Journal

STUDIO 36 JOURNAL

| STUDIO 36 | BRIAN WILSON | 1024047 |

INTRODUCTION This Studio explores the brief of a contemporary Art Gallery. This has proven a good opportunity for me to explore abstract forms, which is something I tend to shy away from. I think this Studio has pushed my boundaries as a designer. Questions I hope to explore this semester through the completion of this studio include: What are my strengths as a designer?

What are my weaknesses as a designer?

What should a public building be?

What should an art gallery be?

01 DESIGN STATEMENT

PART 01 : DESIGN STATEMENT The formation of a design statement has taken the length of the semester and was based on number of reading from different architects and designers. I found Interviews from Kuma and Foujimoto to resonate the most with me. Their focus on the environment and connecting to context is something I really wanted to explore. My research into the site lead me to investigate the sites ecological past and how this might inform a design better connected to the site accross different cultures and time.

QUESTION Before European arrival, the site of the NGV contemporary was a wetland with a diversity of bird life, and vegetation.

The nearby Yarra River was a source of life, and culture for the Indigenous Kulin people. Today the NGVC site is at the heart of Melbourne’s culture and art precinct, but entirely disconnected from its ecological and indigenous past. So how can architecture blend culture, place, and environment?

| STUDIO 36 | BRIAN WILSON | 1024047 |

DESIGN STATEMENT It is important that the NGV contemporary speaks to the indigenous history and memory of the site, while also responding to its modern context. In an interview Kengo Kuma explained how new creations come out of continuity.

It is not about copying the past, but about finding new ways forward while understanding past values. NGV Contemporary facilitates this by exploring the Yarra River as an element that has remained culturally significant both before settlement, and in Melbourne today. The NGVC proposes two art galleries connected to each other and the city by a landscaped promenade, with an architectural language derived from the movement of water. The buildings take inspiration from water ripples, this results in a dynamic building massing with simple intersecting volumes. The form also draws on Zaha Hadid’s concept of embedding the project into the context with all possible relationships, so that visitors feel drawn from multiple entry points. There is a focus on sustainable design and a light touch, because like water ripples, the NGVC should be impermanent and something that will eventually dissipate and return to quietude. The internal organization of the NGVC and promenade is informed by the idea of a river where bends and curves can create a non-linear journey that encourages users to pause and reflect on their experience.

And like ripples its impact will extend beyond the the site.

01 DESIGN STATEMENT

PART 01 : DESIGN STATEMENT This is a page of various research notes from interviews and readings that resonated with me.

| STUDIO 36 | BRIAN WILSON | 1024047 |

SOU FUJIMOTO VARIOUS INTERVIEWS

KENGO KUMA: ANTI OBJECT + VARIOUS INTERVIEWS

Japanese architect Sou Fujimoto’s philosophical body of work explores architecture that doesn’t dictate any particular behaviour to its users.

Notes from anti Object:

His projects become living environments, which create intimate and protected spaces while allowing the user the freedom to behave however they want.

The English landscape garden was conceived as a series of qualitively different experiences.

Therefore inconsistencies between the experiences were of no consequence. A masonry pavilion in a medieval European style might occupy one spot, a Chinese pagoda in another. These mutually incompatible fragments were seen to be connected by a continuous path. The path only enabled an individual to experience these fragments individually, so they never seemed inconsistent.

Create interplay between the questions of what is inside and what is outside, what function a space can serve and how you allow people to act in any way they choose.

Good architecture should not define the spaces by the functions, but should have diverse uses and allow people to choose how they use their space. Allowing infinite functions by the potential of the spaces.

‘My projects are about nature and architecture,’ he says, simply. ‘A place for hu-mans, integrating various scales from small to large, and the coexistence of sim-plicity and variety.’

Musashino Art University Museum Concept was a Forest of Books. Walking around like a forest with no purpose, intention, reason.

Sometimes encounter a new idea or new experience

Architecture is always connected to the world.

Notes from Interview: The importance of feeling the energy of the site and engaging with the environment to really understand the possibilities of a new project.

Being humble. Work slowly, step by step.

Feel the energy of the place. The reality of the place.

Create human warm natural space. Natural material as possible.

Merge artificial and natural as much as possible.

Moving away from architecture as Monument to architecture as environment.

ZAHA HADID VARIOUS INTERVIEWS ‘My ideas come from observation: of the site, of nature, of people moving in the city’ (NewYooxer, 2010, para. 2) Embedded-ness is the endeavour of implanting the project into the context with all possible relationships through deriving features from the context, therefore, the project become a harmonic part of the existing natural scene

Merging a building with time.

“You could say that my aim is ‘to recover the place’. The place is a result of nature and time; this is the most important aspect. I think my architecture is some kind of frame of nature. With it, we can experience nature more deeply and more intimately.”

New creations always come out of continuity, out of an attitude of trying to find peace. It is not about copying the past, but about finding new ways forward while understanding past values.

History and progress do not need to be mutually exclusive. It is always possible to find new things even within older principles.

02 SITE ANALYSIS

PART 02 : SITE ANALYSIS Site anaysis around the NGV showed that the site inhabits a very important and unique place in Victoria. It is centrally located and at the heart of an important cultural precinct. It is important therefore to carefully consider the historical, social and pragmatic qualities of the site. Site visits and research focused on understanding aboriginal connnections to the area and also understanding the immediate surroundings of the NGVC site.

| STUDIO 36 | BRIAN WILSON | 1024047 |

1

3

2

2

3 1

6

5

4

NGVC Sites:

Significant Buildings:

1. NGVC Site 1.

2. Ballet Centre (To be retained) 3. NGV Site 2.

1. Arts Centre 2. State Theatre & Spire 3. NGV 4. Southbank Theatre 5. ABC Southbank Centre 6. Apartments

Southbank Boulevard Sturt Street (Promenade) Kavanagh Street St Kilda Road

02 SITE ANALYSIS

PART 02 : SITE ANALYSIS SITE VISIT Visited the site on the weekend to get a feel for the area, The buildings along Southbank were very prominent and views to these buildings will be important to consider. The difference in levels is very noticeable and needs to be considered carefully. I was surprised by how dominating the spire almost everywhere around the site. The highway is ber noisy and ugly and the response to this needs to be considered carfeully. The ground floor level of Sturt street was very dead and unwelcoming, but kavanagh street had some good cafes a nice vibe to it.

Southbank Boulevard

Southbank Theatre New Landscaping

ABC Centre

Greenery & Bike Path

St Kilda Road

NGVC Site 1

New Landscaping

NGV WALL Raised Garden

Sturt Street

Kavanagh Street

Views Around Art Centre & Spire.

02 SITE ANALYSIS

PART 02 : SITE ANALYSIS

SITE ANALYSIS

THE SPIRE

CONTEXT

HAMMER HALL

AUS BALLET CENTRE

EET

H AG

ET

RE

ST

SOUTH

STUR T STR

N VA KA

BANK

BLVD

ABC BUILDING

VIC COLLEGE OF ARTS

NGVC SITE

HOSIERS LANE

FED SQUARE

D OA AR ILD

ST K

C

NGV

SOUTHBANK THEATRE

ART PROGRAM

CONTEXT PLAN 50m

150m

250m

03 SITE ANALYSIS

PART 02 : SITE ANALYSIS VIEWS

TRAFFIC

It is important to consider how the views will shift from the different heights of the building and how the internal spaces and exterior form should be oriented towards these considerations.

There is a lot of pedestrian and traffic flow around the NGVC site, but the importance of having a promenade to direct pedestrian flow is appaarent.

Promenade & Ground Level Surrounding cultural buildings.

Main Road. Busy and Noisy.

Tram Line

Views from 24 Metres Potentially views of Yarra and botanic gardens.

My pereception of how Pedestrian Traffic flowed at the site on a busy day.

HISTORICAL CONTEXT Research was focused on the history of the Yarra river near to the NGV site. An interesting discovery was the history of the name of the Yarra river.

Yarra Yarra was the aboriginal name of a demolished waterfall where Queens bridge is now. The Falls, were important to the local Aboriginal tribes, the Woiwurrung and the Boonerwrung, who used it as a crossing point between their lands, in order to negotiate trade and marriages.

Historical Maps and images of the Yarra

03 SITE ANALYSIS

PART 02 : SITE ANALYSIS

Research was focused on the history of the Yarra river near to the NGV site. The strong connection to water was an important one.

Historically the site was a Brackish wetland before colonisation. And the nearby Yarra Yarra falls was the aboriginal name of a demolished waterfall where Queens bridge is now. The Falls, were important to the local Aboriginal tribes, the Woiwurrung and the Boonerwrung, who used it as a crossing point between their lands,

Historical Paint of the Yarra Falls. Early 1800s.

in order to negotiate trade and marriages.

Melbourne from The Falls, 1837, showing an Aboriginal camp on the south bank of the Yarra River (National Library Australia)

Historical Maps and images of the Yarra Fa,ls before demolition.

ECOLOGICAL CONDITIONS BEFORE COLONISATION

50

150

250

YARRA RIVER

SOUT

HBAN

GRASSY WOODLAND

RIPARIAN WOODLAND

SWAMP SCRUB

K BLV

D

BRACKISH WETLAND

NGVC SITE

YARRA FALLS

SIGNATURE SPECIES OF BRACKISH WETLAND:

Chaffy Saw-sedge

Common Tussock-grass

Blue Tussockgrass

Cumbungi

05

03 FORM GENERATION

PART 03 : FORM GENERATION Inital form generating explored different techniques on a cube that we could then apply to a form in the context. It was interesting to develop these different forms and explore dynamic shapes, which is something I havent done before. The resultant forms were a development of forms 17 and 16. These can be seen as a progression from forms 9 + 10 which explored folding and distortion.

| STUDIO 36 | BRIAN WILSON | 1024047 |

1. Blur

1. Blur

2. Transparency + Fracture

3. Fraacture + Folding

4. Transparency Blur

5. Chaos + Order + Blur

6. Transparency

7. Fracture

8. Repitition

9. Folding

10. Distortion

11. Transparency

12. Building as Landscape + Folding

13. Building as Landscape + Figure Ground

14. Building as abstract shape + Transparency

15. Building as Landscape + Abstract Object

16. Building as Landscape + Distortion

17. Building as Landscape + Folding

03 FORM GENERATION

PART 03 : FORM GENERATION These were some of the forms I progressed with after the cube exploration. These forms really focused on trying to capture water and water eroded forms that responded to the contexts views, grids and surroundings. I think massing 1 and massing 2 had the most scope to improve and progress into something more meaningful. Massing 1 was an exploration a fluid building expressing the flow of water around a rock. Massing 2 was the opposite of this and explored the rigid form of a rock eroded by water.

| STUDIO 36 | BRIAN WILSON | 1024047 |

Masssing 1.

Typology: Building as landscape + Sculpting Inspiration: Zaha Hadid Maxi.

Concept: Attempted to createa fluid building.

With streams of pedestrian traffic converging like streams of a river.

Response: City grids, Pedestrian flow and views.

3. Merging, Adjusting levels, Responding to views.

Masssing 3 Buuilding as landscape + Sculpting Inspiration - Zaha Hadid ROCA London Gallery Concept: Attempted to create an eroded fluid building. The idea was to capture an eroded riverbank, moulded by pedestrian flows.

Masssing 2 Buuilding as landscape + Sculpting Inspiration - Kuma Concept: Tries to mimic a rock eroded by water. It is eroded by views, light, access, pedestrian walkways,

1. Intersecting city Grids.

2. Intersecting Pedestrian Routes along grids.

04 DESIGN CONCEPT 1

PART 04: MID REVIEW CONCEPT 1 Design concept 1 explored the typology of building as landscape. The fluid forms are an attempt to capture the flow of a waterfall. Pedestrian traffic converge like streams of a river which respond to city grids, views and pedestrian flows. The work of Zaha Hadid, in particular the Maxxi served as a point of departure. I think the floor plans of this concept are flowing quite well, but the sections and internal circulation need a lot of consideration.

| STUDIO 36 | BRIAN WILSON | 1024047 |

Intersecting city Grids.

Intersecting Pedestrian Routes

Waterfall inspiration

MASSING 1: FORM GENERATION STEP 1 : EXTRUDE ALONG INTERSECTING CITY GRIDS

MASSING 1: FORM GENERATION STEP 2 : MERGE AND TRIM TO SITE

MASSING 1: FORM GENERATION STEP 3 : CUT COURTYARDS THAT OPEN TO KEY VIEWS

STATE THEATRE

NGV

SOUTHBANK THEATRE

MASSING 1: FORM GENERATION STEP 4 : EXTRUDE HEIGHT

24 METRES

24 METRES

VIEWS OF YARRA

MASSING 1: FORM GENERATION STEP 5 : SLPE ROOF TO OPEN VIEWS TO SPIRE FROM SOUTHBANK BOULEVARD & ROOFTOP

MASSING 1: FORM GENERATION STEP 6 : SUNKEN AMPHITHEATRE & UNDERGROUND SPACES

MASSING 1: FORM GENERATION STEP 7 : OFFSET AND CHAMFER WALLS TO CREATE SKYLIGHT OPENINGS & MERGE WITH LANDSCAPE

MASSING 1: PROGRAMING When looking at programming I initially started with blocks and started orientating them within my slected volumes. Trying to understand the realtionship between the different kinds of spaces was important to me and also connecting different spaces to different views. E,g. I really wanted to make sure the Indigenous galleries had views of the Yarra and Botanic gardens.

1500 m2

2000 m2

3000 m2

250 m2

Cafe

Foyer

200 m2

150 m2

Kids Space

Members Lounge

Artist Residency

550 m2

125 m2

600 m2

Library

Loading Dock

Staff Admin

Staff Entrance

Promenade

400 m2

1500 m2

1800 m2

Restaurant

Shop

Temporary Gallery

Permanent Gallery

Indigenous Gallery

Digital Gallery

400 m2

500 m2

600 m2

800 m2

| STUDIO 36 | BRIAN WILSON | 1024047 |

Program brief fitted into the shell of Massing 1.

Foyer split between different levels ans sites.

Sculpture Garden and Amphitheatre opening towards spire.

Galleries oriented towards different views.

Indigenous Gallery oriented towards views of Yarra and Botanic Gardens.

Digital Gallery below ground.

Public spaces arranged around ampitheatre and sculpture garden.

Staff spaces on ground floor for access.

MASSING 1: PROGRAMING BRIEF REQUIREMENT 14,000 SQM SITE A 10757 SQM SITE B 6495 SQM TOTAL: 17252 SQM

SITE B

SITE A

SITE A

SITE B

Level 4 SCULPTURE PARK CAFE/SHOP/TOILET

Level 3 INDIGENOUS GALLERY

Level 2

Level 3 TEMPORARY GALLERY

Level 3

TEMPORARY GALLERY

PERMANENT GALLERY

FOYER/CAFE/SHOP/TOILET

FOYER/CAFE/SHOP/TOILET

STAFF AND ADMIN

STAFF & ADMIN

LEVEL 1

LEVEL 1

TEMPORARY GALLERY

STAFF AND ADMIN

PERMANENT GALLERY

STORAGE

GROUND STAFF & ADMIN LEARNING SPACES LOADING DOCK

GROUND LOADING DOCK AMPHITHEATRE/ SCULPTURE PARK PERMANENT GALLERY

FOYER/CAFE/SHOP/TOILET TEMPORARY GALLERY

BASEMENT STORAGE STAFF & ADMIN PERMANENT GALLERY AMPHITHEATRE DIGITAL GALLERY

MASSING 1: GROUND FLOOR PLAN 1. Loading Dock 2. Foyer 3. Temporary Gallery 4. Permanent Gallery 5. Cafe 6. Shop 7. Back of House 8. Ticketing/ Cloack Room 9. Amphitheatre

1.

4.

9.

3.

1.

3.

5.

7.

6.

3.

N 5m

10m

20m

9.

2.

8.

MASSING 1: PROMENADE LEVEL 1. Loading Dock 2. Foyer 3. Temporary Gallery 4. Permanent Gallery 5. Cafe 6. Shop 7. Back of House 8. Ticketing/ Cloack Room 9. Amphitheatre 10. Staff & Admin & Storage 12. Sculpture Park

10

8 2.

9.

10.

2 8.

4.

10.

3.

4.

N 5m

10m

20m

9.

12.

MASSING 1: GROUND FLOOR PLAN 1. Loading Dock 2. Foyer 3. Temporary Gallery 4. Permanent Gallery 5. Cafe 6. Shop 7. Back of House 8. Ticketing/ Cloack Room 9. Amphitheatre

1.

3.

5.

6.

9.

2.

3.

N 5m

10m

20m

7.

8.

MASSING 1: PROMENADE LEVEL 1. Loading Dock 2. Foyer 3. Temporary Gallery 4. Permanent Gallery 5. Cafe 6. Shop 7. Back of House 8. Ticketing/ Cloack Room 9. Amphitheatre 10. Staff & Admin & Storage 12. Sculpture Park

10.

2 4.

8.

10.

3.

9.

4.

N 5m

10m

20m

12.

LEVEL 3

INDIGENOUS

FL 16m

PERMANENT GALLERY LEVEL 2 LEVEL 1

GROUND

FOYER

FL 8m FL 4m FL 0m

STAFF & ADMIN

PERMANENT

RESTAURANT

GIFT SHOP

TEMPORARY

DIGITAL

SECTION 1

LEVEL 2 LEVEL 1

GROUND

PERMANENT GALLERY FL 8m FL 4m FL 0m

STAFF & ADMIN RESTAURANT TEMPORARY

SECTION 2

AMPHITHEATRE

T GALLERY

LEVEL 4

FL 20m

LEVEL 2

FL 16m

LEVEL 2

FL 8m

LEVEL 1

FL 4m

GROUND

FL 0m

INDIGENOUS

BALLET SCHOOL TO BE RETAIN

FOYER PERMANENT GALLERY FOYER

LOADING DOCK STORAGE

DIGITAL

SECTION 3

LEVEL 3

FL 12m

LEVEL 2

FL 8m

LEVEL 1

FL 4m

GROUND

FL 0m

SECTION 4

PERMANENT FOYER LEARNING DIGITAL

NED

TEMPORARY LEARNING STAFF & ADMIN TEMPORARY

05 DESIGN CONCEPT 2

PART 05: MID REVIEW CONCEPT 2 Design concept can be seen as almost an inverse of concept 1. While Concept looked at the fluid motion of water. Concept 2 explores the idea of jagged rock eroded by water. It looks at city grids and pedestrian flows as an inital point of departure but emphasises different views and forms to achieve a distinct rock like form.

| STUDIO 36 | BRIAN WILSON | 1024047 |

Intersecting city Grids.

Intersecting Pedestrian Routes

Eroded Rock

MASSING 2: FORM GENERATION STEP 1 : EXTRUDE ALONG INTERSECTING CITY GRIDS

MASSING 2: FORM GENERATION STEP 2 : MERGE AND TRIM TO SITE

MASSING 2: FORM GENERATION STEP 3 : COURTYARDS AND OPENINGS

MASSING 1: FORM GENERATION STEP 4 : EXTRUDE HEIGHT & RESPOND TO VIEWS

STATE THEATRE

NGV

ENS

SPIRE / YARRA / BOTANIC GARD

NGV & SOUTHBANK THEATRE

MASSING 2: FORM GENERATION STEP 6 : DEFINE GROUND ENTRY & ROOFTOP GARDEN

ROOFTOP NGV VIEWS

SOUTHBANK BOULEVARD

MASSING 2: FORM GENERATION STEP 5. DEFINE PROMENADE ENTRIES & WALKWAYS

PROMENADE ENTRY

PROMENADE ENTRY

MASSING 2: FORM GENERATION STEP 6. MERGE WITH LANDSCAPE & PROMENADE

MASSING 2: PROGRAMING BRIEF REQUIREMENT 14,000 SQM SITE A 10657 SQM SITE B 7470 SQM TOTAL: 16130 SQM

SITE B

SITE A

SITE A

SITE B

Level 4 INDIGENOUS GALLERY

Level 4 ARTIST STUDIOS TEMPORARY PERMANENT

Level 3

Level 3

LEARNING SPACES

TEMPORARY

SCULPTURE GARDEN

AMPHITHEATRE

CAFE

FOYER CAFE

LEVEL 2

STAFF & ADMIN

FOYER SCULPTURE GARDEN

LEVEL 2 PERMANENT GALLERY

TEMPORARY GALLERY CAFE

LEVEL 1 STAFF

STAFF AND ADMIN

LEVEL 1 STORAGE

PERMANENT GALLERY

GROUND

GROUND

LOADING DOCK

LOADING DOCK

STAFF

DIGITAL GALLERY

FOYER SCULPTURE GARDEN TEMPORARY CAFE

MASSING 2: GROUND FLOOR PLAN 1. Loading Dock 2. Foyer 3. Temporary Gallery 4. Permanent Gallery 5. Cafe 6. Shop 7. Cloak Room & Admin 8. Ticketing 9. Sculpture Garden

3.

4.

1.

1.

7.

3.

8 9.

3.

N 5m

10m

20m

5

2.

MASSING 2: PROMENADE LEVEL 1. Loading Dock 2. Foyer 3. Temporary Gallery 4. Permanent Gallery 5. Cafe 6. Shop 7. Cloak Room & Admin 8. Ticketing 9. Amphitheatre 10. Staff & Admin & Storage 12. Sculpture Park

10

8 2.

9.

10.

4.

2 5.

N 5m

10m

20m

3

7

8

12.

MASSING 1: GROUND FLOOR PLAN 1. Loading Dock 2. Foyer 3. Temporary Gallery 4. Permanent Gallery 5. Cafe 6. Shop 7. Cloak room & Admin 8. Ticketing/ Cloack Room 9. Sculpture Garden

1.

7.

3.

8.

9.

3.

2.

5.

N | STUDIO 36 | BRIAN WILSON | 1024047 | 5m

10m

20m

MASSING 1: PROMENADE LEVEL 1. Loading Dock 2. Foyer 3. Temporary Gallery 4. Permanent Gallery 5. Cafe 6. Shop 7. Cloak Room & Admin 8. Ticketing 9. Amphitheatre 10. Staff & Admin & Storage 12. Sculpture Park

10.

4.

2

5.

3.

N 5m

10m

20m

7.

8.

12.

INDIGENOUS STAFF & ADMIN & LEARNING

PERMANENT GALLERY

TEMP

FOYER

STAFF TEMPORARY

SECTION 1

PERMANENT

GROUND

FL 0m

GROUND

FL 0m

LEARNING

GROUND

FL 0m

STAFF

GROUND

FL 0m

TEMPORARY

GROUND

FL 0m

TEMPORARY

SECTION 2

Foyer

LEVEL 4

FL 20m

LEVEL 3

FL 16m

LEVEL 2

FL 9m

LEVEL 1

FL 4m

INDIGENOUS STAFF & LEARNING

TEMPORARY

PERMANENT

TEMPORARY

FOYER

PART 06: PRECEDENT A lot of Precedent research was focused on looking at buildings that explored folding and building as landscape. I was particularly interested in the way Zaha Hadid designed the circulation in the Maxxi Gallery. Alsolooking at the way she was able to respond abstract forms but only as a response to context and site. Trying to understand the way these presecents responded to site was a focus of mine.

The Adelaide Contemporary gallery design competition was also interesting to look at and see how they resolved plans, sections and pedestrian flow, In Particular I liked the David Chipperfield Entry, in particular the transparency of the facade and the organisation of the floor plan. The cirulation in the Adjaye associates entry is something that I tried to incorporate in my massing 1 flooring plans. A large atrium and a grand welcoming staircase is something I want to explore.

| STUDIO 36 | BRIAN WILSON | 1024047 |

BUILDINGAS LANDCAPE PRECEDENTS

FOLDING PRECEDENT

ADELAIDE CONTEMPORARY PRECEDENT

DAVID CHIPPERFIELD ENTRY Kengo Kuma Odunpazari Modern Museum.

Zaha Hadid Maxxi

BIG Human Museum.

Zaha Hadid ROCCA Gallery

ADJAYE ASSOCIATES

06 PRECEDENT

For the promenade my intent is continue the idea of a water themed space. These are some interactive water features that I researches and felt like they would work well in this space. Theya re called water mirrors and are dynamic installations that can be fountains, mists, flat planes of water or even drained.

I think it would reinforce the idea of a connection the Yarra really well.

| STUDIO 36 | BRIAN WILSON | 1024047 |

Bordeaux, France: Water Mirror

Nice, France: Water Mirror Promenade

STUDIO 36 RESEARCH TASK: THE MAXXI BY ZAHA HADID

PROGRAM

The museum is described by Zaha as “not a objectcontainer, but rather a campus for art.” The MAXXI is not justa a gallery, but also hosts art, architecture, design photography shows, fashion, cinema, music projects, theater and dance performances, and lectures. MAXXI is more than just a museum it is a multi-purpose campus for all areas of creativity.

FORM

The design superimposes two intersecting urban grids onto the site, creating a linear framework for building organization. The resultant angle-divergence of 51 degree is mediated by means of curves.

FORM DERIVED FROIM IN

The building is defined largel by two principles: concrete walls that define the galleries and transparent roof that modulates natural light. The concrete load-bearing walls eliminate the need for interior columns while supporting the roof structure and forms above it.

Zaha uses concrete curved walls, suspended black staircases, and open ceiling to create: “A new fluid kind of spatiality of multiple perspective points and fragmented geometry, designed to embody the chaotic fluidity of modern life”

CONTINUOUS SPACES AR

NTERSECTION CITY GRIDS.

RE SHAPED BY CURVED WALLS.

STUDIO 36 RESEARCH TASK: THE MAXXI BY ZAHA HADID

LIGHTING TECHNIQUES

Natural: The MAXXI gallery spaces are naturally lit with glazed ceilings. Light is diffused through thin concrete beams on the ceiling, together with glass covering and louvre filtering systems. The beams, the staircases and the linear lighting system guide the visitors through the interior walkway.

Artificial: The MAXXI gallery spaces are naturally lit with glazed ceilings. Light is diffused through thin concrete beams on the ceiling, together with glass covering and louvre filtering systems. The beams, the staircases and the linear lighting system guide the visitors through the interior walkway.

STORIES & LEVELS

CENTRAL ATRIUM AND ST

The MAXXI is a three storey mat building that occupies an L shaped site. When the galleries occupy more than one level it normally becomes difficult to create a sense of continuity accross the floors. This is solved by sinuous volumes and gallery wings that merge around a central staircase.

METAL GRILLES AND ADJU

TAIRCASE ALLOWS FOR CONTINUITY ACCROSS THREE FLOORS

USTABLE LOUVRES CONTROL SUNLIGHT.

CANTILEVERING GALLERY & VIEWS OF CITY

STUDIO 36 RESEARCH TASK: THE MAXXI BY ZAHA HADID

ORGANISATION OF SPACES

The focus of the space was to create “not a box, but a stream” Walls, beams, and ribs act as linear, streaming elements that accentuate the directionality of the gallery spaces.

CIRCULATION & ACCESS

The walls create major streams and minor streams. The major streams are the galleries, and the minor streams are the connections and the bridges. The curved walls provide shifts in perspective that create an open-ended journey and unexpected routes.

FLUID FLOOR PLAN SHOW

WING THE INTERSECTING STREAMS THAT CONVERGE AROUND A SYSTEM OF STAIRS AND RAMPS.

STUDIO 36 RESEARCH TASK: KIMBELL ART MUSEUM BY RENZO PIANO

LIGHTING TECHNIQUES

The Piano pavilion’s roof is a single layer that performs an array of functions. Sitting just above the glass is a photovoltaic louver system. Its first job is to control the amount of light entering into the space, and it can be either fully closed or open to any position between zero and 45 degrees. In the case of serious weather, such as hail, they rotate and fold over to protect the glass roof structure. The PV cells within the louvers generate enough power to meet about 70 percent of the lighting energy needs for the building, The louvers also keep sun off the glass, and each module is individually controlled by a dedicated louver control system.

MATERIALITY

SKYLIGHT DIFFUSES LIGH

Glass, concrete, and wood are the predominant materials used in the building. A sequence of square concrete columns wraps around the sides of the building, supporting solid wooden beams and the overhanging eaves of the glass roof, providing shade for the glazed facades facing north and south.

OVERHANGING GLASS RO

HT IN THE GALLERY

OOF SUPPORTED BY WOODEN BEAMS

CLERESTORY SECTION DETAIL AT GLASS ROOF

STUDIO 36 RESEARCH TASK: DANGROVE ART STORAGE FACILITY BY TZANNES

STEPPED CEILING

The two-storey concrete, linear volume features a dramatic stepped ceiling that soars from 6m tall at the street-facing end to 28m at peak height. A grand 90m long, 18m wide Great Hall sits at the heart of the building, with the dramatic space intended to accommodate temporary exhibitions, events and performance art works.

MATERIALITY

A soft, even light floods the space through a double skin of UV reducing polycarbonate walls above a wall datum of polished concrete. Another sculptural concrete skylight terminates the Great Hall and heightens the sensory experience of natural light within.

STEPPED CEILING CREATI

CEILING ENHANCES MUSI

ING VARYING GALLERY HEIGHTS

ICAL PERFORMANCE REQUIREMENTS

POLYCARBONATE WALLS CREATE SOFT EVEN ILLUMINATION

STUDIO 36 RESEARCH TASK: TURNER CONTEMPORARY GALLERY BY DAVID CHIPPERFIELD

ORGANISATION OF SPACES

The 2,000m² building is arranged over two floors, within six equivalent volumes, clustered around a central spine. As you might expect of a building without a collection, staff and ancillary functions are tightly planned, with most spaces given over to the public. These share a restrained yet luminous palette of polished concrete floors, white walls, ribbed concrete soffits or white ceilings. The principal galleries, on the upper floor, open into the mono-pitched roofs of three of the volumes.

These spaces are emphatically concerned with the qualities of natural light, their form being defined by a simple but singular condition: the coincident relationship of sea and north light. The latter is admitted through high-level, clerestorey windows, with a directness that David Chipperfield describes as the ‘most primitive form of lighting’, likening it to that of an artist’s studio.

GROUND FLOOR PLAN SH

EXTERIOR SHOWING PITC

HOWING SPATIAL ARRANGEMENTS

CHED ROOFS

VARYING SPACES INSERTED INTO EQUIVALENT VOLUMES

STUDIO 36 RESEARCH TASK: NEW YORK CITY HIGH LINE BY JAMES CORNER FIELD OPERATIONS AND DILLER SCOFIDIO + RENFRO

FURNITURE AND LANDSCAPING

The design is characterized by an intimate choreography of movement, with alternating vistas and experiences along the 1.45-mile length. The High Line’s plantings, furnishing, paving, lighting, and utilities were conceived and built as one integrated system within the limited width and depth of the structure itself. Within this system, a series of “rooms” use distinctive planting and specially-designed social spaces to emphasize unique site conditions and connect visitors with each other, nature, and the city around them. Because the structure is 30 ft high, frequent stairs and elevators provide access and wayfinding from the street level.

AMPHITHEATRE SEATING

G

06 PRECEDENT

GRAND EGYPTIAN MUSEUM, CAIRO

Grand Egyptian Museum, exhibition design by Metaphor, Cairo, Egypt. The museum is situated near the Great Pyramids of Giza. The museum building,

by Heneghan Peng Architects, is organized as a “running stair� design inclined towards the pyramids.

The exhibition design, by Metaphor, organizes the displays along a single timeline covering more than 3,500 years, with the most recent exhibits at the base of the incline. The visitor walks up the running stair in the direction of the pyramids, encountering each subsequent period and ending at the oldest exhibits of the prehistoric era

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06 PRECEDENT

PART 06: PRECEDENT: INTERNAL SPACES

Following mid review I looked closer at the internal organisation of the spaces and exprerimented with different floor plans. After advice from Anna and on further reflection, I think I need to rethink my direction.

The floor plans I did work functionally better I think. But I need to rethink how they work in terms of connecting with my original concept.

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06 PRECEDENT

CIRCULATION 01: Unitary annular circulation with core space Applicable object: In my opinion, this composition form can be suitable for the exhibition space, which need certain communication space for the visitors.

Features: Each exhibition space is disconnected, but owns common starting area.

Visiting circulation type within exhibition area is annular way back to the origin.

This circulation model has centrality of core space.

Core space as starting point of visiting process has multiple attainability.

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San Francisco Museum of Modern Art The exhibition spaces of this museum are surrounded around a central atrium. The visiting circulation of each exhibition hall starts from atrium and ended by here as well. In order to emphasis this central space, a sculptural and decorative stair nearly occupies the whole atrium. Additionally, four huge columns distributed at the corners of stair support the cylindrical skylight, which can bring abundant changes of light and shadow for internal space. In my opinion, this is a typical example of unitary annular circulation within exhibition space.

06 PRECEDENT

CIRCULATION 02: Spatial continuous circulation with floating space Features: This circulation type has certain directivity for visitors.

It is conductive to form intense and specific spatial atmosphere.

Owning to its spatial continuity, it is useful to reappearance of historical scenario and the sublimation of visiting emotion for visitors.

It is better to combine with exhibition theme and visiting experience in order to reach the purpose of the place implication.

Applicable object: This combination is applicable for the cultural building, which concentrates on the spatial experience. For example, memorial hall of special event, historical museum, ‘time theme’ of art gallery, etc.

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07 DESIGN DEVELOPMENT

PART 07: DESIGN DEVELOPMENT Following mide review I further developed concept 1 as my main design. Refining the form and adapting the spaces to program was a challenging aspect of this process and required a lot of iterations. This section highlights the main iterations, design thinking and decision making that lead to the final design.

07 DESIGN DEVELOPMENT

ITERATION 1 Iteration 1 was an attempt to close off the courtyrad and create and internal water feature and courtyard.

This was largely unsuccessful and struggled with light access. But I liked the attempt to incorporate greenery and a raised garden.

LOADING DOCK

ADMIN CAFE GIFT SHOP

ADMIN TEMPORARY GALLERY

WATERFALL FOYER

GROUND FLOOR PLAN:

CAFE

INDIGENOUS GALLERY

THIRD FLOOR PLAN

ADMIN

FOYER RY

LE

AL

TG

N NE

A

RM

H

8

5 METRE HIGH TEMPORARY GALLERY

PROMENADE LEVEL PLAN:

RE

ET

M

G HI

PE

12 METRE HIGH PERMANENT GALLERY

OUTDOOR TRANSITION SPACE

07 DESIGN DEVELOPMENT

ITERATION 1 The renders and sections show a first attempt after mid review to resolve the internal circulation. The sections still show the floor plates are very rigid and not much flow between the programs.

CAFE

12 METRE HIGH PERMANENT GALLERY (DAYLIT)

ADMIN

FOYER

8 METRE HGH TEMPORARY GALLERY (DAYLIT)

ADMIN

CAFE

LOADING DOCK

CONTROLLED LIGHTING GALLERY SPACES

5 METRE HIGH TEMPORARY GALLERY (DAYLIT)

8 METRE HGH TEMPORARY GALLERY (DAYLIT)

CONTROLLED LIGHTING GALLERY SPACES

SECTION 2

OUTDOOR TRANSITION SPACE

12 METRE HIGH PERMANENT GALLERY (DAYLIT

8 METRE HIGH TEMPORARY GALLERY (DAYLIT

LEARNING SPACE

07 DESIGN DEVELOPMENT

ITERATION 2 This was the second attempt to resolve the floor plans, circulation and program with greater detail, The central courtyard was not working very well and I have to think about why it is there? It faces a main road and would not function very well as an open space with heavy traffic, But this was also my furst attempt at internal renders. I focused trying to capture the flow of light and program. At this point I had been looking at a lot of David Chipperfield galleries and at this stage the design was drawing strongly from the Turner contemporary art gallery in the UK. I wasnt happy with this strong resemblance wanted to depart toward something that was unique to me and the site contex.

GALLERY 10 M

CAFE

CONTROLLED LIGHTING GALLERY SPACES

SECTION 2

GALLERY 12 M

LEARNING/ LIBRARY

GALLERY 8 M

FOYER

RESTAURANT

THIRD FLOOR PLAN AXO:

RESTAURANT

TEMPORARY GALLERY (DAYLIT)

FOYER

ADMIN/ TICKET

FOYER LOADING DOCK CONTROLLED LIGHTING GALLERY SPACES

07 DESIGN DEVELOPMENT

07 DESIGN DEVELOPMENT

ITERATION 3 This was a major turning point in my project. I spent a lot of time thinking about what these volumes should be and resemble. I was inspired the movement of waves. The volumes are meant to resemble crashing and intersecting waves. The internal spaces are also flowing a lot better in these renders.

PROMENADE ENTRY FOYER

GROUND LEVEL ENTRY FOYER

LEVEL 3 GALLERY

SUNKEN GALLERY

07 DESIGN DEVELOPMENT

LOADING DOCK

ADMIN

+ STORAGE

GALLERY (DAYLIT

LEARNING

GA (DA

TICKET

CAFE

CLOAK

FOYER

GIFT SHOP

TICKET

GALLERY (DAYLIT)

GROUND FLOOR PLAN

LEVEL 2 FLOOR PLAN (PROMENA

ALLERY AYLIT

ADE LEVEL)

GALLERY (DAYLIT

GALLERY (DAYLIT

GALLERY (DAYLIT

FOYER

CAFE

LEVEL 3 FLOOR PLAN

07 DESIGN DEVELOPMENT

SCULPTURE GARDEN

FOYER

GALLERY

7 METRES CONTROLLED LIGHTING

GALLERY

14 METRES DAYLIT

GALLERY

GALLERY

GALLERY

GALLERY

GALLERY

GALLERY

5 METRES DAYLIT

7 METRES CONTROLLED LIGHTING

7 METRES CONTROLLED LIGHTING

5 METRES DAYLIT

7 METRES DAYLIT

7 METRES CONTROLLED LIGHTING

07 DESIGN DEVELOPMENT

CAFE

TICKET & ADMIN

MEMBERS LOUNGE

GALLERY

CONTROLLED LIGHTING

TICKET & CLOAK ROOM FOYER

GIFT SHOP

07 DESIGN DEVELOPMENT

SUNKEN ART GALLERY 12 METRES DAYLIT

OUTDOOR SCULPTURE GARDEN

BASEMENT LEVEL GALLERY 8 METRES CONTROLLED LIGHTING

07 DESIGN DEVELOPMENT

ITERATION 4 This was the first attempt at a facade. The rippled facade was meant to resemble ripples. And respond to light. The more open areas of the facade are for public programs that require light and the closed areas of the facade are for the galleries that use diffused skylights.

07 DESIGN DEVELOPMENT

GALLERY DAYLIT

GALLERY

CONTROLLED LIGHTING

CAFE + GIFT SHOP

TICKET

& ADMIN TOILETS

07 DESIGN DEVELOPMENT

GALLERY DAYLIT

CAFE + GIFT SHOP

BASEMENT LEVEL GALLERY 8 METRES CONTROLLED LIGHTING

SUNKEN ART GALLERY 12 METRES DAYLIT

07 DESIGN DEVELOPMENT

07 DESIGN DEVELOPMENT

GALLERY DAYLIT

GALLERY

CONTROLLED LIGHTING

CAFE + GIFT SHOP

TICKET

& ADMIN TOILETS

08 DESIGN DEVELOPMENT

PART 08: FINAL DESIGN The final form of the NGVC incorporates a number of water inspired forms.

WAVES The sloped forms of the galleries are functionally designed to accomodate a range of gallery heights. But are also inspired by crashing waves,

WATER RIPPLES The zig zag facade blocks and filters light and also frames different views. But is inspired by water ripples.

RIVER The landscape of the promenade is inspired by bends in the yarra river and creates a range of paths and routes for unique user experiences,

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NORTH BUILDING

BALLET SCHOOL

SOUTH BUILDING

NGV

08 DESIGN DEVELOPMENT

PROMENADE FLOOR PLAN

1. RAMP A

5. SCULPT

2

3

5

6

1 S1

4

8 3

AND STEPS

2. PLAZA

3. WATER MIRROR

4. WATER FALL

TURE GARDEN

6. AMPHITHEATRE

7. WATER GARDEN

8. PROMENADE

2

3

7 1 S1

5m

30m

N

08 DESIGN DEVELOPMENT

SECTION 1

4m

8m

16m

08 DESIGN DEVELOPMENT

PROGRAM This shows how the organisation of the spaces worked. South building was mainly for permenanent exhibitions. While the north building was envisioned as something for contemporary performances and temporary exhibitions.

LEARNING PERFORMANCE SPACE LOADING DOCK/STORAGE/ BACK OF HOUSE FOYER / TRANSITION SPACE TEMPORARY GALLERY ADMIN CAFE/RESTAURANT/GIFT SHOP

THIRD FLOOR

THIRD FLOOR

SECOND FLOOR (PROMENADE

SECOND FLOOR (PROMENADE

GROUND FLOOR

GROUND FLOOR

BASEMENT LEVEL

SOUTH BUILDING

NORTH BUILDING

08 DESIGN DEVELOPMENT

FORM The form of the building was a response to many factors. But these outline the main features.

1. SITE

2. STACK

5. RESPOND TO LIGHT

8. RESPOND TO LANDSCAPE

3. DIVIDE

4. REFINE

9. CONNECT TO LANDSCAPE

10. FACADE AND PROMENADE

08 DESIGN DEVELOPMENT

LIGHTING The building uses a mixture of natural and artificial lighting. The artificial lighting detail is inspired by Zaha Hadids Maxxi Gallery. And the Natural Lighting is inspired by Renzo Pianos Kimbell art gallery. The stepped ceiling allows for exhibits that require different gallery heights.

LIGHTING DETAIL

6

1

5

2

1

3

4

4

7

MATERIALS The materials were focused on sourcing from sustainable areas, and materials with a warmth to them that would welcome visitors and draw them in.

1. SUSEPENED CEILING POLYCARBONATE SHEET 8mm 2. PIVOTING ALIMUNIUM CONTROL LOUVRE 3. THERMAL TOUGHENED GLASS 4. TIMBER SUPPORTING FRAME 5. FLUORESCENT TUBE 6. RECYCLED TIMBER FLOOR 7. REINFORCED CONCRETE SLAB

BUILDING MATERIALS

RECYCLED TIMBER FLOORS

CLT TIMBER FACADE

REFLECTIVE LOW E GLASS FACADE

EXTERIOR ACID STAINED CONCRETE COLUMNS

INTERIOR CONCRETE COLUMNS EXPOSED AGGREGATE

WHITE PLASTER NEUTRAL INTERNAL WALLS

08 DESIGN DEVELOPMENT

SOUTH BUILDING VIEW FROM PROMENADE

08 DESIGN DEVELOPMENT

E RE

H AG

11

T

ST

12

AN V KA

16 2

13 14

2

4

9

1

17 3

15

18

SOUTHBANK BOULEVARD

NGVC NATIONAL GALLERY VICTORIA CONTEMPORARY

SOUTH BUILDING GROUND FLOOR PLAN

7

01. ENTRY FOYER 02. TOILETS 03. ATRIUM FOYER 04. CAFE 6

05. GIFT SHOP 06. LOADING DOCK 07. HOLD

8

08. PACK/UNPACK 09. CRATE 10. SECURITY 11. STAFF 12. TOILETS 13. TEMPORARY EXHIBITION 14. LEARNING 15. VOID 13

16. ART LIFT 17. TICKETS/CLOAK 18. EXISTING TREES TO BE RETAINED 5

4

12 N

1 2

PART 08: SUMMARY Exploring the concept of a contemporary art gallery has been interesting for me. Especially the generation of abstract forms in the early stages is not something I normally do, I think During Mid review massing concept 1 was fun to do and wasnt like anything Ive designed before. There was still a lot to resolve in terms of internal circulation and especially trying to bring the exterior concept of a waterfall to the inside, Concept 2 was something I almost abandoned but turned into something that works surprisingly well on site. I think the floor plan flowed a lot better than concept 1.

Following mid review I tried to take the Site of Concept 1 and the Site B of Concept 2 and merging them into one concept, The two sites would be the inverse of each other and explore the idea of positive and negative. Following this I spent a lot more time reflecting on my concept, researching different designers and working in section and plan to see how the internal qualities of these forms can work better in the context of an art gallery.

The resultant design is one that takes cues from a lot of different designers. In particular Kuma, Chipperfield,

| STUDIO 36 | BRIAN WILSON | 1024047 |

Zaha Hadid and Fujimoto, The progression of the design was not a very linear process and included a lot of backtracking, but I was happy that I kept with with the original concept of water. It was hard at times, and almost dropped the concept entirely.

But I think the final design is one that responds well to my original design statement. The idea of water and flowing as a uniting concept was articulated well throughout the design. I would have liked to better resolve the promenade and the north building, but I think the resultant design of the south building was well resolved.Moving forward past final review I would like to work more on the facade and how that could better be integrated with th internal spaces, structure and floorplans. Overall I think I learnt a lot about art galleries. And also how public buildings can respond to social and cultural contexts to embed a building in the cultural, historical and ecological fabric of a city.

On a final note I’ll finish with a quote from Wurundjeri elder, Aunty Di Kerr OAM: “If you care for Country it will in turn care for you.� This was an idea that drove my design in the early stages, and focused my efforts on designing something that was sensitive to the ecological and indigenous history of the site.