Studio 36 - Journal by Annelies Crone

FITZROY CONTEMPORARY GALLERY JOURNAL - ANNELIES CRONE / 836 261 / STUDIO 36

TA S K 0 1 :

Conceptual Massing In Monday’s class, Anna took us through a collection of Art and Architecture that showcased different design techniques. While I did recognize most of the examples, it was great to see them in a new light under a specific design technique that would enable me to follow a similar process. I have a strong interest in art and creating paintings and collages that reflect the landscape in an abstract approach and I would like to tie this into the studio throughout the semester. I was particularly intrigued by the cubist works Anna presented to us, as I have not appreciated them since initially learning about them in high school. With a new understanding of architecture, I would like to explore how these techniques can be translated into a built form. When I set out on creating the iterations of masses, I had no clear vision of what I wanted to achieve or what design techniques I wanted to explore. For this reason, I begun manipulating a basic cube to eliminate opinions of scale and reduce the mass down to its most basic form. In our first class we were asked for our favourite Architect. While I struggled with the response, I chose Daniel Libeskind as his drawings have always fascinated me as well as the way in which he creates form from line work. This started my design process of to a good start with a clear precedent of his illustrations in mind. I was pleased with the outcome of Mass 01. As I progressed through the iterations, it became apparent to me that the forms where I did not have any concept or inspiration were the forms that I was not pleased with. Moving forward in the creation of more forms, I would like to have a basic concept or idea to explore through the lens of the design technique. I would also like to set out on more direct approaches, for example, examine form as it hits the ground plane.

Axonometric

TASK 01 : DESIGN ITERATIONS Mass 01 This initial massing utilised the fragmentation design technique. I looked to Architect, Daniel Libeskind’s line drawings as inspiration to create the voided regions which in turn left my cube in fragments. Although simply in form, I am pleased with the outcome of this and the disproportionate voids it creates.

Inspiration + Precedents:

Daniel Libeskind’s Chamber Works (https://www.moma.org/collection/ works/164668

Axonometric

TASK 01 : DESIGN ITERATIONS Mass 02 Inspired by a recent trip to Lune in Fitzroy, I decided to explore the design technique of folding. When I looked through the glass screen to the chef’s making the croissants, I was in awe in how many layers were folded to create the singular pastry. This mass used the folding technique in both the x and the y axis to create collisions in the form.

Axonometric

TASK 01 : DESIGN ITERATIONS Mass 03 In this mass I set out to test the design technique of positive and negative where I aimed to showcase the negative voids through a form. I was not overly pleased with this outcome and attribute this dissatisfaction to a lack of concept before starting the exercise.

Axonometric

TASK 01 : DESIGN ITERATIONS Mass 04 For this further exploration of folding, I was inspired by the laces of ballet shoes since watching a film, Mao’s Last Dancer. I like the different folds that were able to be organically created, unlike the ones in Mass 02 which were more structured in their approach. I am particularly impressed with the sub-sequential void space that this folding technique presented.

Axonometric

TASK 01 : DESIGN ITERATIONS Mass 05 By playing with the design technique distortion I was able to create Mass 05. This mass initially started with a twisting motion before I begun to alter the corner points of the cube up and down. Similar to Mass 03, I did not have an initial concept going into this mass but rather tried to simply manipulate a cube. In this instance I was not happy with the outcome and think it looked better when the form was just twisted.

Axonometric

TASK 01 : DESIGN ITERATIONS Mass 06 Starting with a basic cube and then applying a design technique of optics I was able to create Mass 06. My inspiration was drawn from a silver ring gifted to me which was recently resized to fit my finger. I imagined the way in which the metal was shaped and molded to fit. I like the outcome of this form with its organic uncertainty on its faces.

Axonometric

TASK 01 : DESIGN ITERATIONS Mass 07 Similar to mass 03, my final mass played with the design technique of positive and negative but instead took a more lineal approach. I did not have a specific concept for to draw inspiration from for this mass, however the result reminds me of the Nakagin Capsule tower which I visited in Japan. I was not overly happy with this outcome.

Axonometric

TASK 01 : DESIGN ITERATIONS Mass 08 Based on feedback from my classmates in Monday’s class, I have chosen to further explore variations on Mass 01 to better reflect fragmentation. In this experiment I have begun to shift the blocks on a vertical plane to further exaggerate void space within the mass. I am liking the under croft spaces that it creates and would like to test this further.

Inspiration + Precedents:

Daniel Libeskind’s Chamber Works (https://www.moma.org/collection/ works/164668

Axonometric

TASK 01 : DESIGN ITERATIONS Mass 09 Mass 09 is a further variation of Mass 08 where I have begun to shift the locations of the blocks to further align with the cubist principles of fragmentation. I currently prefer the order in Mass 08 as I think this is appearing too busy and lacks purpose in the shifting pieces.

Inspiration + Precedents:

Daniel Libeskind’s Chamber Works (https://www.moma.org/collection/ works/164668

Axonometric

TASK 01 : DESIGN ITERATIONS Mass 10 Mass 10 surprised me in the overall form it presents. I begun to rotate the fragments 90 degrees to emphasis the voided spaces more. I can envision the spaces created as public zones, courtyards and under crofts for people to linger or be drawn in to.

Inspiration + Precedents:

Daniel Libeskind’s Chamber Works (https://www.moma.org/collection/ works/164668

Axonometric

TASK 01 : DESIGN ITERATIONS Mass 11 My last iteration of the fragmentation mass begun to be less restrained in my rotation of parts. Pieces have been rotated and moved in all axis and has developed a form that resembles one large collision. I am not overly found of this out come and prefer the result from Mass 09.

Inspiration + Precedents:

Daniel Libeskind’s Chamber Works (https://www.moma.org/collection/ works/164668

Axonometric

TASK 01 : DESIGN ITERATIONS Mass 12 Based on feedback from Mass 02, I looked at exploring the fold in a more organic outcome. In Mass 12 I have experimented with an organic attachment to the ground in order to highlight the fluidity and ambiguity of the architecture itself. I think this outcome is okay but to me it feels like it is lacking something to tie it together.

Inspiration + Precedents:

Axonometric

TASK 01 : DESIGN ITERATIONS Mass 13 I am really pleased with the outcome of Mass 13. I followed a more distinct direction of workflow whereby I wanted to explore the fluidity of form where walls can become floors and floors might become roofs. I have intersected to folding forms on a perpendicular grid. The junction points are areas that really interest me.

Inspiration + Precedents:

Axonometric

TASK 01 : DESIGN ITERATIONS Mass 14 In a class discussion, it was suggested that I explore the form not encompassing a full site and instead start to play with the void that surrounds it. Here I have created a form that is taller in nature and leaves the rest of the site to be activated by the spilling of the fold. I am pleased with this outcome but wonder if I could start to introduce smaller folds in the spilling zone.

Inspiration + Precedents:

Axonometric

TASK 01 : DESIGN ITERATIONS Mass 15 Using the precedent of Oscar Niemeyer’s Canoas House, I have captured the footprint of the roof in my fold. I specifically chose the roof in order for it to be a reflection of my idea where floors can act as walls and walls might act as roofs. I am very pleased with this outcome as the forms feels less fixed to a site and instead starts to create cavities within itself. I would like to explore this technique further where I extract a footprint to be used in a “cookie-cutter” approach to my folding form.

Inspiration + Precedents:

Oscar Niemeyer’s Canoas House (https://www.architectsjournal.co.uk/archive/ house-plan-brian-vermeulen-on-oscar-niemeyers-canoas-house)

GALLERY VISIT In my visit to the Australian Centre for Contemporary Art (ACCA) designed by Wood March Architecture, I was struck by the emphasis on a singular form that contrasts its landscape. As I wondered around the site I was particularly interested in the material choice of corten steel. The way it was able to be manipulated against the built form was fascinating as well as the differing qualities it presented. Although it presented as one stark object surrounded by a sandy gravel, it felt united into the landscape, particularly where the amphitheater was located, nested between the forms. To me, it felt like a sort of processional that had to be undertaken before entering the building. I was drawn to walk around and understand how the form works together before even entering the gallery. Upon walking through the entry, there was a clear sense of direction. To my left were the basic amenities, bathrooms and BOH. To my right I saw the main reception desk. As I walked through the gallery I noticed an emphasis on framing the point of view. In one of the main rooms, smaller partition walls were used to dissect the space. As I looked through, I could only see a glimpse of what was to come but it still gave me the sense of direction I needed while at the same time providing me with a form of excitement. The next room I progressed into was more open and did not have the partitions like the previous one. This provided the space with some more flexibility for the exhibitions. I particularly enjoyed the small pocket window in the main reception area which gave me a glimpse to the outside while still focusing my view to architectural built form. Image Credit: Annelies Crone

(ACCA Floor Plan, https://www.archdaily.com/178260/flashback-australian-centrefor-contemporary-art-acca-woodmarsh/50162cd328ba0d1598000f7b-flashbackaustralian-centre-for-contemporary-art-acca-woodmarsh-floor-plan)

ACCA - Australian Centre for Contemporary Art

GALLERY VISIT For today’s class we visited the Buxton Contemporary Gallery owned by The University of Melbourne, located in the Southbank art’s precinct. It was a great learning experience to wonder through the gallery and see first hand particular design decisions and considerations that the Architect Fender Kastalidis has made. Upon walking into the reception and lobby space of the gallery, I was amazed at how much natural light lit up the space. The room felt open and inviting to the public to come in and visit. Polished concrete floors enabled this abundance of natural light to bounce around the space. An internal courtyard provide all walls of the space with ample window coverage. A display shelf was located near the entrance that had multiple brochures of current and upcoming exhibitions for Buxton Contemporary Gallery and beside this was a reception desk with concealed admin storage behind a floor to ceiling partition. The bathrooms and other BOH amenities were located down a corridor out of site from the users. I noticed a distinct shift in the atmosphere of the environment as I progressed through a large glass sliding door into the first exhibition space. The blinds were drawn and the room was dark in order to illuminate a digital screen piece of art. As I walked between the reception and the exhibition room, I noticed the wall thickness to quite deep to conceal the cavity sliding door. Throughout the rest of the gallery wall thickness’s ranged from 300mm to 600mm. Recessed skirting were used throughout which we discovered were to conceal power points. Being a contemporary gallery, many digital art installations would be showcased and therefore ample power was needed. Floor boxes were located in the center of exhibition spaces to provide this power. Track lighting is used throughout the whole building and in particular wall washing effect so illuminate the entire gallery wall consistently. When other direct lighting was required by artists it was installed as required. The polished concrete floor from the reception was used throughout the gallery and was able to beautifully reflect the artworks themselves. It became apparent to me when walking through the maze of exhibition spaces, it was not a domestic or commercial architecture, but instead somewhere in between. The door were extra wide, not only to enable transportation of art but also to create a sense of grandness through the architecture. This was also reflected in the floor to ceiling heights being upwards of 4.5m. The use of a single industrial size lift (4x5m internally) was something that fascinated me. I enjoyed being able to step inside and feel a connection to the artworks that were transported within this. Throughout the entire gallery, windows were either filtered as to not let natural light hit the artworks direction or entirely closed off with blinds. Image Credit: Annelies Crone & Haziq Azizul

Buxton Contemporary - The University of Melbourne

TA S K 0 2 :

Positive & Negative

DAS CANOAS HOUSE - Oscar Niemeyer

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Inside Out : DESIGN SCHEMES Scheme 01 - EMBED

Axonometric

My intention for this form was to create an under croft for public street level activation. While none of pieces in plan looked like they could achieve this on their own, I decided to rotate one of the negative form pieces 90 degrees on the x axis. This created a strange curved reversed arch roof which was something I had not thought of before. By adding some more linear blocks I was able to create additional gallery spaces that might be used for smaller exhibitions or amenities. I am not overly pleased with the form but I would like to explore some aspects of it further, such as the reversed arch roof.

Axonometric

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Iteration 01 axonometric

Inside Out : DESIGN SCHEMES Scheme 02 - EMBED This design took me a few iterations to get right (process shown in axonometric views). My first iteration was to heavy on top so I decided to swap the mid and top levels around. As I was trying this I stumbled across iteration 03 which was an overlay of both options 01 and 02 together. I liked this option a lot and saw a potential for a high level strip window in my building to bring in a source of natural light without hindering the artworks. My final scheme removed the top layers and brought the form back to collision of two pieces. I Iteration 02 axonometric like the way in which the curves are cut off by the sharp angled forms. This provides a unique experience for the viewer from each angle of the site.

Iteration 03 axonometric

Iteration 02 axonometric

Iteration 04 axonometric

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Inside Out : DESIGN SCHEMES Scheme 03 - EMBED

Axonometric

In this scheme I have used the same base form as Scheme 02. This time I have juxtaposed it with the technique of embedding much more linear forms on top. I am not overly happy with the outcome by do like some of the elements in isolation. I have compressed one form down to be used as a landscape tool or path for the individual to walk around. I think this is working well and could be followed through into my final project in some way. The form provides a strange sort of section and makes me wonder how this gallery would actually work.

Axonometric

TA S K 0 3 :

Stacking

Axonometric

Perspective

Stacking : DESIGN SCHEMES Scheme 01 - Floor Level Articulation & Pure Object Stacking • • • •

Intention was to create a pedestrian scale to a monumental building. Achieved through the creation of a laneway to the rear of the building. Middle block is offset to create an overhang which activates the street frontage and draws people into the building. Top block offset as a setback and creates potential for roof terrace

Axonometric

Perspective

Stacking : DESIGN SCHEMES Scheme 02 - Floor Level Articulation • • • •

Simplified form from Das Canoas House Negative Space. Stacked to articulate floor levels - slight rotation in the middle form to create point of difference Curved wall draws the individual around and into an activated lane way space which wraps around the building site before exiting against a sharp angled built form. Quite a simplified outcome and needs more design thought involvement

Axonometric

Perspective

Stacking : DESIGN SCHEMES Scheme 03 - Pure Object Stacking • • • •

Replicated the pure cube form to articulate separate gallery spaces within Large central cube to house the body of the gallery, separate cubes added and stacked on this simple form of varying dimensions to create separate gallery spaces within. Facade is set back within the cubes to filter the amount of natural light entering the form. Cube overhangs on street intersection to soft street facade and invite people into the building.

Axonometric

Perspective

Stacking : DESIGN SCHEMES Scheme 04 - Pure Object Stacking • • • • •

Intention was to lift the form from the ground plane up in order to create a pedestrian scale to the building. Pedestrian scale is enhanced through the creation of a laneway Laneway created to be activated - triangles peel back from it the further in you go to allow adequate light to spill through. The triangles were stacked and set back to one another to provide vision through the corner of the site intersection Facade is set back within the triangular frame to provide shading and obstruction of natural light through the building.

Axonometric

Perspective

Stacking : DESIGN SCHEMES Scheme 05 - Cantilevered Stacking • • • • •

Plays with curved stacking forms Cantilevered separate forms that connect with one another to create a sense of balance Intention was to curve the form in reflection of the Yarra River close to site, in order to draw people into the building Overall form is good however the sloped walls will be a challenge internally for an art gallery. Interesting connection and overlap between the two forms.

Axonometric

Perspective

Stacking : DESIGN SCHEMES Scheme 06 - Wrapping • • •

Axonometric

Set back off street to allow for form to be wrapped with an outer skin facade Upper floors set back to follow planning regulations Wrapping element is peeling up at street level for the activation of the ground plane

Axonometric

Perspective

Stacking : DESIGN SCHEMES Scheme 07 - Courtyard & Boolean • • • • •

Uninhabitable Courtyard’s created within the form for potential green space and perforations in facade Explores the concept of a gallery as a white box - The box is then cut away using a boolean technique with smaller boxes Cut away at street level for engaging entry for the public Upper level cut aways are placed to engage with views of the river and Fitzroy Art Precinct Large blank facade creates potential for art to be displayed during the Gertrude Street Projection Festival

Axonometric

Perspective

Stacking : DESIGN SCHEMES Scheme 08 - Courtyard & Boolean • • • •

Articulated the floor levels through the subtraction/boolean of the overall form. Creates potential for vertical courtyards around the facade of the building Positioned to create a point of entry and to gain views of the river and Fitzroy Art Precinct Large blank facade creates potential for art to be displayed during the Gertrude Street Projection Festival

Axonometric

Perspective

Stacking : DESIGN SCHEMES Scheme 09 - Wrapping • • •

A play on the idea of a curtain being drawn for a theatrical show Creates a form of wrapping around the gallery within The curtain is drawn at the Gertrude St intersection as an entry to the gallery and also at the rear upper levels to direct a line of sight back to the Southbank Art’s Precinct

Axonometric

Perspective

Stacking : DESIGN SCHEMES Scheme 10 - Negative Form • • • •

Form explores a refined version of the Das Canoas House’s negative form piece more suited to the site. Lifts the gallery up a floor to allow for street engagement Reversed arch ceilings brings curvature into the form without obstructing the artworks within From one corner it portrays a simple form while the other corner shows more excitement.

Axonometric

Interior - Entry

Perspective

Interior - Void

Stacking : DESIGN SCHEMES Scheme 11 - Cut-out Cube • • • • • •

Ground Floor Plan

1 Axonometric

Level 0 1 : 200

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Axonometric

Perspective

Axonometric - Wrapped

Stacking : DESIGN SCHEMES Scheme 12 - Spatial Stacking • • • •

Program split up by brief requirements and extruded using pure objects to scale in order to meet m2 requirements Stacked accordingly, B.O.H. and administration offices restricted to South-West Corner to allow private access from lane way Gallery spaces (represented in orange) stacked in same proximity to allow potential for increased connection between floor plates Wrapped in an organic facade that conceals all of the built form except for the gallery to depict a rock in water. Ground Floor Plan

Level 0 1 : 200

Axonometric

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Axonometric

Perspective

Stacking : DESIGN SCHEMES Scheme 13 - Floor Plate Stacking • • • • •

Stacked floor plates with restricted views angled towards the Yarra River and Merri Creek Central voided space for large art installations, enclosed by transparent mesh for limited visibility Windows with filtered light controlled by angled fins Additional filtered light through central void skylight which is controlled by a suspended ceiling to bounce the light indirectly through the spaces Loading dock and B.O.H. located south-west corner off lane way

Ground Floor Plan 1

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Scheme 14 - Floor Plate Stacking • • •

Responds to the Wurundjeri Creation Story where the water was locking in the mountains before Mo-Yarra (Headman of the people) decided to free the country of water and cut a channel through the hills. Middle block is offset to create an overhang which activates the street frontage and draws people into the building. Top block offset as a setback and creates potential for roof terrace

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Scheme 15 - Floor Plate Stacking Responds to the Wurundjeri Creation Story where the water was locking in the mountains before Mo-Yarra (Headman of the people) decided to free the country of water and cut a channel through the hills. Middle block is offset to create an overhang which activates the street frontage and draws people into the building. Top block offset as a setback and creates potential for roof terrace

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Scheme 16 - Floor Plate Stacking • • • •

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G A L L E R Y A N A LY S I S In 2019, I visited the Chichu Art Museum designed by Tadao Ando and have chosen to look more critically at it for this studio in order to develop my own understanding of the gallery typology that will be reflected in my final design. This gallery was unique in the sense that the works displayed are permanent, which meant the architecture was built around these works. Unlike other galleries which are built to be flexible in order to cater for a multitude of exhibitions, this built form was fixed. Located within the art islands precinct of Japan in Naoshima, it gave people a direct reason to visit the gallery. People from all over the world, travel to see not only the artworks within this building but the architecture as well. In this sense, I have begun to understand that there are two main approaches to contemporary art galleries - the gallery as the white cube which does not detract from the artwork and lets them speak for themselves and the gallery as an artwork itself which houses more artwork within. Both approaches are justified in their own right. From the moment you step foot onto the site of the Chichu Art Museum, you begin a sort or processional through the spaces. Each space is unique but are unified by the distinct use of a singular material, typical of Tadao Ando - Pre-cast Concrete. Looking at the spaces individually, I was most drawn to the square and triangular courts as the lack of built form was shocking. Walking through the gallery you are in a bunker with limited access to natural light. In these courtyards, there is an abundance of light but it is still filtered through silts in the walls that control how much you really see. A clear sense of contrast is noted by the users between the light and the dark.

https://visuallexicon.wordpress.com/2017/10/11/chichu-art-museum-naoshimajapan/

Tadao Ando has embedded these purist objects of the square, the triangle and the rectangle into the landscape before using a boolean technique to subtract the space and create a gallery. While the gallery is unique to its landscape and may not be entirely applicable to our site in Fitzroy, the techniques around framing and creating evocative gallery spaces can still be applied.

Chichu Art Museum, Naoshima, Japan - Tadao Ando

https://avauntmagazine.com/chichu-art-museum/

Private

Public Entrance

Basement 03

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Entrance Lobby/Shop Information Office Void Lobby WC Mechanical Director’s Room Entrance Court (Square Court) Gallery Space - James Turrell Gallery Space - Claude Monet Cafe Triangular Court Foyer Gallery Space - Walter De Maria

https://visuallexicon.wordpress.com/2017/10/11/chichu-art-museum-naoshimajapan/

Basement 02

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https://benesse-artsite.jp/en/art/chichu.html

Basement 01

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https://bbs.zhulong.com/101010group201808/detail10013436/

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MID SEMESTER : 1. ABSTRACTION

5 Points

Through a lens of abstraction that is relevant to contemporary art today, the architectural form will be reduced to its essential characteristics and intensions in order to explore the concept of story-telling and act as a meeting place for its audience.

2. PUBLIC PLANE CONNECTION

A strong connection to the ground public plane which gives back some of the site to the street interactions and flexibility in its use. It will act as a contemporary indication and suggestion of the artwork contained within the form.

3. SCULPTURAL LIGHTING

Naturally lit sculptural lighting through the spaces in order to not damage the artworks contained within.

4. CONTRAST

A distinct use of materials that contrast the internal from the external in order to play on the gallery as a “white cube.” While the gallery will be restrained internally in terms of colour palette and material choices to support the artworks it displays, the external facade will be a direct contrast being more playful in its choices.

5. SPATIAL ORGANISATION & SCALE

By looking at concepts of compression and tension, each space in the gallery will be unique and create unique advantages to the art it displays in all mediums . Excitement to the visitors as they progress through the building will be enabled by a change in scale and layout for each space.

Design Statement Contemporary art seeks to question the foundations and traditions of art while allowing an audience to form their own opinion on what art is and what art can be. A increase in the possibilities technology can provide to us as a society has lead to the increased capacity for artist’s to explore different medium that might not have previously been explored before. In a world that is rapidly moving towards the potential of the future, it is imperative for us to stop and reflect about the past through a lens of abstracted architecture. Fitzroy is a suburb that has a long history and meaningful connection to its Indigenous Community. It has been a meeting place where families and friends reunited and connected over the years, despite a rise in property prices having pushed the communities North. The Yalinguth Walking Tour App that takes one down Gertrude Street speaks about the importance of “going back before we can go forward.” The gallery will explore this intersection of the past and future. Paying respect’s to the archival history of this precinct, the building will seek to incorporate the stories of the Indigenous Community directly into its form for the audience to appreciate before looking to the future of art inside. Kengo Kuma’s book “Anti-Object” explores the idea that viewing and regarding architecture in a traditional manner will ultimately restrict and restrain us from creating built forms that can connect with the surrounding context in a contemporary manner. This objectification of architecture will result in a lack of thoughtful sculptural design and the ability to create meaningful connection between the building and its environment or subsequent culture. With the gallery being situated in Melbourne’s North East, a precinct known for its ability to explore art, music and one’s sense of individuality, my design will aim to create a dialogue between this locality and its rich history through abstraction. This connection will be explored by drawing on histories of the land and in particular the Indigenous stories of the Wurundjeri People. It will be a place for all demographics to gather and embrace the evocation that contemporary art can trigger, unifying all visitors through it’s universal language.

MID SEMESTER :

Site Analysis

The site is located on the corner of Gertrude Street and Smith Street in Fitzroy. This site is well connected through tram routes that lead back to the city and out to Collingwood and Fitzroy North. Situated in the heart of Melbourne, it is important to note the abundance of art galleries in close proximity, specifically South-West to the Melbourne Art’s Precinct where the NGC and ACCA are located. The site itself, is essentially untouched over many years and provides opportunity for the corner site to reactivate the area and extend on the Melbourne art’s culture. Fitzroy has developed its own stance on art over the years and is now characterised by the variety of street art through the lane ways and main streets. This is an extension of what we can see in the city such as on Hozier Lane. Through an analysis of the extended site, we can not only see the array of galleries located across Melbourne but also the vast green open space. To the South of the site is Fitzroy gardens, the West, Carlton Gardens and further East is Studley Park that follows the Yarra River.

https://www.google.com/maps/@-37.8064908,144.9829663,3a,75y,255.56h,91.71t/ data=!3m6!1e1!3m4!1s4FpQI7ayd7Dxwbi1LaLM1Q!2e0!7i16384!8i8192

LEGEND Immediate Context Existing Gallery Green space Pedestrian Walking Radius Tram Line Yarra River

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400m 500m 600m

1970

2015

https://www.google.com/maps/@-37.8064908,144.9829663,3a,75y,255.56h,91.71t/ data=!3m6!1e1!3m4!1s4FpQI7ayd7Dxwbi1LaLM1Q!2e0!7i16384!8i8192

LEGEND Project Site Existing Gallery Green space Indigenous Mural Tram Stop Tram Line Pedestrian Access Atherton Gardens Housing Estate Victorian Aboriginal Health Sevice Nindeebiya Aboriginal Youth Gymnasium George Wright Hostel Builder’s Arm Hotel Victorian Aboriginal Health Service Victorian Aboriginal Co-Op. LTD Koori Kollij

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MID SEMESTER :

Scheme 01

Design Process

01 // SOLID

02 // SLICE

03 // SHIFT

04 //BOOLEAN

05 // COMPRESS

06 // PUNCTURE

Site Plan SMITH STREET

GERTRUDE STREET

N 5m

10m

12.5m

15m 5m

16.25m 17.5m 10m

12.5m

15m

16.25m 17.5m

LEGEND

Mechanical room

Art storage

Temporary gallery Education room Foyer Reception

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Locker storage/office

All-Gender bathrooms Tool shop Loading Dock

8 9 10

Cafe

Cafe B.O.H.

Gift Shop Digital Gallery

13 14

Project Space Gallery

Staff admin Lunch room

16 17

Print Room Office Studio 01

18 19 20

Studio 02

BB N 2.5m

6.25m

7.5m

8.125m 8.725m

B 02

LEGEND

VOID

Mechanical room

Art storage

Temporary gallery Education room Foyer Reception

3 4 5 6

Locker storage/office

All-Gender bathrooms Tool shop Loading Dock

8 9 10

Cafe

Cafe B.O.H.

Gift Shop Digital Gallery

13 14

Project Space Gallery

Staff admin Lunch room

16 17

Print Room Office Studio 01

18 19 20

Studio 02

BB N 2.5m

6.25m

7.5m

8.125m 8.725m

B 01

LEGEND

ENTRY / EXIT 5

6 UP

Mechanical room

Art storage

Temporary gallery Education room Foyer Reception

3 4 5 6

Locker storage/office

All-Gender bathrooms Tool shop Loading Dock

8 9 10

Cafe

Cafe B.O.H.

Gift Shop Digital Gallery

13 14

Project Space Gallery

Staff admin Lunch room

16 17

Print Room Office Studio 01

18 19 20

Studio 02

11 10

BB N 2.5m

6.25m

7.5m

8.125m 8.725m

L 00

LEGEND

14 DN

VOID

AA 14

14 14

Mechanical room

Art storage

Temporary gallery Education room Foyer Reception

3 4 5 6

Locker storage/office

All-Gender bathrooms Tool shop Loading Dock

8 9 10

Cafe

Cafe B.O.H.

Gift Shop Digital Gallery

13 14

Project Space Gallery

Staff admin Lunch room

16 17

Print Room Office Studio 01

18 19 20

Studio 02

BB N 2.5m

6.25m

7.5m

8.125m 8.725m

L 01

LEGEND

VOID

UP UP DN

Mechanical room

Art storage

Temporary gallery Education room Foyer Reception

3 4 5 6

Locker storage/office

All-Gender bathrooms Tool shop Loading Dock

8 9 10

Cafe

Cafe B.O.H.

Gift Shop Digital Gallery

13 14

Project Space Gallery

Staff admin Lunch room

16 17

Print Room Office Studio 01

18 19 20

Studio 02

BB N 2.5m

6.25m

7.5m

8.125m 8.725m

L 02

LEGEND

VOID

Mechanical room

Art storage

Temporary gallery Education room Foyer Reception

3 4 5 6

Locker storage/office

All-Gender bathrooms Tool shop Loading Dock

8 9 10

Cafe

Cafe B.O.H.

Gift Shop Digital Gallery

13 14

Project Space Gallery

Staff admin Lunch room

16 17

Print Room Office Studio 01

18 19 20

Studio 02

BB N 2.5m

6.25m

7.5m

8.125m 8.725m

L 03

LEGEND

16 8

AA VOID

18 DN

Mechanical room

Art storage

Temporary gallery Education room Foyer Reception

3 4 5 6

Locker storage/office

All-Gender bathrooms Tool shop Loading Dock

8 9 10

Cafe

Cafe B.O.H.

Gift Shop Digital Gallery

13 14

Project Space Gallery

Staff admin Lunch room

16 17

Print Room Office Studio 01

18 19 20

Studio 02

BB N 2.5m

6.25m

7.5m

8.125m 8.725m

L 04

LEGEND

Mechanical room

Art storage

Temporary gallery Education room Foyer Reception

3 4 5 6

Locker storage/office

All-Gender bathrooms Tool shop Loading Dock

8 9 10

Cafe

Cafe B.O.H.

Gift Shop Digital Gallery

13 14

Project Space Gallery

Staff admin Lunch room

16 17

Print Room Office Studio 01

18 19 20

Studio 02

BB N 2.5m

6.25m

7.5m

8.125m 8.725m

L 05 - Roof

LEGEND

Mechanical room

Art storage

Temporary gallery Education room Foyer Reception

3 4 5 6

Locker storage/office

All-Gender bathrooms Tool shop Loading Dock

8 9 10

11 12

Gift Shop Digital Gallery

13 14

Project Space Gallery

Staff admin Lunch room

16 17

Print Room Office Studio 01

18 19 20

Studio 02

Cafe Cafe B.O.H.

13 SMITH STREET

SECTION AA AA 1SECTION : 100 1 : 100

2.5m

5m 2.5m

6.25m 5m

7.5m 6.25m

8.125m 8.725m 7.5m

SECTION AA

8.125m 8.725m

LEGEND

Mechanical room

Art storage

Temporary gallery Education room Foyer Reception

3 4 5 6

Locker storage/office

All-Gender bathrooms Tool shop Loading Dock

8 9 10

11 12

Gift Shop Digital Gallery

13 14

Project Space Gallery

Staff admin Lunch room

16 17

Print Room Office Studio 01

18 19 20

Studio 02

GERTRUDE STREET

Cafe Cafe B.O.H.

Section BB SECTION AA 1 : 100 1 : 100

2.5m 2.5m

5m 5m

6.25m 6.25m

7.5m 7.5m

SECTION BB

8.125m 8.725m

01 // ENTRY

02 //INTERIOR GALLERY SPACE

03 // STAFF ADMIN

MID SEMESTER :

Scheme 02

Design Process

01 // SOLID

02 // SETBACK

03 // ELEVATE

04 //BOOLEAN

05 // SCULPT

06 // PUNCTURE

Site Plan SMITH STREET

GERTRUDE STREET

N 5m

10m

12.5m

15m 5m

16.25m 17.5m 10m

12.5m

15m

16.25m 17.5m

LEGEND

Mechanical room

Art storage

Temporary gallery Education room Foyer Reception

3 4 5 6

Locker storage/office

All-Gender bathrooms Tool shop Loading Dock

8 9 10

Cafe

Cafe B.O.H.

Gift Shop Digital Gallery

13 14

Project Space Gallery

Staff admin Lunch room

16 17

Print Room Office Studio 01

18 19 20

Studio 02

BB N 2.5m

6.25m

7.5m

8.125m 8.725m

B 02

LEGEND

Mechanical room

Art storage

Temporary gallery Education room Foyer Reception

3 4 5 6

Locker storage/office

All-Gender bathrooms Tool shop Loading Dock

8 9 10

Cafe

Cafe B.O.H.

Gift Shop Digital Gallery

13 14

Project Space Gallery

Staff admin Lunch room

16 17

Print Room Office Studio 01

18 19 20

Studio 02

BB N 2.5m

6.25m

7.5m

8.125m 8.725m

B 01

LEGEND

EXIT

12 DN

ENTRY

Art storage

Temporary gallery Education room Foyer Reception

3 4 5 6

Locker storage/office

All-Gender bathrooms Tool shop Loading Dock

8 9 10

Cafe

Cafe B.O.H.

Gift Shop Digital Gallery

13 14

Project Space Gallery

Staff admin Lunch room

16 17

Print Room Office Studio 01

18 19 20

Studio 02

Mechanical room

BB N 2.5m

6.25m

7.5m

8.125m 8.725m

L 00

LEGEND

14 UP

VOID

Mechanical room

Art storage

Temporary gallery Education room Foyer Reception

3 4 5 6

Locker storage/office

All-Gender bathrooms Tool shop Loading Dock

8 9 10

Cafe

Cafe B.O.H.

Gift Shop Digital Gallery

13 14

Project Space Gallery

Staff admin Lunch room

16 17

Print Room Office Studio 01

18 19 20

Studio 02

AA 14

BB N 2.5m

6.25m

7.5m

8.125m 8.725m

L 01

LEGEND

Mechanical room

Art storage

Temporary gallery Education room Foyer Reception

3 4 5 6

Locker storage/office

All-Gender bathrooms Tool shop Loading Dock

8 9 10

Cafe

Cafe B.O.H.

Gift Shop Digital Gallery

13 14

Project Space Gallery

Staff admin Lunch room

16 17

Print Room Office Studio 01

18 19 20

Studio 02

BB N 2.5m

6.25m

7.5m

8.125m 8.725m

L 02

LEGEND

VOID

Mechanical room

Art storage

Temporary gallery Education room Foyer Reception

3 4 5 6

Locker storage/office

All-Gender bathrooms Tool shop Loading Dock

8 9 10

Cafe

Cafe B.O.H.

Gift Shop Digital Gallery

13 14

Project Space Gallery

Staff admin Lunch room

16 17

Print Room Office Studio 01

18 19 20

Studio 02

BB N 2.5m

6.25m

7.5m

8.125m 8.725m

L 03

LEGEND Mechanical room

Art storage

Temporary gallery Education room Foyer Reception

3 4 5 6

Locker storage/office

All-Gender bathrooms Tool shop Loading Dock

8 9 10

Cafe

Cafe B.O.H.

Gift Shop Digital Gallery

13 14

Project Space Gallery

Staff admin Lunch room

16 17

Print Room Office Studio 01

18 19 20

Studio 02

BB N 2.5m

6.25m

7.5m

8.125m 8.725m

L 04 - Roof

LEGEND

Art storage

Temporary gallery Education room Foyer Reception

3 4 5 6

Locker storage/office

All-Gender bathrooms Tool shop Loading Dock

8 9 10

Mechanical room

Cafe

Cafe B.O.H.

Gift Shop Digital Gallery

13 14

Project Space Gallery

Staff admin Lunch room

16 17

Print Room Office Studio 01

18 19 20

Studio 02

6 SMITH STREET

SECTION AA AA 1 SECTION : 100 1 : 100

2.5m

5m 2.5m

6.25m 5m

7.5m 6.25m

8.125m 8.725m 7.5m

SECTION AA

8.125m 8.725m

LEGEND

GERTRUDE STREET

Art storage

Temporary gallery Education room Foyer Reception

3 4 5 6

Locker storage/office

All-Gender bathrooms Tool shop Loading Dock

8 9 10

Mechanical room

Cafe

Cafe B.O.H.

Gift Shop Digital Gallery

13 14

Project Space Gallery

Staff admin Lunch room

16 17

Print Room Office Studio 01

18 19 20

Studio 02

SECTION AA 1 : 100

Section BB 1 : 100

2.5m 2.5m

5m 5m

6.25m 6.25m

7.5m 7.5m

SECTION BB

8.125m 8.725m

01 // ENTRY

02 //INTERIOR GALLERY SPACE

03 // STAFF ADMIN

FINAL DESIGN :

PROGRESS

Iteration 01 -Post Mid-semester After the mid semester review, I went back to choose my initial scheme 01. I believe this schemes offered more potential and substance to its ideas of compression in architecture and allowed me to push the ideas further. I attempted to refine the design, although having a background in commercial architecture, I think I took it too far and it begun to appear more like an office compared to an art gallery. Moving forward, I will remove the curtain walls and potentially engage more with schemes two. Perhaps there is an option where both schemes can unanimously work together. The ideas of compression will need to be further articulated through the form both in section and plan. Each design choice I will make from here will be questioned as to whether or not this helps in my expression of compression and how can it be pushed further.

FOYER

L02 GALLERY

B02 GALLERY

Rev

Description

Date

Section BB

1 1PLAN : 100 GROUND FLOOR

2.5m

6.25m

7.5m

SECTION AA 2.5m

CODE

SUITABILITY DESCRIPTION

STATUS

PURPOSE OF ISSUE

www.autodesk.com/revit

8.125m 8.725m

PROJECT

Project Name TITLE

6.25m

7.5m

FINAL DESIGN :

PROGRESS

Iteration 02 In an attempt to realise compression within the form - I have reintroduced my form from scheme two of Mid Semester. This compressed roof form is concealed within my three stacked white forms. Additionally I have introduced another element that explore the notion of compression - a suspended gallery space which folds within the building’s section. The form will be utilised as a sculpture display with a slightly transparent material like mesh or perforated steel to created a visual illusion for the audience. I went back to a more compressed form for the ground floor facade, however I still feel as though this curtain wall is too commercial (Smith Street). I do like the initial go at the Gertrude Street entrance and would like to explore this further.

ENTRY

L02 GALLERY

L01 GALLERY

Rev

Description

Date

Section BB1

1 PLAN 1 : 100 GROUND FLOOR

2.5m

6.25m

7.5m

SECTION AA

CODE

SUITABILITY DESCRIPTION

STATUS

PURPOSE OF ISSUE

www.autodesk.com/revit

8.125m 8.725m

PROJECT

Project Name TITLE

2.5m

FINAL DESIGN :

PROGRESS

Iteration 03 I have begun to play around with materiality, and in my explorations, I was reminded of board form concrete, Immediately I was drawn to this material as it’s manufacturing process is based around ideals of compression, whereby the timber boards support and mold the concrete which is ultimately compressing itself against the form work. A singular, uniform material not only helps to exaggerate this idea of compression in an abstracted form but also lends itself to gallery design whereby the windows can be positioned as skylights to control and filter its effect on the gallery spaces. I have continued on from iteration 02, and explored how compression can be experienced in plan, predominately around the entry points to the gallery. I am liking the effect these entries have on the audience experiences, however I think it needs to be exaggerated more with moments of relief from the compression. I redesigned the stair on the Level 02 gallery space to also explore the concept of compression by confining the viewer into a smaller zone that is relieved by the perforated steel full height balustrade.

FOYER

ENTRY

L02 STAIR

DN UP

Rev

Description

Date

SECTION AA2

2.5m

1 : 100 GROUND FLOOR PLAN

2.5m

6.25m

7.5m

SECTION AA

CODE

SUITABILITY DESCRIPTION

STATUS

PURPOSE OF ISSUE

www.autodesk.com/revit

8.125m 8.725m

PROJECT

Project Name TITLE

FINAL DESIGN :

PROGRESS

Iteration 04

ENTRY

L01 GALLERY

B02 GALLERY

Level 4 RL 25.000 m

Level 3 RL 20.000 m

Level 2 RL 16.000 m

Level 1 RL 8.000 m

Level 0 RL 0.000 m

B01 RL -6.000 m

Rev

Description

Date

B02 RL -12.000 m

Section BB1

1 : 100

GROUND FLOOR PLAN

2.5m

6.25m

7.5m

SECTION AA

CODE

SUITABILITY DESCRIPTION

STATUS

PURPOSE OF ISSUE

www.autodesk.com/revit

8.125m 8.725m

PROJECT

Project Name TITLE

2.5m

FINAL DESIGN :

PROGRESS

Iteration 05

FOYER

L01 GALLERY

L02 GALLERY

Level 4 RL 25.000 m

Level 3 RL 20.000 m

SECTION AA

Level 2 RL 16.000 m

Rev

Level 1 RL 8.000 m

Description

Date

GROUND FLOOR PLAN 2

SECTION DETAIL

SECTION BB 3

SECTION AA2 - Callout 1

CODE

1 : 50 SUITABILITY DESCRIPTION

STATUS

2.5m

6.25m

7.5m

PURPOSE OF ISSUE

www.autodesk.com/revit

8.125m 8.725m

PROJECT

Project Name TITLE

2.00° 3

Rev

Description

Date

FIRST FLOOR PLAN

2.5m

6.25m

SECOND FLOOR PLAN

CODE

SUITABILITY DESCRIPTION

STATUS

PURPOSE OF ISSUE

Level 2 1 : 100

7.5m

www.autodesk.com/revit

8.125m 8.725m

2.5m

6.25m

7.5m

8.125m 8.725m

PROJECT

Project Name TITLE

L01 Owner DRAWN BY

Author

Rev

SCALE (@ A1)

1 : 100

CHECKED BY

Checker

DRAWING NUMBER

BASEMENT 02 PLAN

A101

DATE

04/10/22

PROJECT NUMBER Description Date

Project Number

REV

16/05/2022 7:36:16 PM

CLIENT

BASEMENT 01 PLAN

SECTION AA

Rev

Description

Date

THIRD FLOOR PLAN

2.5m

79.5 1 0°

910.86° 1

15 33.03°

15 68.72°

6.25m

7.5m

8.125m 8.725m

SECTION AA

CODE

SUITABILITY DESCRIPTION

STATUS

PURPOSE OF ISSUE

SECTION AA

www.autodesk.com/revit

PROJECT

Project Name

2.0° 3

TITLE 2.0° 3

L03 Owner DRAWN BY

Author

Rev

SCALE (@ A1)

1 : 100

CHECKED BY

Checker

DRAWING NUMBER

ROOF PLAN

A103

DATE

04/10/22

PROJECT NUMBER Description Date

Project Number

REV

16/05/2022 7:36:38 PM

CLIENT

SECTION BB

FINAL DESIGN :

PROGRESS

Iteration 06

FOYER

B02 GALLERY

L01 GALLERY

Level 4 RL 25.000 m

Level 3 RL 20.000 m

SECTION AA

Level 2 RL 16.000 m

Rev

Level 1 RL 8.000 m

Description

Date

GROUND FLOOR PLAN 2

SECTION DETAIL

SECTION BB 3

SECTION AA2 - Callout 1

CODE

1 : 50 SUITABILITY DESCRIPTION

STATUS

2.5m

6.25m

7.5m

PURPOSE OF ISSUE

www.autodesk.com/revit

8.125m 8.725m

PROJECT

Project Name TITLE

2.00° 3

Rev

Description

Date

FIRST FLOOR PLAN

2.5m

6.25m

SECOND FLOOR PLAN

CODE

SUITABILITY DESCRIPTION

STATUS

PURPOSE OF ISSUE

Level 2 1 : 100

7.5m

www.autodesk.com/revit

8.125m 8.725m

2.5m

6.25m

7.5m

8.125m 8.725m

PROJECT

Project Name TITLE UP

L01

Owner DRAWN BY

Author

Rev

SCALE (@ A1)

1 : 100

CHECKED BY

Checker

DRAWING NUMBER

BASEMENT 02 PLAN

A101

DATE

04/10/22

PROJECT NUMBER Description Date

Project Number

REV

19/05/2022 2:38:30 PM

CLIENT

BASEMENT 01 PLAN

SECTION AA

Rev

Description

Date

THIRD FLOOR PLAN

2.5m

79.5 1 0°

910.86° 1

15 33.03°

15 68.72°

6.25m

7.5m

8.125m 8.725m

SECTION AA

CODE

SUITABILITY DESCRIPTION

STATUS

PURPOSE OF ISSUE

SECTION AA

www.autodesk.com/revit

PROJECT

Project Name

2.0° 3

TITLE 2.0° 3

L03 Owner DRAWN BY

Author

Rev

SCALE (@ A1)

1 : 100

CHECKED BY

Checker

DRAWING NUMBER

ROOF PLAN

A103

DATE

04/10/22

PROJECT NUMBER Description Date

Project Number

REV

19/05/2022 2:39:23 PM

CLIENT

2.0° 3

SECTION BB

FINAL DESIGN :

PROGRESS

Iteration 07

RECEPTION

FOYER

B02 GALLERY

SITE PLAN

10m

12.5m

15m

16.25m 17.5m

FINAL DESIGN :

PROGRESS

Iteration 08

RECEPTION

B01 GALLERY

L02 GALLERY

Level 4 RL 25.000 m

Level 3 RL 20.000 m

SECTION AA UP

Level 2 RL 16.000 m

Rev

Description

Date

GROUND FLOOR PLAN

2.5m

6.25m

7.5m

SECTION DETAIL

CODE

SUITABILITY DESCRIPTION

STATUS

PURPOSE OF ISSUE

www.autodesk.com/revit

8.125m 8.725m

PROJECT

Project Name TITLE

2.00° 3

Rev

Description

Date

FIRST FLOOR PLAN

2.5m

6.25m

SECOND FLOOR PLAN

CODE

SUITABILITY DESCRIPTION

STATUS

PURPOSE OF ISSUE

Level 2 1 : 100

7.5m

www.autodesk.com/revit

8.125m 8.725m

2.5m

6.25m

7.5m

8.125m 8.725m

PROJECT

Project Name TITLE UP

L01

Owner DRAWN BY

Author

Rev

SCALE (@ A1)

1 : 100

CHECKED BY

Checker

DRAWING NUMBER

BASEMENT 02 PLAN

A101

DATE

04/10/22

PROJECT NUMBER Description Date

Project Number

REV

23/05/2022 5:48:38 PM

CLIENT

BASEMENT 01 PLAN

SECTION AA

Rev

Description

Date

THIRD FLOOR PLAN

2.5m

79.5 1 0°

910.86° 1

15 33.03°

15 68.72°

6.25m

7.5m

8.125m 8.725m

SECTION AA

CODE

SUITABILITY DESCRIPTION

STATUS

PURPOSE OF ISSUE

SECTION AA

www.autodesk.com/revit

PROJECT

Project Name

2.0° 3

TITLE 2.0° 3

L03 Owner DRAWN BY

Author

Rev

SCALE (@ A1)

1 : 100

CHECKED BY

Checker

DRAWING NUMBER

ROOF PLAN

A103

DATE

04/10/22

PROJECT NUMBER Description Date

Project Number

REV

23/05/2022 5:49:41 PM

CLIENT

2.0° 3

SECTION BB

FINAL DESIGN :

PROGRESS

Iteration 09

RECEPTION

B01 GALLERY

L01 GALLERY

SECTION AA UP

Rev

Description

Date

GROUND FLOOR PLAN

2.5m

6.25m

7.5m

SECTION DETAIL

CODE

SUITABILITY DESCRIPTION

STATUS

PURPOSE OF ISSUE

www.autodesk.com/revit

8.125m 8.725m

PROJECT

Project Name TITLE

2.00° 3

Rev

Description

Date

FIRST FLOOR PLAN

2.5m

6.25m

SECOND FLOOR PLAN

CODE

SUITABILITY DESCRIPTION

STATUS

PURPOSE OF ISSUE

Level 2 1 : 100

7.5m

www.autodesk.com/revit

8.125m 8.725m

2.5m

6.25m

7.5m

8.125m 8.725m

PROJECT

Project Name TITLE UP

L01

Owner DRAWN BY

Author

Rev

SCALE (@ A1)

1 : 100

CHECKED BY

Checker

DRAWING NUMBER

BASEMENT 02 PLAN

A101

DATE

04/10/22

PROJECT NUMBER Description Date

Project Number

REV

26/05/2022 4:07:53 PM

CLIENT

BASEMENT 01 PLAN

SECTION AA

Rev

Description

Date

THIRD FLOOR PLAN

2.5m

79.5 1 0°

910.86° 1

15 33.03°

15 68.72°

6.25m

7.5m

8.125m 8.725m

SECTION AA

CODE

SUITABILITY DESCRIPTION

STATUS

PURPOSE OF ISSUE

SECTION AA

www.autodesk.com/revit

PROJECT

Project Name

2.0° 3

TITLE 2.0° 3

L03 Owner DRAWN BY

Author

Rev

SCALE (@ A1)

1 : 100

CHECKED BY

Checker

DRAWING NUMBER

ROOF PLAN

A103

DATE

04/10/22

PROJECT NUMBER Description Date

Project Number

REV

26/05/2022 4:09:10 PM

CLIENT

2.0° 3

SECTION BB

FINAL DESIGN :

PROGRESS

Iteration 10

SMITH STREET

FOYER

L01 GALLERY

SECTION AA Copy 1

Rev

Description

Date

GROUND FLOOR PLAN

2.5m

6.25m

7.5m

SECTION DETAIL

CODE

SUITABILITY DESCRIPTION

STATUS

PURPOSE OF ISSUE

www.autodesk.com/revit

8.125m 8.725m

PROJECT

Project Name TITLE

2.00° 3

Rev

Description

Date

FIRST FLOOR PLAN

2.5m

6.25m

SECOND FLOOR PLAN

CODE

SUITABILITY DESCRIPTION

STATUS

PURPOSE OF ISSUE

Level 2 1 : 100

7.5m

www.autodesk.com/revit

8.125m 8.725m

2.5m

6.25m

7.5m

8.125m 8.725m

PROJECT

Project Name TITLE UP

L01

Owner DRAWN BY

Author

Rev

SCALE (@ A1)

1 : 100

CHECKED BY

Checker

DRAWING NUMBER

BASEMENT 02 PLAN

A101

DATE

04/10/22

PROJECT NUMBER Description Date

Project Number

REV

31/05/2022 9:45:29 AM

CLIENT

BASEMENT 01 PLAN

SECTION AA Copy 1

Rev

Description

Date

THIRD FLOOR PLAN

SECTION AA

4 2.5m

6.25m

7.5m

SECTION AA Copy 1 CODE

SUITABILITY DESCRIPTION

STATUS

PURPOSE OF ISSUE

www.autodesk.com/revit

8.125m 8.725m

PROJECT 79.5 1 0°

910.86° 1

15 33.03°

15 68.72°

2.0° 3

Project Name TITLE

2.0° 3

L03 Owner DRAWN BY

Author

Rev

SCALE (@ A1)

1 : 100

CHECKED BY

Checker

DRAWING NUMBER

ROOF PLAN

A103

DATE

04/10/22

Description Date PROJECT NUMBER Project Number

REV

31/05/2022 10:13:02 AM

CLIENT 2.0° 3

SECTION BB

FINAL DESIGN

SOLID

STACK

PROGRAM

SHIFT

COMPRESS

COLUMN

CORE

SUPPORT

COMPRESS

SUPPORT

STACK

B01

1 : 100

2.5m

5m 5m

6.25m 6.25m

7.5m 8.125m 8.725m

7.5m

B01

1 : 100

2.5m

5m 5m

6.25m 6.25m

7.5m 8.125m 8.725m

7.5m

B01

1 : 100

2.5m

5m 5m

6.25m 6.25m

7.5m 8.125m 8.725m

7.5m

2.00° 3

B01

1 : 100

2.5m

5m 5m

6.25m 6.25m

7.5m 8.125m 8.725m

7.5m

B01

1 : 100

2.5m

6.25m

7.5m

8.125m 8.725m

B01

1 : 100

2.5m

6.25m

7.5m

8.125m 8.725m

79.5 1 0°

15 33.03°

910.86° 1

15 68.72°

2.0° 3

B01

1 : 100

2.5m

6.25m

7.5m

8.125m 8.725m