stanford art sanctuary

palo alto, ca

In reverence to Oliveira’s wish that the Windhover series be viewed in different pairings, separate or together, the initial idea was to create a museum where the paintings themselves can act as interior walls capable of being reconfigured with the help of underground tracks—making for a perpetually changing museum and constantly changing perception of the works.

The idea of “between” the artist was so fond of is folded in different ways as the “horizon” found in the paintings. Keeping the building as a simple line with the butterfly roof not only diffuses light but also carves a sliver of sun (where the two wings meet) morning and night to define time. It is also a gesture towards the pairing of paintings and the space separating them as well as the horizon lines found in the work itself.

Oliveira's passion for Japanese gardens and his native citrus orchards was woven into interconnected outdoor spaces which also serve as a refuge for the local endangered salamander.

The Sanctuary is also meant to provide a spiritual refuge for Stanford students. As such and as part of the design process, a number of students were encouraged to express ways that this spiritual place would fulfill the void they often feel. Tapping into an underground steam conduit they use on cold nights, the nature of the outdoor reflection spaces, their seating preferences, the way they seek isolation or company and even their wishes for a resident dog (a familiar presence for comfort to fill a the void of leaving pets behind) are all features that were woven into the design. For them, a meditative place meant looking less for "stillness"—a solution many designs opt for, but one that could ignite all their senses and allow them to feel engaged with the art, the site and others.