The steel box offers large raw studio spaces filled with daylight. In a didactic nod, all systems and structures are left exposed. A series of informal gathering and presentation spaces enrich the neutrality of the box. It rests coolly on a grid of blackpainted steel columns, while the ground below is inflated to form a defaced concrete dome—punctured, ripped and cut. This spherical rupture in the campus tissue, with its integrated lighting and sprinkler systems, is a gutsy feat in a country where the shift from new Brutalism to Post-Modernism eradicated concrete craft. The heroics are in the basement. A beefy column crutch casually supports the corner of the dome that carries the auditorium seating above. An extraordinary cast-in-place concrete bridge spans across the dome space column-free to connect entrance to auditorium and forms a viewing balcony into the critique space below. Acoustical concerns in this exposed space are muted through felt lining and the bush hammering of the peripheral wall—or is this a subtle reference to Rudolph's Art and Architecture Building?