to the installation of climate controls and a flexible glass enclosure system. A wheelchair-accessible ramp was also installed at the museum's Lindbrook entrance.

The main gallery stairway and promenades linking the third-floor galleries were also refreshed to match the modern aesthetic and materials utilized in Michael Maltzan's prior renovation of the courtyard. Enhancements include energy-efficient LED lighting, an exposed-aggregate concrete floor, and new stainless steel and glass railings.

? Iwan Baan

Phase III (2018-2020):?The infrastructure, interiors, and mechanical systems on the fourth and fifth floor of the adjacent tower were completely renovated to become staff offices and support spaces.

? Iwan Baan

Phase IV (2020–2021):?New galleries were created on the third floor to showcase the Hammer's works on paper collection. The UCLA Grunwald Center for the Graphic Arts-which holds one of the most significant collections of works of on paper in the nation-also gained a prominent new study room where students and scholars can view and learn from the collection. Additionally, the Hammer Store was transformed, with interiors designed by the Los Angeles-based firm The Archers.

? Iwan Baan

Phase V (2022-23):?A redesigned entrance at the corner of Wilshire and Westwood Boulevards-featuring dynamic digital signage and large windows with a view to the activity within-now creates a welcoming front door for visitors to the Hammer, whether traveling by car, bus, bike, foot-or by the future Metro line, which will stop right across the street. The new entrance leads visitors into a spacious new lobby incorporating regularly changing installations of artworks, and to an exciting group of new exhibitions celebrating the Hammer's collection.

A large-scale new exhibition gallery built in a former City National Bank site adds 5,600 square feet of gallery space while extending the museum's ground floor to span the entire block along Wilshire, from Westwood to Glendon. A new outdoor sculpture terrace marks the corner of Wilshire and Glendon.

? Eric Staudenmaier

Address:?10899 Wilshire Blvd, Los Angeles, CA 90024

Area:?Westwood

Completion date:?March 2023

Gross square footage:

Newly acquired space: 40,000 SF

Total museum space upon completion: 160,000 SF

Pre-transformation gallery space: 18,300 SF

New gallery space: 10,120 SF

Total gallery space upon completion: 27,875 SF

Total project cost:?$90 million

Client:?UCLA Hammer Museum

Museum Leadership:?Ann Philbin, Director; Marcy Carsey, Chair, Board of Directors

Architect:?Michael Maltzan Architecture, Inc.

Michael Maltzan, Design Principal

Tim Williams, Managing Principal

Gee-ghid Tse, Senior Project Designer

Nick McAdoo, Project Architect

Design Team:?Sahaja Aram, Dana Bauer,?Emily Bidegain, Wil Carson, Joe DiMatteo, Wendi Gilbert, Tom Goffigon, Nora Gordon, Vano Haritunians, Ken Hasegawa, Sara Jacinto,?Sevak Karabachian, Yong Kim, Yvonne Lau, Nick Martinez, John Murphey, Stacy Nakano, Edward Ogosta, Kyle Peterson,? Nadine Quirmbach, Kurt Sattler, Krista Scheib, Jeff Soler, Paul Stoelting, Owen Tang, Hiroshi Tokumaru,? Nicole Tomasi, Jessica Tracey, Edward Tung, Yan Wang, Sharon Xu

Architect of record:?Michael Maltzan Architecture, Inc.

Structural Engineer:?John A. Martin & Associates

Structural Design Engineer:?Guy Nordenson and Associates, LLP (John V. Tunney Bridge)

MEP/FP Engineer:?ARUP, Innovative Engineering Group (BWT)

Lighting Design:?LAM Partners Inc., ARUP

Specifications:?AWC West

Building Code Consultant:?Nate Wittasek

Graphics:?Bruce Mau Design, Inc.

Steel Fabricator:?Plas-Tal Manufacturing Co.

Waterproofing:?Roofing & Waterproofing Forensics, Dean Larsen

Cost Consultant:?Directional Logic, CP O'Halloran Associates (BWT)

Facility Report:?Cooper Robertson

Acoustics:?ARUP, Charles Salter & Associates (BWT)

Audio Visual:?ARUP, 3G Productions, Inc., AVI-SPL

IT Consulting:?ARUP

Kitchen consultant:?Laschober + Sovich, Cini-Little

General contractor:?Matt Construction Corporation

Photographer:?Iwan Baan and Eric Staudenmaier

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