STUDIO 36 - NGVC - JADE LAYTON - REFLECTIVE JOURNAL by Jade Layton

NGV CONTEMPORARY SM1_2021_STUDIO 36

DESIGN JOURNAL BY JADE LAYTON 833912

DESIGN STATEMENT Contemporary art refers to modern-day art, whereby artists are responding to a multifaceted, culturally diverse global environment. With the rise of technology and the ability to work with a broad variety of mediums, contemporary artists are regularly reflecting on modern-day society. Contemporary art questions traditional ideas and confronts viewers to contemplate whether the art is exciting and challenging rather than simply beautiful. Situated in Southbank, the site possesses a rich history of indigenous culture and land use. Before the arrival of Europeans, the south side of the Yarra River was a wildlife thriving wetland where the Kulin Nation people would hunt and gather. In the book ‘Dark Emu’, Author Bruce Pascoe delves into the lives of a number of early indigenous settlers, finding evidence of sophisticated agricultural techniques, engineering, and building. This evidence of activity disputes traditional beliefs about pre-colonial Australia. Pascoe analysed the ways in which Indigenous Australians utilised fire, dams, rivers, and cropping in order to sustainably provide for themselves as well as respect the environment. My gallery design seeks to draw upon the historical past of Melbourne, whilst provoking environmental and sustainability awareness. It will embody the above Indigenous ideologies by implementing sustainable timber building methods and utilising a flowing exterior form which speaks to the flowing Yarra River that has brought life to the land for hundreds of generations. It will be a space where people of all demographics can gather, encouraging discussions and awareness in our disjointed world. The spaces within create a memorable experience for visitors. As well as housing an array of artworks, the building will be designed to be an iconic artwork itself, amplifying the diverse group of creative spaces within Southbank.

Resources:

https://www.development.vic.gov.au/projects/melbourne-arts-precinct?page=overview https://www.getty.edu/education/teachers/classroom_resources/curricula/contemporary_art/background1.html https://creative.vic.gov.au/major-initiatives/melbourne-arts-precinct https://www.aboriginal-art-australia.com/aboriginal-art-library/aboriginal-dreamtime

DESIGN ITERATIONS PO

SIT

BLURRING

IVE

EG AT IV

THE CLOUD-LIKE SERPENTINE PAVILION by Sou Fujimoto

ECOLE POLYTECHNIC by Sou Fujimoto

In order to create this form, I started with a blanket structure. I then blurred the boundaries by adding a three dimensional triangulated grid so that physical boundary is implied but not directly defined.

This form explores the idea of having a space cut out or removed from a pure object. This creates contrasting spaces within the one form.

SOF by J Mayer H Architects

GYEONGJU TOWER by Jun Itami

DESIGN ITERATIONS

ILLUSION

INVERSION / NEGATIVE

These two forms expore the idea of illusion via the use of angles. When viewed from certain angles, these forms appear two dimensional, however, from other views they appear three dimensional and dynamic.

MT FUJI WORLD HERITAGE CENTRE by Shigeru Ban

CORDOBA CONTEMPORARY ART CENTRE by Fuensanta Nieto

MARIBOR FOOTBRIDGE by Ja Studio + Tadj-Farzin Studio

WARRNAMBOOL CAMPUS BUILDING by Lyons

DISTORTION

DESIGN ITERATIONS TRANSPARANCY

With distortion referring to giving a misleading impression, I have done this by creating a shape that is regular from front elevation, but when viewed from different angles, the intersection points move forwards backwards creating a distorted/irregular form.

THE CHEESE GRATER by Pete Williams

FRONT ELEVATION

By applying a grid structure to a free form folding back and forth, different levels of transparency are achieved depending on where you’re standing. The shadows also play a roll depending on angle of the light source.

PHILHARMONIC HALL SZCZECIN by Barozzi / Veiga

CRYSTAL CATHEDRAL by Philip Johnson

GALLERY OF THE STREET by Sanjay Puri Architects

DESIGN ITERATIONS FOLDING I have always been interested in the concept of origami. How one sheet has the ability to create many different forms simply using the technique of folding. My model explores this idea and in doing so, creates depth within the surface. This technique would be an interesting facade or screening system, and leaving some panels off creates openings for light to pass though.

ORIGAMI PINEAPPLE PAVILION by Studio Morison

FRONT ELEVATION

CIB / VAÍLLO & IRIGARAY by Vaíllo & Irigaray & Galar

ANTI-OBJECT Kengo Kuma

- Objectification has been imperative to Western Architecture. Kuma sees this as a negative and questions why this has been weaved into many aspects of modern architecture. - Objectification refers to looking at architecture as a building that is separate from the environment it sits within. - By focusing on the character of a building by looking at it as an object creates a disconnect. - Kuma criticises self-centered architecture and praises an alternative form of design. - The mindset of viewing buildings in a traditional manner, holds us back from creating a positive relationship with the external world. - It is easy to turn a building into an object, however, much more difficult to prevent this. - New technology and digital design is creating an ‘architecture of disappearance’ meaning Kuma sees these new techniques as creating a negative aesthetic rather than architectural form.

NATIONAL GALLERY OF VICTORIA SITE VISIT

FORM From the exterior, the large building mass might come across as intimidating. The un-penetrated high facade gave me the impression that the interior spaces would be dark, although my interior experience was quite the opposite. The simplicity of the exterior design draws focus on the art held within the building. The use of integrating water features around the exterior of the building provides a soothing sight while also providing calming sounds that put my mind into a relaxed state before entering to view the art. It also put me in a good mood when entering and leaving the gallery.

NATIONAL GALLERY OF VICTORIA SITE VISIT

ORGANISATION OF SPACES & LEVELS In the gallery spaces, 3 particular types of room layouts stood out to me. Open plan rooms (where the focus was on taking in the art on the walls), centre focus (where there would be a sculpture in the middle of the room), or small full height islands (where the room is built up of more layers and people are made to walk around them). I noticed that the higher the ceiling height, the more people tented to socially gather.

NATIONAL GALLERY OF VICTORIA SITE VISIT

LIGHTING Lighting was achieved in the following ways. - Diffused artificial light - Direct artificial spot light - Through the art instillation itself - Through a skylight I noticed that depending on the type of art being displayed, the lighting type as well as the tone would adjust. In rooms displaying old paintings the levels of light were lower and warmer. This could have something to do with preservation of the art pieces. In rooms displaying more modern art, the lights were brighter and of a cooler tone. The spaces with natural light were usually in a much bigger double or triple height space. The differing light levels altered the way I felt in each space.

NATIONAL GALLERY OF VICTORIA SITE VISIT

CIRCULATION & ACCESS Only being able to access the building from the front (Swanston St) is a good way of monitoring visitors and enforcing security. Having a high front entrance allows for an abundance of natural sunlight to enter the building, making the entrance space feel welcoming. After viewing the exhibitions on each floor, I enjoyed taking a break by taking the long route around the ramp to the next level. Something that I did find, with so many interconnected rooms and different circulation paths, was that it was easy to get lost. I enjoyed the displays of art built into the wall even in circulation spaces. Every space was well thought out to make an impact on visitors.

NATIONAL GALLERY OF VICTORIA SITE VISIT

FLEXIBILITY The wide range of lighting options, room sizes and ceiling heights allows for a wide range of uses for the spaces. Although occupied with art, many rooms were used for functions, workshops, presentations, kids activities, etc. This range also allows for different types and sales of art to be displayed.

KIASMA MUSEUM OF CONTEMPORARY ART DESIGN INSPIRATION

While scrolling through Pintrest I came across this museum of contemporary art. What initially drew me to it was th juxtaposition of the curved and angular form, however, delving into the project deeper, the interior form and the way Holl integrated natural light into the project really inspired me. Something else that caught my attention was the use of curved interior walls. The internal curves create big gestures, but are subtle enough to allow art to be hung. I like how the interior and exterior of the building, although contrasting, still speak to each other.

CRICHTON CASTLE // SCOTLAND // 1390 INSIDE OUT

In this exercise, Hillary and I explored the negative spaces within Crichton Castle. We asked ourselves how could we explore the contemporary aspect of such a historic space. We explored a number of different design techniques which we thought produced some interesting outcomes.

Gallery Analysis 1. The Broad Museum (Los Angeles, USA)

Architects: Diller Scofidio + Renfro Year: 2015 Area: 1115 m²

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

Form FORM

The museum is boxy, with a deeply perforated cementitious wrapper, almost a honeycomb, lifted at two corners for its entrances. Inside, The Broad lobby is equally unexpected: dimly lit, gray—sculpted like massive rock formations. The facade forms a porous screen between streetscape and lobby, the space feels like a crypt or subterranean cavern. DSR devised its vault-and-veil concept, envisioning the “vault” as a repository for the contemporary-art collection of Broad and his wife, Edythe—2,000 works, from Warhol to Murakami, that constitute a “lending library” to arts institutions. The “veil” would be a light-filtering exoskeleton, loosely wrapping the opaque vault, with public areas in between—including, atop the archive, a vast skylit gallery displaying selected works

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

FORM The vault is enveloped on all sides by the “veil,” an airy, cellular exoskeleton structure that spans across the block-long gallery and provides filtered natural daylight. The public entry to the museum will be on Grand Avenue and will complement the landscaped plaza to the south that is part of the Grand Avenue Project’s master plan. Rather than relegate the archive/storage to secondary status, the “vault,” plays a key role in shaping the museum experience from entry to exit. Its heavy opaque mass is always in view, hovering midway in the building. Its carved underside shapes the lobby below, while its top surface is the floor of the exhibition space.,

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

Materiality MATERIALITY DSR explored two options: cast concrete and concrete-clad steel. The veil ended up as a tubular steel web encased in hollow glass-fiber-reinforced-concrete (GFRC) panels. It also acquired a dominant joint grid that accentuates the cladding modules, detracting from the sculptural qualities and, arguably, cheapening the appearance. The Veil consists of molded precast structural beams along the perimeters of each elevation (bottom, top, and corners). These beams are the hubs in which the post-tension cabling is attached. The perforated and solid panels were approximately 10’x20’ with internal ducting that ran in a crisscross configuration through the entire elevation. For the system to work, all the cable ducting had to line up precisely so cables could be run through top to bottom, connecting the entire elevation.

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

ACCESS Access Evidently, the hard edges across the building’s form and facade directs users to its frontage whereby two primacy access points are provided on the corners. This is relevant given the corner location of the site and also the style of opening created by the facade/building skin. Secondary access points have also been created along more secluded spaces to create a smooth uninterrupted visitor experience when servicing the building.

Primary access points Secondary access points

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

Gallery

Spatial SPATIAL Organization ORGANISATION &+ CIRCULATION Circulation

Storage

The expansive lobby space allows for people to congregate before moving into a more narrow transitional passage into another open space, being the gallery. By confining the space prior to the gallery, it creates a level of intimacy despite the upcoming openness.

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

Lobby

Private space

Public space

Transitional space

Semi-public space

Public lobby, museum shop, gallery, multimedia space, collection storage, escalator, cylindrical glass elevator and central stairs. Collection storage visible to museum visitors, administrative staff offices, flexible programming space 35,000-square-foot, column-free gallery space with filtered natural light from skylights and windows

22m

flexibility

ZONING, Zoning, HEIGHTS &+ heights FLEXIBILITY

Public space

Transitional space

Semi-public space

All 3 levels of this gallery consist of different height spaces. The entrance has a grand 6m high entrance which houses the lobby, giftshop and multimedia spaces. The middle level has a 5m ceiling height which is the smallest as it consists of administrative functions and storage. The top floor has the tallest ceiling height of 8m as this is the main gallery display area. The column free top floor allows for great levels of flexibility in terms of the type of works displayed and function of the space. It was designed to allow for the largest audience possible with contemporary art in mind.

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

Object storage Painting screens

FIRST FLOOR

SECOND FLOOR

Mechanical Gallery

Prep

Offices

Conference

Private space

Semi-public space

As you progress to the first floor, it becomes apparent that whilst the building footprint appears large, the space accessible to the ‘public’ is quite confined on the first floor. This in turn entices users to beyond this space and hence, redirecting them to the second floor’s expansive gallery space, whereby they can circumnavigate at their own pace freely.

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

LIGHTING Lighting

“The dark body-like, shapely vault is a beautiful counterpoint to the bright, thick, patterned light veil.” ~ AIA Jury statement

During the day, the design of the veil facade allows an abundance of natural light to flood the interior spaces at every level. The artificial lights on the ground floor have been installed subtly on the concrete vault, reminding visitors of twinkling stars above. All artificial light within the buildings design is well integrated such as the built-in strip lights within the giftshop joinery. Transitioning from a beautifully designed, mysterious, enclosed entrance, to a bright, natural lit gallery space makes quite the contrasting impression on visitors. The 2m deep facade roofing system allows for diffused sunlight that does not damage the art or cast distracting shadows / glare.

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

Gallery Analysis 2. MoMA Expansion (New York, USA)

Architects: Diller Scofidio + Renfro Year: 2019

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

Form FORM The 53rd Street entrance canopy is a thin 42’ plane weighing 95,500 pounds, which appears to slice through the glass facade and float above the main entrance doors. The canopy is comprised of steel plates and concealed ribs, suspended on steel rods. The canopy cantilevers 26’ beyond the facade of the building, out to the sidewalk to mark the main entry point for visitors.

The Studio and the Daylight Gallery share a frameless suspended glass wall with a black dot frit outer surface to delicately modulate daylight and reflection. The Studio features an additional interior glass wall with metal mesh interlayer, as the inner wall of the box-in-box, acoustically isolated construction 3’ behind to control outside sound migration and further filter daylight and view.

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

MATERIALITY Materiality &+ STRUCTURE structure

The design taps into the historic DNA of the building, relating disparate elements through a series of strategic interventions that reflect aspects of twentieth-century modernism: purity of material expression, abstraction of space, and thinness. Synthesis is achieved with a minimalist use of materials which correlates with the existing building fabric. The façade of the public spaces – the lobby, the suspended blade stair, the Street Level Gallery and the retail space below – employ frameless glass panels that are structurally clamped to function as glass beams both vertically and horizontally to maximize visibility from the street to activities inside the museum.

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

ACCESS Access The key public access point is provided along 53rd street into an expansive space that wraps around to form the start of gallery spaces

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

Gallery wings Gallery

Spatial SPATIAL ORGANISATION + & Organization CIRCULATION Circulation

Terrace cafe

Multiple circulation routes are ultimately possible in this project, but nonetheless the follow a radial idea to allow for users to exhibit each gallery and associated works.

Studio

Daylit gallery Street level gallery Projects gallery

Public space

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

Semi-public space

Private space

Heights, HEIGHTS, Levels LEVELS + & FLEXIBILITY Flexibility The three main gallery floors on floors two, four and five have been enlarged, and original varying ceiling heights were maintained. As highlighted in the section, the ceiling heights differ greatly with some being more than double the height of others. This allows for the museum to exhibit more art in a multitude of new ways. The updated design permits current spaces to be much more technologically sophisticated and more flexible than previously.

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

LIGHTING Lighting

In comparison to the Broad Museum, Moma relies slightly more heavily on artificial light. This is due to the building’s dense inner-city location and depth with some areas submerged underground. Due to the contemporary nature of the works displayed, the artificial light is cool toned, however, warmth has been brought back into the building through the use of timber. The new lobby has been expanded and opened into a light-filled, double-height space. In doing this, people passing by on the street might feel more compelled to visit the welcoming space. The circulation stairwell feature is exposed to natural light all day, providing visitors with a soothing view and break between levels.

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

Gallery Analysis 3. Astrup Fearnley Museum of Modern Art (Oslo, Norway)

Architects: Renzo Piano Building Workshop Year: 2012 Area: 7000m²

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

FORM Form

This Scandinavian design is a great example of functionalism. The split down the middle of the building allows light to pass thorugh into the interior spaces. Being on the water’s edge, the design resembles a ships sail, anchoring the tip of the Island. In theme, the glazed roof is supported by steel and cable mast columns/ mulions. The slight curve to the roof creates a beautiful interior ceiling space with the beams accentuating the curve. The unique form is iconic and stands out from its standard city surroundings.

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

MATERIALITY Materiality The choice of materials expresses quality but with simplistic means. The form of the building, as well as the artworks within are the main focus. Keeping in the Nordic theme, the main exterior material used is a simple vertical timber cladding. The matte, weathered finish was intentional, similarly to a ship’s body, the material will age giving it a rustic aesthetic. The glass roof is a stark contrast to the heavy body and allows light to pass through. The glass roof design tapers off and appears to touch the water.

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

ORGANISATION OFSpaces SPACES Organisation of

Private space

Public space

Transitional space

Semi-public space

The exhibition spaces of the Art Museum on the north side of the canal will house the permanent contemporary art collection, which expands at ground level under the office building. This part is an open flexible space, extending under the Tjuvholmen Allee and the main stair between the quay level and the upper Piazza. In this area also educational activities of the museum will take place. The building on Skjaeret, on the south side of the canal, will be for the temporary exhibition. The main exhibition space consists of two floors: one floor at ground level and one on the mezzanine, with natural light from a spectacular skylight in the roof. On the second floor a generous roof terrace will allow for the placement of sculptures outside. A small cafè is located next to the lobby and its terrace extends to Park and the beach.

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

Location and Access

LOCATION & ACCESS

The project is set in a wonderful position at the outermost point where the city stretches into the Fjord; it is a big shelter for art over three buildings integrated in the landscape, the natural destination of the promenade from the City Hall along the harbour quay. The Museum starts outside: the park is an organic game of canals, bridges and lawns where sculptures of the Selvaag collection are displayed in the nature and in the Piazza.

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

HEIGHTS Heights&+FLEXIBILITY flexibility

Variable

3.5m

Variable

3.5m 3.5m 5.7m

6.0m

Exhibition spaces

Office spaces

The museum’s is separted into two segments, whereby the gallery or exhibition spaces are almost pushed to one side, with the exception of one gallery space. This allows the room heights to easily adapt to the different functions/programs, hence the office spaces exhibit lower heights for a more intimate space whilst the gallery/exhibtion spaces include double or triple height spaces that often taper and vary due to the roof shape.

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

Lighting LIGHTING

Exhibition spaces

Office spaces

The mass separation creates an open void space allowing light to pour into various spaces within the building. The deep eaves work to diffuse the incoming light mitigating the effect of hasrh sun and shadow creating a more constant llevel of lightness. Although natural light has been heavily utilised which is accentuated by the glass roof, spotlights and downlights have been subtly installed along the framework of the windows to highlight particular spaces or exhitions.

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

Gallery Analysis 4. Fondation Louis Vuitton (Paris, France)

Architects: Gehry Partners Year: 2014 Area: 11700m²

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

FORM& & MATERIALITY Form Materiality

Inspired by the glass Grand Palais, and by the structures of glass, such as the Palmarium, Gehry wanted to emulate these founding structures in a creative way. The glass building again takes inspiration from a sailboat’s sails inflated by the wind. The glass sails enclose the “iceberg”, which consist of a series of white shapes. The 3,600 glass panels and 19,000 concrete panels that form the facade were simulated before being moulded by industrial robots working off the common model. The ever changing landscape and sky means that the glass sails are constantly transforming. One moment transparent, the next, silvery opaque and reflecting the passing clouds. The steel and timber structural elements being an integral part of the architecture casting a network of shadows.

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

Initial concept sketch by Gehry

ORGANISATION Organisation of Spaces OF SPACES On the first floor, around the main room there is a sequence of smaller rooms, built on an uneven floor that reproduces the undulations of the facade. Moving on two rooms lit by skylights whose twisted forms will rise to the terraces appear. Stairs and elevators have been carefully designed and added to the intricate geometry of the building. Placed under sails, a monumental staircase connects the different exposure levels with terraces and gardens, following the sinuous forms of “Iceberg”. The terraces of the top, are designed both to expose artworks to welcome visitors, two of them covered by candles, one outdoor. Built on the three volumes that make up the building, these terraces not only offer spectacular views of the forest and the city, but also the supporting structures of glass candles. The staircase that descends from the top is conceived as a kind of hanging metal tape.

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

Terrace

Galleries

Auditorium

Recreation

ACCESS Access

1. 2. 3. 4. 5. 6.

Plaza Lobby Auditorium Cafe Library Gallery

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

Heights, HEIGHTS, levels + LEVELS & FLEXIBILITY flexibility The deliniation between various gallery spaces is made evident by the altering floor to floor heights, whereby within ‘one gallery space’ space expand and contract accordingly. The spaces inhabited more so by those working within the gallery present more limited heights. The building skin works to exaggerate the height and perhaps mask certain spaces, by making them look bigger/smaller than they may actually be.

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

6.8m - 12.0m

6.8m - 13.6m

3.0m

4.5m

LIGHTING Lighting

As a contemporary art gallery or museum uses many mediums that will not be affected as severly by natural light, likewise, this gallery uses an adundance of natural light whether it be through double or triple height windows, sky lights or all round windows to light the various spaces. The use of artificial light is selective and is moreso used as a means of further expressing what contemporary art may be, for example in the selection of feature lights, their placement in relation to the architecture or even the temperature and hue of the lighting.

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

ORGANISATION OFSpaces SPACES Organisation of

Private space

Public space

Transitional space

Semi-public space

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

LOCATION ACCESS Location & and Access

JADE LAYTON // NIVAR DIZAYI // ATIKA BHARGAVA

5 POINTS OF EXPLORATION • As well as creating a practical and functional contemporary building, I want to create a memorable experience for visitors and for each space to tell a story • For the building to be an iconic artwork itself that embodies the history of the site • Explore a parametric facade and play with curved or folding forms • Experiment with materials I’ve never designed with before e.g. timber • Try to implement landscaping and sustainability as integral parts of my design

DESIGN STATEMENT V1 Contemporary art refers to modern day art, whereby artists are responding to a multifaceted, culturally diverse global environment. With the rise of technology and the ability to work with a broad variety of mediums, contemporary artists are regularly reflecting on modern-day society. Contemporary art questions traditional ideas and confronts viewers to contemplate whether the art is exciting and challenging rather than simply beautiful. In Kengo Kuma’s book “Anti-object,” he questions the widespread use of objectification in modern day Western architecture, asserting that it creates a disconnect between the building and the environment which it inhabits. Kuma explains that the mindset of viewing buildings in a traditional manner, holds us back from creating a positive relationship with the external world. With NGV Contemporary being situated within Melbourne’s Arts Precinct which already has one of the highest concentrations of arts, cultural and creative organisations anywhere in the world, it is crucial that as the designer, I ensure to analyse and understand the surrounding iconic forms and functions which co-inhabit the site. My design hopes to draw upon the historical past of the Arts Precinct, whilst provoking environmental and sustainability awareness. It will be a space where people of all demographics can gather, encouraging discussions and awareness in our disjointed world. The spaces within will tell a story, and create a memorable experience for visitors. As well as housing an array of artworks, the building will be designed to be an iconic artwork itself, adding to the diverse group of creative spaces within Southbank.

Resources: https://www.development.vic.gov.au/projects/melbourne-arts-precinct?page=overview https://www.getty.edu/education/teachers/classroom_resources/curricula/contemporary_art/background1.html https://creative.vic.gov.au/major-initiatives/melbourne-arts-precinct Kengo Kuma, “Anti-object”

THE OVEREXPOSED CITY By Paul Virilio

• A new form of creating a city based on computing and television logic • De-urbanization of the planet, or at least the disappearance of the city as we know it • Overexposed cities are already in motion in Japanese urban space, which is inundated with electronic screens • From nuclear war to information war • We live in a place where nothing is constant and where everything exists at the same time

URBAN MASSING DESIGN ITERATIONS EXPLORATION OF STACKING TECHNIQUES

ITERATION #1

Cantilevered stacking • Triangular site • Playing with curved stacking forms • Morphing from single points to squares creating a ramped cantilever • All 3 forms are separate but also interconnected and linked

URBAN MASSING DESIGN ITERATIONS EXPLORATION OF STACKING TECHNIQUES

ITERATION #2 Sculptural container

• Triangular site • 5 different 6 sided shapes stacked horizontally to create an irregular blend • The form touches and lifts from the ground plane in interesting spots creating clear entry points as well as a blurred sense of indoor or outdoor in areas

URBAN MASSING DESIGN ITERATIONS EXPLORATION OF STACKING TECHNIQUES

ITERATION #3 Terraced stacking

• Triangular site • Irregular triangulated shape is stepped in order to create outdoor terraces • Each point has a different number of levels • Void creates a central courtyard and allows light to enter interior spaces

URBAN MASSING DESIGN ITERATIONS EXPLORATION OF STACKING TECHNIQUES

ITERATION #4 Spatial stacking Pure object stacking

• Horizontally stacked triangles look as through they are emerging from the ground • Inspired by ‘First Home of Hualien Residence’ by BIG • Sense of irregularity and order at the same time • Reminds me of the Sydney Opera House • As well as the obvious triangular forms from elevation, they continue into the plan with triangular cut outs providing slithers of outdoor space

URBAN MASSING DESIGN ITERATIONS EXPLORATION OF STACKING TECHNIQUES

ITERATION #5 Sculptural container

• Stacked 7 sided heptagon rotated at 45 degrees per level • Regular and symmetrical • Angular shape stacked creates curved wonky looking walls

URBAN MASSING DESIGN ITERATIONS EXPLORATION OF STACKING TECHNIQUES

ITERATION #6 Sculptural container

• Explores a 3D parametric facade that takes up the whole site • Some panels can be fill in to block direct sunlight

URBAN MASSING DESIGN ITERATIONS EXPLORATION OF STACKING TECHNIQUES

ITERATION #7 Terraced stacking Sculptural container

• Triangulated grid structure draped over the building form like a veil • Differing level heights allow different types of internal spaces • Central void allows light to pass through

URBAN MASSING DESIGN ITERATIONS EXPLORATION OF STACKING TECHNIQUES

ITERATION #8 Sculptural container

• The triangular blend allows for use of the whole site in a unique way • Horizontal container facade system allows for no direct sunlight rather a soft diffused light • Roof angle allows for a stepped rooftop seating/viewing platform that looks over the city. • Amount of light inside can be controlled by the depth of the facade and the void • Creates curves using strait elements

URBAN MASSING DESIGN ITERATIONS EXPLORATION OF STACKING TECHNIQUES

ITERATION #9 Sculptural container

• Podium space uses an origami folding technique creating openings for people to enter the building • The gridded structure on top ties in with the angular aesthetic, helping to tie the whole design together

URBAN MASSING DESIGN ITERATIONS EXPLORATION OF STACKING TECHNIQUES

ITERATION #10 Cantilevered stacking

• The form created here is quite interesting from the exterior, however the interior sloping walls will make it difficult to hang art.

ITERATION #10 Perspective

Interior perspective

URBAN MASSING DESIGN ITERATIONS EXPLORATION OF STACKING TECHNIQUES

ITERATION #11

Cantilevered stacking • This iteration plays with twisting forms in a more controlled way. It allows for more feasible and usable interior spaces while working with the slope of the site.

ITERATION #11 Perspective

URBAN MASSING DESIGN ITERATIONS EXPLORATION OF STACKING TECHNIQUES

ITERATION #12 Sculptural container

• The curved form lifts at entry points allowing obvious entry points for people passing by. • The form is interesting from plan view, however the overall form is not as dynamic as I would like.

ITERATION #12 Perspective

URBAN MASSING DESIGN ITERATIONS EXPLORATION OF STACKING TECHNIQUES

ITERATION #13 Sculptural container

• This form although interesting, looks quite retro and not a contemporary as I would like. • It would be great if the design responded to the site.

URBAN MASSING DESIGN ITERATIONS EXPLORATION OF STACKING TECHNIQUES

ITERATION #14

URBAN MASSING DESIGN ITERATIONS EXPLORATION OF STACKING TECHNIQUES

ITERATION #15

URBAN MASSING DESIGN ITERATIONS EXPLORATION OF STACKING TECHNIQUES

ITERATION #16

ITERATION #16 BALCONIES

EAST ELEVATION

ITERATION #16 BALCONIES

LOWER PODIUM

UPPER PODIUM

MIDDLE GALLERY SPACE

UPPER GALLERY SPACE

URBAN MASSING DESIGN ITERATIONS EXPLORATION OF STACKING TECHNIQUES

ITERATION #17

URBAN MASSING DESIGN ITERATIONS EXPLORATION OF STACKING TECHNIQUES

ITERATION #18

URBAN MASSING DESIGN ITERATIONS EXPLORATION OF STACKING TECHNIQUES

ITERATION #19

URBAN MASSING DESIGN ITERATIONS EXPLORATION OF STACKING TECHNIQUES

ITERATION #20

ITERATION #20 RENDERED PERSPECTIVES

HISTORY OF SOUTHBANK SITE ANALYSIS

HISTORY OF SOUTHBANK

YARRA RIVER AND FLINDERS STREET STATION 1928

MELBOURNE 2020 CANVAS TOWN ON SOUTHBANK 1855

• • • •

SOUTHBANK ARTS PRECINCT 1980

•

Before the arrival of Europeans, the south side of the Yarra River was a wildlife thriving wetland where the Kulin Nation people would hunt and gather. The northern side of the river was built up much more rapidly by Europeans while the south side was used for industrial purposes. With the 1890 gold rush came a huge influx of people to the city which resulted in a tent settlement on Southbank known as ‘Canvas Town’ In 1879, the realignment of the Yarra River dramatically reduced flooding to the south which resulted in the ability to build more permanent infrastructure. From approximately 1980, Southbank became famous for

•

• •

its entertainment attractions such an ice-skating rink, dancehall, water-slide and a number of circuses. In 1946, the government reserved the space we now know as the arts precinct for cultural purposes. The NGV was opened in 1968, Hamer Hall in 1982 and the Theaters Building in 1984. A large parkland was developed opposite the arts precinct which consists of a number of public gardens and reserves. Within these park-lands, Kings Domain is of historical importance as this is where 38 Aboriginal people were buried. This is significant as it helped to advance legislations around Indigenous culture. It is now a memorial Precinct and since 2018 is now heritage listed.

HISTORY OF MELBOURNE ARTS PRECINCT SITE ANALYSIS

1926

1901

Fitzgerald Brothers’ take over the site, ﬁrst opening the Olympia circus building and later the “fashionable rendezvous” Prince’s Court.

1877

1906

Cooper and Bailey’s Great American Interna�onal Circus ﬁrst pitch their tent next to St Kilda Road.

1988

JADE LAYTON // DONGYAO ZHANG // ATIKA BHARGAVA

1990

1968

2009

ABC Southbank Centre opens. In launching the centre Prime Minister Paul Kea�ng predicts that Southbank will one day become a signiﬁcant arts precinct.

Southbank Promenade opens, facilita�ng the urban renewal of Southbank that con�nues today.

1973

The Victorian College of the Arts is established.

2002

Melbourne Concert Hall opens (now Hamer Hall). The city’s premier venue for orchestral performance seats 2500 people.

2018

Melbourne Recital Centre and Southbank Theatre open. The Recital Centre is the city’s second-largest classical music auditorium.

The Australian Centre for Contemporary Art opens on Sturt Street a�er almost 20 years in a former gardener’s co�age on The Domain.

1982

NGV opens. Such is the public aﬀec�on for the water wall and the world’s largest stained-glass ceiling that it is heritage listed just 14 years a�er it was completed.

Wirths Park reserved for cultural purposes. It would be more than 20 years before the ﬁrst cultural ins�tu�on opens on the site.

1994

Australian Ballet House opens. It is home to the Australian Ballet and Australian Ballet School. Both are world leaders in performance and educa�on.

1984

Architect Roy Grounds’ master plan for the Victorian Arts Centre Complex is completed. It includes a new gallery, concert hall and theatres building topped with a landmark spire.

1946

The Glacarium ice ska�ng rink opens on City Road. Dancers skate to orchestral music, and the rink later plays host to the ﬁrst game of ice hockey in Australia.

Arts Centre Melbourne theatres building opens. There is State Theatre, Playhouse, Fairfax Studio, Australian Music Vault, and a host of other exhibi�on and performance spaces.

1960

Olympia is converted into the Green Mill dance hall, replete with replica Dutch windmill and a grand ballroom graced with a fernery and waterfalls where 3000 patrons could dance the night away under a ceiling of twinkling stars.

Buxton Contemporary opens, a gi� of philanthropist Michael Buxton and family.

2013

Tes�ng Grounds opens. This experimental outdoor arts space ac�vates the vacant site at 1 City Road.

2018

The Victorian Government announces plans for the transforma�on of the Melbourne Arts Precinct.

SOUTHBANK’S INDIGENOUS HERITAGE SITE ANALYSIS

SOUTHBANK’S INDIGENOUS HERITAGE • • •

Womindjeka / wominjeka! That means welcome in the languages of the Traditional Custodians of the area now called Melbourne. The City of Melbourne respectfully acknowledges the Traditional Custodians of the land, the Bunurong Boon Wurrung and Wurundjeri Woi Wurrung peoples of the Eastern Kulin Nation and pays respect to their Elders past, present and emerging. Today we are proud to say that Melbourne is a significant gathering place for all Aboriginal and Torres Strait Islander peoples. ABORIGINAL MELBOURNE ARTWORK

BIRRARUNG MARR PARK ARTWORK

BIRRARUNG MARR HAS A WINDING PATH TO SIGNIFY THE EEL AS A TRADITIONAL FOOD SOURCE

JADE LAYTON // DONGYAO ZHANG // ATIKA BHARGAVA

BIRRARUNG MARR ARTWORK SCULPTURE

KOORIE PRIDE FESTIVAL, BUNJILAKA 2013 STR16MELBOURNE PHOTO: HENRY, JAMES

ANGEL BY DEBORAH HALPERN

ABORIGINAL MELBOURNE ARTWORK

ADNATE'S HOSIER LANE PORTRAIT IS 23 METRES HIGH

ARTWORK： GRACIE MORTON PWERLE #1020 "BUSH PLUM DREAMING"

PORTRAIT BY ADNATE. PHOTO: ADNATE

DESIGN STATEMENT MID-SEM Contemporary art refers to modern-day art, whereby artists are responding to a multifaceted, culturally diverse global environment. With the rise of technology and the ability to work with a broad variety of mediums, contemporary artists are regularly reflecting on modern-day society. Contemporary art questions traditional ideas and confronts viewers to contemplate whether the art is exciting and challenging rather than simply beautiful. Situated in Southbank, the site possesses a rich history of indigenous culture and land use. Before the arrival of Europeans, the south side of the Yarra River was a wildlife thriving wetland where the Kulin Nation people would hunt and gather. In the book ‘Dark Emu’, Author Bruce Pascoe delves into the lives of a number of early indigenous settlers, finding evidence of sophisticated agricultural techniques, engineering, and building. This evidence of activity disputes traditional beliefs about pre-colonial Australia. Pascoe analysed the ways in which Indigenous Australians utilised fire, dams, rivers, and cropping in order to sustainably provide for themselves as well as respect the environment.

CANVAS TOWN ON SOUTHBANK 1855

The foundation of Indigenous culture and beliefs revolve around the Dreamtime. It dates back 65,000 years and is the belief that the land, people, and their dreams were created by their spirit and animal ancestors at the beginning of time. The Dreamtime God creator is referred to as the Rainbow Serpent, an immortal being who governs the circle of life and represents strength, creativity, and continuity. The connection between the snake and rainbow represents the cycle of seasons and the value of water in the land’s existence. My gallery design seeks to draw upon the historical past of Melbourne, whilst provoking environmental and sustainability awareness. It will embody the above Indigenous ideologies by implementing sustainable building methods and utilising flowing forms which represent the serpent and the flowing Yarra River which has brought life to the land for hundreds of generations. It will be a space where people of all demographics can gather, encouraging discussions and awareness in our disjointed world. The spaces within will tell a story and create a memorable experience for visitors. As well as housing an array of artworks, the building will be designed to be an iconic artwork itself, amplifying the diverse group of creative spaces within Southbank.

THE RAINBOW SERPENT

Resources:

OUR WATER, OUR COUNTRY

Pedestrian Pathways Bicycle Lanes

SITE ANALYSIS

Tram Lines Tram Stop

ACCESS & TRANSPORT

SUN & SHADOW STUDY

CIRCULATION & •TRAFFIC •• • • • • • •• • •• ••••••••••••••• • • • • • •• • • • • • • •

In terms of site analysis, there is a series of Bus Stop tall buildings to the west of the gallery which will overshadow the afternoon sun. Social public spaces should be pushed north to optimise natural daylight.

SUMMER

The same tall buildings block views to the west, so views will be focused north towards the city, east towards all the parks and gardens, and south towards Southbank and the Shrine.

WINTER

+96 AHD +67 AHD

+62 AHD +99 AHD +24 AHD

The site is accessible via train, tram, bus, or foot. Vehicle access for back of house drop off will be from Kavanagh street, and main entry will be from up on the promenade.

Pedestrian Pathways Bicycle Lanes Tram Lines

Pedestrian Pathways Bicycle Lanes

Tram Stop Bus Stop

•••

Tram Lines

I thought it would be valuable to understand what trees currently populate the Southbank area because part of my concept will be to include native plants.

Tram Stop Bus Stop

Pedestrian Pathways Bicycle Lanes

YA RR A

RI V

Tram Lines

Platanus Cyprus Plane

Tram Stop

Brachychiton Flame Tree

Bus Stop

VEGETATIONS • • • • • • • •• • • • • • • • • • • • • •

Liquidaber or Sweet Gum

SO U

SURROUNDING VIEWS

Platanus London Plane Platanus Cyprus Plane

Platanus London Plane

Brachychiton Flame Tree

Platanus Cyprus Plane

Liquidaber or Sweet Gum

Brachychiton Flame Tree

Xanthorhoea Grass-tree Corymbia Lemon Scented Gum Eucalyptus Ironbark Angophora Smooth-barked apple Ulmus English Elm Phoenix Canary Island Date Palm

Liquidaber or Sweet Gum

VEGETATION

Platanus London Plane

Xanthorhoea Grass-tree Corymbia Lemon Scented Gum Eucalyptus Ironbark Angophora Smooth-barked apple Ulmus English Elm Phoenix Canary Island Date Palm

Xanthorhoea Grass-tree Corymbia Lemon Scented Gum Eucalyptus Ironbark Angophora Smooth-barked app Ulmus English Elm Phoenix Canary Island Date Palm

SCHEME #1

PRECEDENCE SCHEME #1

The flowing façade form is representative of the flowing river that’s brought life to the site for thousands of years. The vertical façade system references historical structures built by the traditional owners of the land. This concept is rooted deep into the design, however with the contemporary twist, it’s not super obvious to people passing by.

PRECEDENCE SCHEME #1

In terms of the façade, I was inspired by the calming waved appearance of this winery, as well as by the way “One Ocean” lifts at entry points and filters light.

GALLERY OF DELAS FRERES WINERY

CARL FREDRIK SVENSTEDT ARCHITECTE

ONE OCEAN

SOMA ARCHITECTS

PRECEDENCE SCHEME #1

In terms of interior layout, I looked at Sanaa’s New Museum in New York. The simplicity of the shifting stacked floor plates creates terraces and opens views to the city.

NEW MUSEUM, NEW YORK

SANAA

CONCEPT DIAGRAMS

LEARNING & WORKSHOP

EXHIBITION

SOCIAL

SCHEME #1

Within my concept diagrams, you can see I have stepped the top few levels down towards the city, then pushed and pulled the middle of the form to allow for views, sunlight and outdoor space. I then rotated some of the floor plates to better fit the waving façade. The façade is like a blanket or a veil that filters light, guides visitors to entry points and allows the Aboriginal heritage reference to be carried through.

STEPPED TERRACES

VIEWS, SUNLIGHT & OUTDOOR SPACE

FACADE / VEIL

LIGHT FILTRATION, AESTHETIC QUALITY

PUSHING & PULLING FORM CREATE MORE OUTDOOR SPACE

LIFTING ENTRY POINTS

DRAWING VISITORS INTO ENTRY POINTS

ROTATING FLOORS

TAKE ADVANTAGE OF SPACE WITHIN FACADE

FACADE TREATMENT LIGHT FILTRATION

ADMIN

PERSPECTIVE VIEWS SCHEME #1

This view highlights the overall dynamic façade form which really stands out from the surrounding static buildings becoming an artwork itself.

This view highlighted the stepped terraces, as well as the relationship between the main building form and the veil/facade.

This view is taken from the promenade and highlights the main entry point of the gallery.

Here we can see the lifting façade which allows people passing by to have a sneak peak into the gift shop and temporary exhibition like MoMA in New York.

GROUND FLOOR SCHEME #1

The ground floor allows for a back of house area, storage and an auditorium under the promenade. The temporary gallery and gift shop are viewable but not accessible from the street, but I am open to the idea of making it accessible as a second entrance if that works better. This floor also contains a kid’s activity space and a lounge.

30265

15130

SITE 1

SITE 2 15135

SUBJECT SITES (2 LOTS)

KA V

HS G A N

42620

LOADING BAY + SERVICE YARD

STORAGE DARK DIGITAL ART

KIDS ACTIVITIY

TEMPORARY GALLERY

LOUNGE GIFT SHOP AUDITORIUM

SO UT HB

AN KB

LV D

SITE PLAN

PLOT SCALE: 1:250 @ A1 01

10m 0

20m10

50m

NORTH

FIRST FLOOR SCHEME #1

The first floor main entry point is on the promenade, where the café and social seating spill outside. The café seating will be covered by the lifted façade above, blurring the boundary between inside and outside. The shape of the ticketing space draws visitors in off the promenade. Inspired by the NGV, the uninterrupted open space allows for a feature artwork to view after purchasing a ticket while waiting for friends. The stair location allows visitors with the option of heading straight down the gift-shop.

30265

15130

SITE 1

SITE 2 15135

SUBJECT SITES (2 LOTS)

KA V

HS G A N

42620

CAFE SERVERY TICKETS & CLOAK

PR OM

LOUNGE

EN AD E

CAFE SEATING

VOID TEMPORARY SCULPTURAL DISPLAY

SO UT HB

AN KB

LV D

SITE PLAN

PLOT SCALE: 1:250 @ A1 01

10m 0

20m10

50m

NORTH

SECTION SCHEME #1

OBSERVATION DECK / LOOKOUT

10000

5000

OUTDOOR SEATING RESTAURANT SCULPTURE GARDEN

LEARNING & WORKSHOP

LARGE EXHIBITION

TEMPORARY SCULPTURAL EXHIBITION

TEMPORARY EXHIBITION & GIFT-SHOP

The shifting floor plates and ceiling heights allow for a dynamic use of space. Administrative spaces have been pushed to the south west end so that the gallery spaces can have better access to natural light and views.

PERMANENT COLLECTION HANGING ART

G&S LIFT

7000 6000

ARTISTS WORKSHOP

ADMIN

LARGE EXHIBITION

AMENITIES & LIFT CORE

5000 60000

DIGITAL EXHIBITION

14000

STAFF OFFICES

8000

SOCIAL

STAFF OFFICES

5000

EXHIBITION

ENTRY, TICKETS, CAFE/KIOSK & LOUNGE

KIDS ACTIVITY

LOADING, STORAGE & AUDITORIUM

50m

SCHEME #2

PRECEDENCE SCHEME #2

Looking again at the Indigenous cultural reference, this scheme looks at emulating the river and serpent which represent creativity, strength, and continuity, feelings I’d like visitors of this gallery to experience.

PRECEDENCE SCHEME #2

BUS STATION CASAR DE CACERES

JUSTO GARCIA RUBIO

An example I looked at when I was finding the form was this bus station by Rubio. The single sheet of concrete reflected the type of form I was hoping to create.

PRECEDENCE SCHEME #2

I also looked at section of this iconic Zaha building because I wanted to understand the interior function of such a curvy, irregular looking building.

HEYDAR ALIYEV CULTURAL CENTER, BAKU

ZAHA HADID

CONCEPT DIAGRAMS SCHEME #2

In order to create the folded form, I pushed and pulled the regular snaked form to create an organic aesthetic, I cut it to sit within the triangular site and removed a void and entrance to allow for interior function and access.

BASIC SNAKED FORM

INDIGENOUS CULTURAL REFERENCE

TRIANGULAR VOID

ALLOWS REGULAR INTERNAL LAYOUT

PUSHING MIDDLE & PULLING EDGES

CREATES VARIATION & ORGANIC FOLDING AESTHETIC

ENTRY CUT-OUT

CREATES AN ENTRY FORM SOUTHBANK BLVD

SLICED IN HALF

RESPONDING TO SITE & ALLOWING MORE LIGHT

FACADE PERFORATED SCREEN LIGHT FILTRATION

PERSPECTIVE VIEWS SCHEME #2

This view highlights the overall form which stands out from the surrounding static buildings becoming an artwork itself.

This view is taken from the promenade heading towards the second entrance.

This view is taken from the promenade and highlights the main entry point of the gallery.

So this is the second floor plan which houses small temporary exhibitions. The lower ceiling height allows for an intimate experience with these art works.

SECOND FLOOR SCHEME #2

This plan houses small temporary exhibitions. The lower ceiling height allows for an intimate experience with these art works. The position of the lift core allows people inside to view the wall art feature.

30265

15130

SITE 1

15135

SITE 2

S H G A VA N

SUBJECT SITES (2 LOTS) 42620

EN AD E

GALLERY

STORE

PR OM

VOID

GALLERY PAINTED WALL ART

PAINTED WALL ART

SO UT HB

AN KB

LV D

SITE PLAN

PLOT SCALE: 1:250 @ A1 01

10m 0

20m10

50m

NORTH

FORTH FLOOR SCHEME #2

The fourth floor consists of the restaurant and function space equipped with a kitchen and outdoor eating area facing the parks and gardens.

30265

15130

SITE 1

KITCHEN

42620

RESTAURANT / FUNCTION SPACE

STORE

RESTAURANT SEATING

SO UT HB

AN KB

EN AD E

HS G A VA N

SUBJECT SITES (2 LOTS)

VOID

PR OM

15135

SITE 2

OUTDOOR SEATING

LV D

SITE PLAN

PLOT SCALE: 1:250 @ A1 01

10m 0

20m10

50m

NORTH

SECTION SCHEME #2

SCULPTURE GARDEN & OBSERVATION DECK

LEARNING & WORKSHOP EXHIBITION

9000

SOCIAL RESTAURANT

ADMIN

TEMPORARY PAINTED WALL ART

SMALL EXHIBITIONS

13000

STAFF OFFICES

MEDIUM EXHIBITIONS

14000

AMENITIES & LIFT CORE

ARRIVAL GALLERY & GIFT-SHOP

TEMPORARY EXHIBITIONS

INDIGENOUS PAINTED WALL ART

TICKETS & CLOAKING

The section highlights the organic external form, that houses the regular internal layout. The curved walls will be an internal painted feature. My original idea for this scheme was to have the snaking form carry through to the interior and have a ramping gallery, but after lots of experimenting with this, the regular floor plates were much more realistic and feasible.

LARGE EXHIBITIONS

STAIR CORE & LIGHT-WELL

6000

53000

11000

DARK DIGITAL EXHIBITION

AUDITORIUM & LEARNING

STORAGE

50m

DESIGN COMPARISON Moving forawrd, I will be pursuing scheme #1. Although I received positive comments for both, my first scheme posesses many more opportunities that I believe fit better with my design concept. It better fits the proposed program and allows for more open space.

EXTERIOR TREATMENT Instead of doing a regular curtain wall facade, I thought I would create an interesting structural system which would contribute to the aesthetic of the building’s design.

TESTING MATERIALS Picking materials can be difficult, as each choice changes the whole feel of the building. Here I have been experimenting with different combinations of timber, concrete and aluminium. Although the aesthetic quality of the concrete is quite appealing, the timber options align strongly with my sustainability values.

ENTRY CEILING FROM ILLUSION ITERATION I was really drawn to one of the design iterations I created back in week 2 using the illusion technique. I wanted to bring this into my gallery design so decided to use it as a custom timber ceiling. Each of these timber members has an LED light tip, creating a wavey stary effect in the evening.

RENDERING STYLE INSPIRATION

This semester, I would like to experiment with a more realistic style of rendering. Usually being drawn more towards a collaged or sketchy look, I would like to try something new. Although I will be trying the realistic style, the people I will include will be silhouettes.

CONTEMPORARY ARTISTS’

BISA BUTLER

JEFF KOONS

ANDY WARHOL Contemporary art refers to a type of modern art produced by artists in the 20th and 21st century. Today’s artists work in and respond to a global environment that is culturally diverse, technologically advancing, and multifaceted. These are a series of artists and artworks that have really stood out to me. I will be including these all within my gallery.

FRANK STELLA

JOHN CAMPBELL

SITE PLAN

100

200m

100m

PRECEDENCE

MoMA NEW YORK - RENOVATION BY DILLER SCOFIDIO + RENFRO

WARM TIMBER INTERIOR

SPATIAL CONFIGURATION

VIEWING FROM STREET

The timber interiors brings warmth into the building. The use of timber opposed to concrete is also a much more sustainable building method.

I like the way one space is located next to a double height space. This allows people walking above to also view artworks below. I also like the use of the full height glass opposed to a hand rail as is allows for unobstructed views.

People walking past on the street have the ability to peer down into the bookshop. This gives people a sneak peak into the beautiful interior.

DESIGN CONCEPT

Contemporary art refers to modern-day art, whereby artists are responding to a multifaceted, culturally diverse global environment. With the rise of technology and the ability to work with a broad variety of mediums, contemporary artists are regularly reflecting on modernday society. Contemporary art questions traditional ideas and confronts viewers to contemplate whether the art is exciting and challenging rather than simply beautiful. Situated in Southbank, the site possesses a rich history of indigenous culture and land use. Before the arrival of Europeans, the south side of the Yarra River was a wildlife thriving wetland where the Kulin Nation people would hunt and gather. In the book ‘Dark Emu’, Author Bruce Pascoe delves into the lives of a number of early indigenous settlers, finding evidence of sophisticated agricultural techniques, engineering, and building. This evidence of activity disputes traditional beliefs about pre-colonial Australia. Pascoe analysed the ways in which Indigenous Australians utilised fire, dams, rivers, and cropping in order to sustainably provide for themselves as well as respect the environment.

CONCEPT DIAGRAMS STEPPED TERRACES

VIEWS, SUNLIGHT & OUTDOOR SPACE

FACADE / VEIL

LIGHT FILTRATION, AESTHETIC QUALITY

PULLING FORM

CREATE OUTDOOR SPACE

LIFTING ENTRY POINTS

DRAWING VISITORS INTO ENTRY POINTS

STRUCTURAL TREATMENT

STRUCTURE BECOMES PART OF DESIGN

FACADE TREATMENT LIGHT FILTRATION

FUNCTIONAL ANALYSIS

R Sculpture garden

6 Kitchen & Bar

Permanent gallery space Balconies

5 2

Indigenous gallery Kids activity

Temporary gallery space Void over entry Balconies

4 1

Double height gallery Members lounge above

Cafe Entry Reception & cloaking Sculptural display Void over gift shop

G Loading dock Initial storage Clean storage Artists’ workshops Staff office & lounge Gift shop Digital media gallery

B Mechanical Plant Storage

VISITOR CIRCULATION

ENVIRONMENTALLY SUSTAINABLE DESIGN NORTH-WEST: 200 X 1200mm EAST: 200 X 800mm SOUTH: 200 X 500mm

TIMBER FIN SIZES LIGHT FILTRATION

CONCRETE

THERMAL MASS

CLT

CONSTRUCTION

GREEN ROOF BIODIVERSITY

CROSS LAMINATED TIMBER Cross Laminated Timber (CLT) is a pre-fabricated engineered wood product that is gaining popularity around the world due to its strength, sustainability and aesthetic qualities. Layers of timber are glued together with each layer alternating the grain at 90 degree angles. The outer layer runs leangthways in order to create optimal strength. Although a timber product, CLT is not a framing product, but a panel much like pre-cast concrete. It is however, much lighter and easier to erect than concrete and is far more sustainable.

CLT Park Harumi - Kengo Kuma

GREEN ROOFS • • • • • • •

Increases the lifespan of the roof Improves sound insulation Reduces internal heating and cooling requirements Reduces and slows stormwater runoff Capturs pollutants Reduces urban heat island effects Increases biodiversity

BASEMENT

MECHANICAL // STORAGE 1 2 3

Goods & Services lift Lift, stair & amenities core Mechanical & Storage

50m

KA V

S H G NA

T 3

4 1 7

2 6

GROUND FLOOR

GIFT SHOP // STAFF // STORAGE

SO UT HB

AN KB

1 2 3 4 5 6 7 8 9

LV D

Goods & Services lift Lift, stair & amenities core Artists’ workshops Loading dock Initial storage Clean storage Staff office & lounge Gift shop Digital media gallery

50m

KA V

S H G NA

T 3

PR OM

EN AD E

SO UT HB

AN KB

FIRST FLOOR

ENTRY // CAFE // SCULPTURAL DISPLAY

LV D

1 Goods & Services lift 2 Lift, stair & amenities core 3 Cafe 4 Entry 5 Reception & cloaking 6 Sculptural display 7 Void over gift shop

50m

ENTRANCE

5 1 4

3 2

SECOND FLOOR TEMPORARY GALLERY 1 2 3 4 5

Goods & Services lift Lift, stair & amenities core Temporary gallery Void over entry Art terrace

50m

4 1

THIRD FLOOR

PERMANENT GALLERY 1 2 3 4

Goods & Services lift Lift, stair & amenities core Permanent gallery Art terrace

50m

FOURTH FLOOR

DOUBLE HEIGHT GALLERY 1 2 3

Goods & Services lift Lift, stair & amenities core Double height gallery

50m

FOURTH FLOOR MEZZANINE MEMBERS’ LOUNGE

1 2 3 4 5

Goods & Services lift Lift, stair & amenities core Void over gallery Members’ lounge Art terrace

3 2

50m

5 1 4

FIFTH FLOOR

INDIGENOUS GALLERY // KIDS ACTIVITY 1 2 3 4 5

Goods & Services lift Lift, stair & amenities core Indigenous gallery Kids activity Kids outdoor over skylights

50m

4 7

6 2

SIXTH FLOOR

RESTAURANT // OUTDOOR EATING 1 Goods & Services lift 2 Lift, stair & amenities core 3 Restaurant indoor seating 4 Outdoor seating 5 Bar 6 Kitchen 7 Kitchen Storage

50m

ROOFTOP

SCULPTURE GARDEN 1 2

Sculpture garden Undercover lift exit

50m

SCULPTURE GARDEN

RESTAURANT INDIGENOUS GALLERY KIDS ACTIVITY

MEMBERS LOUNGE DOUBLE HEIGHT GALLERY PERMANENT GALLERY TEMPORARY GALLERY

SCULPTURAL DISPLAY ENTRY GIFT SHOP STAFF LOADING DOCK MECH & STORE

SECTION A-A

50m

SCULPTURE GARDEN B

RESTAURANT INDIGENOUS GALLERY KIDS ACTIVITY B

DOUBLE HEIGHT GALLERY

PERMANENT GALLERY TEMPORARY GALLERY

DIGITAL MEDIA GALLERY

MEZZANINE

STORAGE

SCULPTURAL DISPLAY

GIFT SHOP

SECTION B-B

50m

CONSTRUCTION DETAIL TERRAZZO TILES 600 X 600 400MM POST-TENSIONED CONCRETE SLAB ON BONDEK SUSPENDED CLIP-LOCK TIMBER CEILING 50MM DIA GALVANISED TIE RODS WITH NEOPRENE SPACERS LAMINATED TIMBER FINS NORTH: 1200 X 200 MM EAST: 800 X 200 MM SOUTH: 500 X 200MM GALVANISED STEEL FIXING PLATES LAMINATED TIMBER BEAMS 100 X 300 MM

ARGON FILLED LOW-E DOUBLE GLAZING BLACK POWDER COATED ALUMINIUM FRAMES CLT TIMBER STRUCTURE

STRUCTURAL DESIGN DETAIL

My gallery design seeks to draw upon the historical past of Melbourne, whilst provoking environmental and sustainability awareness. It will embody Indigenous ideologies by implementing sustainable timber building methods and utilising a flowing exterior form which speaks to the flowing Yarra River that has brought life to the land for hundreds of generations. It will be a space where people of all demographics can gather, encouraging discussions and awareness in our disjointed world. The spaces within create a memorable experience for visitors. As well as housing an array of artworks, the building will be designed to be an iconic artwork itself, amplifying the diverse group of creative spaces within Southbank.