SUM22_STUDIO 36_JOURNAL_KELLY CHOI by Kelly Choi

UNTITLED.

A PROJECT ARTS SPACE FOR MELBOURNE

STUDIO 36 | Y22 SUM KELLY CHUN WAI CHOI 722479

“IT IS NOT WHAT A MUSEUM HAS BUT WHAT IT DOES WITH WHAT IT HAS COUNTS.” GEORGE BROWN GOODE (1888)

01 Spatial Verbs

01 SPATIAL VERBS SPATIAL VERBS SPATIAL VERBS SPATIAL VERBS SPATIAL VERBS SPATIAL VERBS

Week 1

01 Spatial Verbs

INITIAL MOTIVES 1. WHAT IS THE PURPOSE OF ART GALLERY?

To showcase Ideas from artists

Give spaces for audiences to reflect

Display works in its appropriate space (indoor/outdoor) An informal learning space

SPATIAL QUALITIES TO BE EXPLORED THROUGH DESIGN ITERATIONS...

ENCLOSED VOID SPACE

VOID SPACE ALONG WALLS

Week 1

Before doing the iterations, some spatial qualities are targeted to explore during the design iterations. Since a flexible environment has become dominant in galleries nowadays1, the quality of enclosed and open spaces of a new gallery should enrich the exhibition journey.

GAPS BETWEEN FORM

1. Moussavi, Farshid, and Daniel López. The Function of Form. Actar, 2009.

CORRIDOR/ LANEWAY/ LINKAGE

01 Spatial Verbs

BLUR [blur]

verb To create confusion in form or outline and indistinct. Figure. 1. MicroOne. “Trendy Vivid Color Abstract”

DESIGN INTERATIONS

Week 1

SELECTED ITERATION

TO EXTRUDE, WRAP THE CURVED FLAT TOP IN THE PRECEDENT, SO THE SENSUAL CURVE BECOMES A DYNAMIC SURFACE THAT SOFTENS THE EDGE BETWEEN ROOF AND WALLS.

DESIGN ATTEMPT EXPERIMENTAL

DESIGN AGENDA

EXTRUDED SURFACE

PURE FORM

PRECEDENT

PRECEDENT Oscar Niemeyer Casa das Canos (1951) The emphasis on freeflowing and abstract formmaking is the signature of Oscar’s functionalist modernism.

01 Spatial Verbs

EMBED (1) [em-bed]

verb to cramp into a surrounding form securely; tight envelop.

DESIGN INTERATIONS

Week 1

SELECTED ITERATION

TO OVERLAP AND DISARRANGE THE ARCH FORMS, AMPLIFY AND SHRINK THE SCALE, THE SIZE HAS TIGHTENED THE INTEGRATION BETWEEN THE INDIVIDUAL ARCHES.

DESIGN ATTEMPT EXPERIMENTAL

DESIGN AGENDA

EXTRUDED SURFACE

PURE FORM

PRECEDENT

PRECEDENT Bridget Riley Composition with Circles 7, (2011) Riley generated the vibration and movement by compositions circular shapes. Figure. 2. Bridget Riley.“ Composition with Circles 4.” 2004

01 Spatial Verbs

EMBED (2) [em-bed]

verb to cramp into a surrounding form securely; tight envelop.

Figure. 3. “Untitled”. Palm & Laser. November 25, 2013

DESIGN INTERATIONS

Week 1

SELECTED ITERATION

TO COMBINE AND HINGE THE INCOMPLETE CUBE FRAMES AND IRREGULAR BOXES TOGETHER AND CREATE AN INTEGRATED RELATIONSHIP BETWEEN FORMS. DESIGN ATTEMPT EXPERIMENTAL

DESIGN AGENDA

EXTRUDED SURFACE

PURE FORM

PRECEDENT

PRECEDENT 1 Mies Van Der Rohe Berlin Museum of Art (1968)

PRECEDENT 2 So Le Witt - Variations of incomplete open cube The incomplete open cube from So Le Witt showcased the overlooked possibilities of our ordinary perception of the cube frames. Not being complete can be whole.

The floating effect of the roof grid plane is celebrated by the minimal vertical columns in the building.

Figure. 4. Sol LeWitt. “Incomplete Open Cube Drawing - Ten & Eleven Part Variations , Ca. 1973–1974.”

01 Spatial Verbs

FURTHER ITERATION (1)

Week 1

WORK FURTHER TO TWIST THE SELECTED FORM FOR A MORE VOLUMETRIC FORM.

01 Spatial Verbs

FURTHER ITERATION (2)

TO SIMPLIFY THE FORM AND EXAMINE ITS OPPORTUNITY AS A INTEGRATED SOLIDS WITHOUT PLANES.

Week 1

TO SIMPLIFY THE FORM AND EXAMINE ITS OPPORTUNITY AS A INTEGRATED SOLIDS ONLY.

01 Spatial Verbs

INVERSION (1) [in-vur-shuhn]

noun the state of being reversed ; the relationship between positive and negative. Figure. 5. Aessestudio. “Fosoanomia 2009.”

DESIGN INTERATIONS

Week 1

SELECTED ITERATION

TO EXPAND THE FRAME OF THE INCOMPLETE OPEN CUBE IN THE VARIED THICKNESS AND DEPTH MASSINGS FORMED A STRONG CONTRAST OF POSITIVE AND NEGATIVE SPACES. DESIGN ATTEMPT EXPERIMENTAL

DESIGN AGENDA

EXTRUDED SURFACE

PURE FORM

PRECEDENT

PRECEDENT So Le Witt - Variations of incomplete open cube The incomplete open cube from So Le Witt showcased the overlooked possibilities of our ordinary perception of the cube frames. Not being complete can be whole. Figure. 4. Sol LeWitt. “Incomplete Open Cube Drawing - Ten & Eleven Part Variations , Ca. 1973–1974.”

01 Spatial Verbs

FURTHER ITERATION (1)

WORK FURTHER TO BLUR THE BOLD BOUNDARY OF THE FORM THROUGH SHAVING SOME EDGES OF THE CURRENT FORM.

Week 1

FURTHER ITERATION (2) TO EXPLORE THE VOLUMETRIC QUALITY OF THE PRECEDENT GRAPHIC WITH DIFFERENT HEIGHTS.

Figure. 5. Aessestudio. “Fosoanomia 2009.”

01 Spatial Verbs

ILLUSION [ih-loo-zhuhn]

noun something that fake by creating a false or misleading impression of exist.

Figure. 6. Purkinje, J. “Deceptions of the Senses Are the Truths of Perception.”

DESIGN INTERATIONS

Week 1

SELECTED ITERATION

THE GRID STRUCTURE SUPPORTS THE FLOATING SOLID BLOCKS AND MAKES THE OVERALL MASSING LOOK HUNG ABOVE THE GROUND. DESIGN ATTEMPT EXPERIMENTAL

DESIGN AGENDA

EXTRUDED SURFACE

PURE FORM

PRECEDENT

PRECEDENT Mies Van Der Rohe Berlin Museum of Art (1968) he floating effect of the roof grid plane is celebrated by the minimal vertical columns in the building.

01 Spatial Verbs

DISTORT [dih-stawrt]

verb to become out of shape and deformed.

Figure. 7. Humans Since 1982. “A Million Times 72v.”

DESIGN INTERATIONS

Week 1

SELECTED ITERATION

DESIGN ATTEMPT EXPERIMENTAL

DESIGN AGENDA

EXTRUDED SURFACE

PURE FORM

PRECEDENT

DISSOLUTION OF SPACE To deform and rearrange a row of rectangular cuboids has disintegrated the space’s linear.

01 Spatial Verbs

FURTHER ITERATION

Week 1

TO EXPAND THE EXISTING FORM AND FURTHER DEFORM THE VOLUME VERTICALLY.

01 Spatial Verbs

FOLDING (1) [fowl-duhng]

noun The state of being bend over. Figure. 8. Studiomister. “Creative Black and White, Logo.”

DESIGN INTERATIONS

Week 1

SELECTED ITERATION

DESIGN ATTEMPT EXPERIMENTAL

DESIGN AGENDA

EXTRUDED SURFACE

PURE FORM

PRECEDENT

REFERENCE 5km topography from the centre of site of Fitzory

LANDSCAPE AS FORM To fold a series of rectangular surfaces along with the topography, merged the envelope from the ground.

01 Spatial Verbs

FURTHER ITERATION FOLDING (1)

TO WORK FURTHER ON THE CURRENT FORM AND EXPLORE THE OPPORTUNITIES OF ROTATING THE FOLDED FORM VERTICALLY.

Week 1

01 Spatial Verbs

FOLDING (2) [fowl-duhng]

noun The state of being bend over.

Week 1

SELECTED ITERATION

TO FOLD AND BEND THE RECTANGULAR SURFACES AND EXPLORE THE INTERLOCKING SPACES IN BETWEEN.

DESIGN ATTEMPT EXPERIMENTAL

DESIGN AGENDA

EXTRUDED SURFACE

PURE FORM

PRECEDENT

Figure. 8. Studiomister. “Creative Black and White, Logo.”

REFERENCE This 2d graphic creates a folded illusion, which inspired me about what if these qualities extended to volumetric folding planes that can create attractive interlocking spaces with diverse ceiling height.

01 Spatial Verbs

JUMP-CUT (1) [juhmp-kuht]

noun a sudden changeover from one scene to another. Figure. 9. “Blue Simple Circle Border Texture”.

DESIGN INTERATIONS

Week 1

SELECTED ITERATION

DISCARDING THE CIRCULAR SURFACES’ CONTINUITY, SPLITTING THEM INTO FRAGMENTED PIECES AND EXTRUDING THEM ABOVE AND BELOW GROUND EVEN HIGHLIGHTED THE RING FORM.

DESIGN ATTEMPT EXPERIMENTAL

DESIGN AGENDA

EXTRUDED SURFACE

PURE FORM

PRECEDENT PRECEDENT

LANDSCAPE AS FORM Submerge the partitions onto the topography to detach and differ the square surface into distinct massings.

01 Spatial Verbs

FURTHER ITERATION JUMP - CUT (1)

TO ELEVATE THE CURRENT FORM AND CONNECT FORMS TO EXPLORE THE DYNAMIC MOVEMENT OF FORM.

Week 1

THE INTERIOR OPPORTUNITY

01 Spatial Verbs

JUMP-CUT (2) [juhmp-kuht]

noun a sudden changeover from one scene to another.

DESIGN INTERATIONS

Week 1

SELECTED ITERATION

CUT AND SPLIT THE BOXES AND DESTROY THEIR CONTINUITY BY STRETCHING AND BENDING TO EMPHASISE THE ODDNESS OF JUMP-CUT. DESIGN ATTEMPT EXPERIMENTAL

DESIGN AGENDA

EXTRUDED SURFACE

PURE FORM

PRECEDENT

REFERENCE This 2d graphic gives the sense of oddness about jump-cut by splitting lines and distorting some.

Figure. 10. Kelly, Robert. “Thicket Assemblage LXX.”

01 Spatial Verbs

The feasibility of the form is being examined through plans cut, which helped to understand the spatial condition inside. Despite the exterior’s irregular cutting shapes, it provides diverse and regular spaces inside the structure. While some are connected, and some are seperated. These give opportunites for various exhibition spaces, skylight opening and unique circulation journey from the ground to a different level.

Week 1

01 Spatial Verbs

CHAOS [key-os]

noun Generating confusion or disorder; a messed of organization or order. Figure. 11. “Pause - Reflect Plan.” 5 Steps to Reflect and Find Clarity When You Feel Lost.

DESIGN INTERATIONS

Week 1

SELECTED ITERATION

TO EXTRACT RANDOM CURVE LINES FROM A SERIES OF CIRCLES SEGMENTS AND THEIR VOLUMETRIC QUALITY.

DESIGN ATTEMPT EXPERIMENTAL

DESIGN AGENDA

EXTRUDED SURFACE

PURE FORM

PRECEDENT

PRECEDENT Chaos Theroy

PRECEDENT Richard Serra Torqued Ellipse IV (1999)

The study of random and out of control action of an arrangement.

Figure. 12. Little, David. “Composing with Chaos: Applications of a New Science to Music.”

Figure. 12. MoMA. “Richard Serra Sculpture: Forty Years.”

The sculptures from Richard emphasise its engages with the site and the viewers. he form is like an envelope meanwhile, an artwork as it is.

01 Spatial Verbs

FRAGMENTATION [frag-muhn-tey-shuhn]

noun the action development of detaching something into small parts. Figure. 13. Kazimir Malevich. “Eight Red Rectangles.” 1915.

DESIGN INTERATIONS

Week 1

SELECTED ITERATION

DESIGN ATTEMPT EXPERIMENTAL

DESIGN AGENDA

EXTRUDED SURFACE

PURE FORM

PRECEDENT

REFERENCE 5km topography from the centre of site of Fitzory

LANDSCAPE AS FORM Submerge the partitions onto the topography to detach and differ the square surface into distinct massings.

01 Spatial Verbs

WORK FURTHER ON THE CURRENT ITERATION AND EXAMINE ITS POTENTIAL OF SPATIAL QUALITY.

FURTHER ITERATION (1) FRAGMENTATION

Week 1

FURTHER ITERATION (2)

FRAGMENTATION

TO BLUR THE DECISIVE EDGE AND THE VERTICAL STACKING OF THE FRAGMENTATION.

01 Spatial Verbs

REFLECTION

IMAGINE ARCHITECTURE LIKE ARTS Through this exercise, I have attempted to use various spatial concepts to explore similar spatial qualities, such as voids space along or within space and linkage between form and gaps. Since some of the spatial words were new to me, I researched and defined the verb’s meaning before I started doing the design iterations. By using different references from masterpieces, artworks and graphic illustrations, the iterations were further enriched, and unexpected outcomes were unlocked through the process. Some successful iterations, e.g. Fragmentation, are created by rotating the forms accidentially. It was interesting to receive comments from classmates, as some people will have a completely different idea and interpretation of the spatial verb. Also, the conversation and discussion with the class helped me move forward from what I can think of and step up and create new iteration based on the insights. The journey of using spatial words to generate forms was a fun process. Architecture design always places site context at the beginning of understanding the brief. Yet, designing an art gallery is like creating an art piece, where we need not set boundaries to ourselves. Think freely and crazy first, and close the gaps between what we think we can build and what we can imagine.

Week 1

02 Inside-out Objects

02 INSIDE-OUT INSIDE-OUT OBJECTS OBJECTS INSIDE-OUT OBJECTS INSIDE-OUT OBJECTS INSIDE-OUT OBJECTS INSIDE-OUT OBJECTS

Week 2

02 Inside-out Objects

THE TRADITIONAL

CONISBROUGH CASTLE SOUTH YORKSHIRE, UK (12TH CENTURY)

Inside-out of Conisbrough Castle

Site Plan Figure. 14. “Conisborough, Donjon.”

Week 2

Floor plan Figure. 15. “Conisbrough Castle.” 2021.

DEFENCE | PRIVATE | LANDMARK | ENCLOSURE Conisbrough Castle is a signature great tower castle in the 12th Century in England with cylindrical and polygonal tower and partial of the gate wall reserved nowadays.2 This medieval castle - a residence of the ruler was a status of power and wealth. Its architecture language is less focused on the internal living quality, yet the privacy, defence ability and symbol of power to the surrounding.

2. “Significance of Conisbrough Castle.” n.d. 3. “History of Conisbrough Castle.” n.d.

02 Inside-out Objects

1.1 DEFENCE

PRIVATE

ENCLOSURE

LANDMARK

The first assemblage refers to the idea of enclosure and exclusiveness from the Conisbrough Castle. The bold form extracted from the inside out models shaped space within a space, becoming a courtyard or atrium space within a gallery. A floated box on one side of the massing created another open space opportunity. The opening on two sides also facilitated the flow between the void.

Week 2

02 Inside-out Objects

1.2 DEFENCE

PRIVATE

ENCLOSURE

LANDMARK

This assemblage is an interlocked massing of the gate corridor and the immediate surrounding space of the castle. Like Conisbrough Castle, the tall gate and massive masonry wall from outer space have hidden what’s happening inside the castle. A unique bending created a solid contrast to the regularity in the envelope.

Week 2

02 Inside-out Objects

1.3 DEFENCE

PRIVATE

ENCLOSURE

LANDMARK

Another assemblage refers to the idea of enclosure and exclusiveness using the negative spaces’ internal corridor and living space. The shapes are twisted and embedded together, creating an elevated central massing witth a covered foyer with a semi-enclosed envelope.

Week 2

02 Inside-out Objects

THE MODERN

COURT HOUSE PROJECT UNBLUIT (1934)

Week 2

Court House Project Plan (1934) Figure. 16. “Rory. 2007. “A Sculpture for Living: Courtyard House 3: Court-House with Gararge, Mies van Der Rohe.”

Figure. 17.“Ludwig Mies van Der Rohe. Court House Project, Plan. 1945-46 | MoMA.”

Court House Project Perspective sketch (1934)

LIGHTNESS | OPENESS | PROPORTION The Court house made use of modern materials and functions in a minimalist and horizontal way. The transparency of the building with only a light weighted wall blurred the boundary between indoor and outdoor.4 Being one of the series of unbuilt experimental projects, Mies Van De Rohe explored his concept of “successful relationship of the parts to each other and the whole”5 by placing every part of the walls collinear and align with the golden ratio.

4. “Court House Studies, Interior Perspective Study.” 5. Sano, Junichi. 2005. “A Spiral and Collinearity : Invisible Geometrical Relationships in the Plans of the House with Three Courts and the Court House with Garage by Mies Van Der Rohe.”

02 Inside-out Objects

COURTH HOUSE PROJECT INSIDE - OUT

Week 2

02 Inside-out Objects

2.1 LIGHTNESS

OPENESS

PROPORTION

The elegant curve line in the plan created an opening that suits a gallery. This assemblage extracts the negative spaces between the living room and bedroom. It is like guiding people to circulate through the form, i.e. from the street into the heart of the gallery.

Week 2

02 Inside-out Objects

2.2 LIGHTNESS

OPENESS

PROPORTION

The textile-like mega column in this assemblage is generated by twisting the negative spaces in the courtyard of the Court House, where the iconic tress outline is twisted and loft to create dynamic form and frame an internal void on a floating box. The overall form, therefore, created a floating illusion.

Week 2

02 Inside-out Objects

2.3 LIGHTNESS

OPENESS

PROPORTION

The assemblage attempts to subtract and embed negative spaces together to form the entry, opening and courtyard. The bending of the curved wall in the Court House Project is elegant, which created an exciting outcome.

Week 2

02 Inside-out Objects

REFLECTION

FOCUS ON THE NEGATIVE SPACES The Inside-out exercise is an inspiring task that allows me to use different angles to think about architecture. We usually think about how and where to build the enclosure as it is the part that is tangible. Yet, the space that matters for day to day function is the negative space. The void space is our space, from an apartment to an office or just a tiny toilet. Have we thought enough about what we are enclosing is cohesively delivering the same ideas as the built form? The contrast between a heritage castle and a modernist classic was a good exercise for me to understand the two approaches of spatial language. Conisbrough Castle focused on creating an enclosed and defensive habitat for the king. In contrast, the Court House project explored a series of open and functional living layouts that celebrates industrialised modern living and technology. Therefore, I played with these two distinct ideas while exploring the assemblage ideas. I enjoyed the process of form-making. During the assemblage process, the most challenging part is to select the negative spaces that can work with each other. The constrain increased with a purpose and a limited list of forms, but the form-making outcome was more exciting and surprising. Also, I developed an interest in an abstract form which I found solid and straightforward. To push further on this exercise, I am also thinking about how it relates to a gallery space? I believe there are two key ideas that I can extract from this exercise. A gallery needs flexible spatial design; meanwhile, it provides enclosed and opened to display artworks. The negative spaces are used to exhibit arts, which should focus on when doing the spatial layout.

Week 2

03 Stacking

03 STACKING STACKING STACKING STACKING STACKING

Week 2

03 Stacking

T HS

IT SM

RT R

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H MIT

1.1 FIGURE GROUND

ABSTRACT

BUILDING AS FUNCTIONS

FLOOR LEVEL STACKING | CANTILEVERED This stacking is a series of further explorations of the abstract form I made in the inside out assemblage task. I am looking for the idea of using the curved gesture on the ground to lead circulation to the building or outdoor space.

REFERENCE Inside - out model 2.4

Week 2

RT R

SMITH ST

ES T

GERTRUDE ST

SMITH ST

B1 - B2

2-3

03 Stacking

RT R

T HS

ST ITH

1.2 FIGURE GROUND

ABSTRACT

BUILDING AS FUNCTIONS

FLOOR LEVEL STACKING The second iteration integrates the abstract idea with the inside-out model 2.4. To invert the sequence of the form - the box and the curved wall, further changed the weight and thickness, the form-making outcome is entirely different.

REFERENCE Inside - out model 2.4

IT SM

ES T

RT R

ES T

Week 2

SMITH ST

GERTRUDE ST

SMITH ST

B1 & B2

1-3

03 Stacking

RT R

ES T

T HS

IT SM

1.3 FIGURE GROUND

ABSTRACT

BUILDING AS FUNCTIONS

FLOOR LEVEL STACKING | CANTILEVERED Another series of inside-out model 2.4. Using the curved line, create a cohesive yet dynamic stacking form.

REFERENCE Inside - out model 2.4

R RT

Week 2

5 4

G SM

ITH

SMITH ST

T ES

D RU

GERTRUDE ST

SMITH ST B1 - B2

G-1

2-3

4-5

03 Stacking

ITH

T ES

D RU

RT GE

R RT

1.4 FIGURE GROUND

ABSTRACT

BUILDING AS FUNCTIONS

FLOOR LEVEL STACKING WITH EXTRUSIONS This iteration further developed by referencing the previous fragmentation form-making to explore the upper ground and underground opportunities in this stacking exercise.

REFERENCE Fragmentation (2)

SMITH ST B1 - B2

Week 2

G SM

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SMITH ST

T ES

GERTRUDE ST

T G

3-4

03 Stacking

RT R

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T ES

TR ER

2.1 FIGURE GROUND

ABSTRACT

BUILDING AS FUNCTIONS

PUNCTUATION STACKING | FLOOR LEVEL STACKING WITH FORMAL SUBTRACTION I think this is unsuccessful as I found it looking a bit awkward as a vertical punctuation stacking of figureground by referencing the inside-out model 1.1. I think the idea of figure-ground in urban massing should work better in a more significant site. I decided to move on to another massing concept and look for new opportunities. REFERENCE Inside - out model 1.1

H MIT

ES T

Week 2

SMITH ST

GERTRUDE ST

SMITH ST

B1 - B2

G-1

2-3

4-5

03 Stacking

T HS

IT SM

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RT R

ST DE

U TR ER

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3.1 FIGURE GROUND

ABSTRACT

BUILDING AS FUNCTIONS

PUNCTUATION STACKING | FLOOR LEVEL STACKING FACETTED CUBE This is a further study of the jump cut forms I had created in task 1. Even though I like the form-making outcome, the stacking result is not as functional. The floor plans are too fragmented and cannot provide an efficient exhibition space. GERTRUDE ST

REFERENCE Jump - cut (2)

SMITH ST

B1 - B2

Week 2

4 3 2 1

G SMITH ST

03 Stacking

ITH

T ES

R RT GE

ST SM

ITH

3.2 FIGURE GROUND

ABSTRACT

BUILDING AS FUNCTIONS

SPATIAL STACKING The spatial stacking idea is being explored with the folding iterations I did in task 1. I appreciated the quality of space within the gallery through the folded walls.

REFERENCE Folding (1)

Week 2

G SMITH ST ST

SMITH ST

GERTRUDE ST

RU RT

B1 - B2

03 Stacking

RT R

ES T

T HS

IT SM

3.3 FIGURE GROUND

ABSTRACT

BUILDING AS FUNCTIONS

SPATIAL STACKING | FLOOR LEVEL STACKING WITH EXTRUSIONS

REFERENCE Folding (2)

GERTRUDE ST

The folding (2) idea is developed further through this iteration. The folded and interlocked surfaces are attractive, creating shared void space and double-height opportunities.

SMITH ST B1 - B2

Week 2

03 Stacking

REFLECTION

MY INTEREST ON ABSTRACT ARCHITECTURE The exercise of stacking is a valuable exercise to understand the logic of form-making as a build-able architecture. It complexed my thinking when I was creating the form. During the process, I also started extracting plans and sections from the structure to treat it like an actual building instead of just a sculptural massing. After finishing the exercise, I found myself more interested in abstract massing, either floor-level stacking or stacked and wrapped. My next step is to research references and see if I can create my statement to design an abstracted architecture for the gallery. Also, I will try to learn insights from galleries with distinct styles through studying form and concept to understand how to apply a vision for a gallery through the architecture itself.

Week 2

04 Galleries Analysis

04 GALLERIES ANALYSIS GALLERIES ANALYSIS GALLERIES ANALYSIS GALLERIES ANALYSIS GALLERIES ANALYSIS GALLERIES ANALYSIS (Group work with Beatrice Zhang and Jerry Liu)

Week 2

04 Galleries Analysis

01 MUSEUM OF IMAGE AND SOUND Architect: Diller Scofidio + Renfro Location: Rio de Janeiro, Brazil Status: Under Construction Site size: Approx. 1,200m2

CONCEPT The Museum of Image and Sound architecture looks to Copacabana Beach for inspiration6 .The building extends of the adjacent boulevard, extending vertically to the museum and public realm. It captures the essence of the place: the public in motion, Whether walking or cycling or car.

Figure. 18. “Concept of MIS, Museum of Image and Sound.” 2019.

FORM The building is divided by large ramps and staircases to traverse indoor and outdoor spaces and branches to vertically form galleries, education programs, public leisure, and entertainment spaces. The vertical circulation sequence connects the street with the building’s entertainment programs through the folded facade. The building is also conceived as an place to observe the city differently.7

Figure. 19. “Form making of MIS, Museum of Image and Sound.” 2019.

6. “Museum of Image & Sound.” 2019. DS+R. 7. “Museum of Image and Sound.” 2019. Arquitectura Viva.

Week 2

Figure. 20. “View of MIS and its surrounding, Museum of Image & Sound.” 2019.

PROGRAM The Museum of Image and Sound programme includes entertainment programmes such as restaurants, piano bar, cafe terraces and other indoor terraces. The “vertical boulevard” points to inclusivity through gently cuts through indoor and outdoor spaces and branches, forming galleries, educational programs, public leisure and entertainment spaces in the building. The Museum of Image and Sound includes both a permanent gallery and a temporary gallery. Gallery spaces are located on the higher floor. Overall, a vertical circulation sequence connects the street with the building’s entertainment programme.8

8. “Museum of Image and Sound by Diller Scofidio + Renfro.” 2009. Dezeen.

Figure. 21. “Section of MIS, Museum of Image and Sound.” 2019.

04 Galleries Analysis

CIRCULATION AND ACCESS The public surfaces of the museum are repositioned as the thickened façade of the new museum. The mega staircase in the front of the building brings people to the top floor with a terrace as transition planes in different levels.9 Internal stairs are focused on connecting galleries spaces from one to another, while the lift core is at the back of the building in a linear position along a corridor linking the basement to the top floor.

Figure. 23. “Plans of MIS, Museum of Image and Sound.” 2019.

ORGANIZATION OF SPACES A vertical circulation sequence connects the street with the building’s entertainment program10 – from the skylight to the auditorium at street level, to the elevated terrace bar and café, the piano bar on the third level, the restaurant on the sixth level, and the outdoor cinema roof. The double heights gallery spaces are the key focus of the buildings and are connected through joint void space.

Figure. 22. “Short section of MIS, Museum of Image and Sound.” 2009.

9. “Museum of Image & Sound.” 2019. DS+R. 10. “Museum of Image and Sound.” 2019. Arquitectura Viva.

Week 2

Circulation

Gallery spaces

Entertainment

Figure. 24. “View of vertical boulevard along MIS’s façade, Museum of Image & Sound.” 2019.

04 Galleries Analysis

Figure. 25. “MIS illustrative perspective, Museum of Image & Sound.” 2019.

MATERIALS & LIGHTING CONTROL It all started with the demolition of the building that originally occupied the site of the new museum. Demolition is selective, with a recovery rate of 99.81% and material reuse. Environmental care and concern are concentrated in all project phases, certified by LEED11. The perforated metal facade is wrapped around the corridor to provide solar control to the gallery spaces. In the west facade, the museum is fabricated and installed over 100,000 polymer concrete panels depicting the face of Carmen Miranda, the Portuguese-Brazilian singer and actress. 11. “Museum of Image and Sound.” 2019. Arquitectura Viva.

Figure. 27. “MIS elevationl, Museum of Image & Sound.” 2019.

Figure. 26. “Facade detail, Museum of Image & Sound.” 2019.

Week 2

Figure. 28. “Back facade, Museum of Image & Sound.” 2019.

Figure. 29. “Back Facade detail, Museum of Image & Sound.” 2019.

100

04 Galleries Analysis

MUSEUM OF IMAGE AND SOUND INSIDE - OUT

Gr ou

External terrace/ stairs

Week 2

REFLECTION

101

I am inspired by the circulation thinking from the architect. The folding concept in the museum creates an appealing circulation experience for people visiting the museum (indoor) or just for enjoying the unique vertical urban realm in the front facade. The clarity of circulation is vital for a gallery space as it relates heavily to a viewer’s visiting experience when walking through an art exhibition. Even though the circulation cannot be as complex as the Museum of Image and Sound on our site, using circulation to hint visitor journey is a crucial idea that I would like to explore in my design.

Rooftop terrace

Internal cores

102

04 Galleries Analysis

02 NINGBO HISTORY MUSEUM Architect: Wang Shu Location: Ningbo, China Status: Built in 2018 Site size: Approx. 10,000 m2

CONCEPT The architecture is inspired by mountain living and the structure of the mountain. SinceTang Dynasty in China, Li Gefei, a literato in the Tang Dynasty, put forward six key points in “Luoyang Famous Gardens”, “grand, deep, manpower, water spring, frugal and far-sighted”.12 12. “Ningbo Historic Museum / Wang Shu, Amateur Architecture Studio.” 2009. ArchDaily.

Figure. 30. “Site Plan, Ningbo Historic Museum.” 2009.

Week 2

103

Figure. 31. “Exterior form, Ningbo Historic Museum.” 2009.

FORM

PROGRAM

The museum adopts the method of tearing and twisting to control the design, and the whole building has a strong sense of sculpture. Tear and pull between the small body pieces, forming crack spaces on the body. At the same time, some spaces are twisted, or inward or outward, so that the whole building is flexible and has a strong tension.

The Museum of Ningbo contains galleries, offices, courtyards and restaurants. The first to third floors of Ningbo History Museum is divided into three exhibition halls and seven parts. Taking time as the axis, the historical chapter of Ningbo is slowly opened for visitors.13 The restaurant appears next to the museum in a single building.

13. Wöhler, Till. 2010. “Ningbo Museum by Pritzker Prize Winner Wang Shu.” Architectural Review.

Figure. 32. “Long section, Ningbo Historic Museum.” 2009.

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04 Galleries Analysis

Figure. 33. “Exterior view, Ningbo Historic Museum.” 2009.

ORGANIZATION OF SPACES The museum organises various spaces with inner courtyards in spatial sequence organisation. The entrance space, the core courtyard space, is combined with the entrance, and visitors enter the interior of the building through the opening. After entering the building, there is a full-height foyer space. The exhibition halls and additional rooms are organised through the high-height space of the foyer. The second-level space is organised by small courtyards excavated inside to increase the lighting inside 14. Arquitectura Viva. 2018. “History Museum in Ningbo - Amateur Architecture Studio.” Arquitectura Viva. Arquitectura Viva.

Figure. 35. “Exterior atrium, Ningbo Historic Museum.” 2009.

Figure. 34. “Interior atrium, Ningbo Historic Museum.” 2009.

the building. The small yard is combined with the five cut small volumes at the top, where people can experience the sense of the streets when they walk in it. Combined with the roof plane, the oblique lines generated by the block cutting become spatial elements. Wang Shu’s volume handling is not only limited to the outer surface.14 He starts with manipulating the form and combines the functions of the museum to produce some highly expressive triangular spaces on the plane. He combines these expressive triangular spaces to guide traffic spaces to create a dynamic space.

Week 2

Ground Floor

Double height gallery spaces

Figure. 36. “Plans, Ningbo Historic Museum.” 2009.

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04 Galleries Analysis

Figure. 37. “Elevation, Ningbo Historic Museum.” 2009.

FACADE The inside and outside of the building are wrapped by bamboo strip formwork concrete and more than 20 recycled old bricks and tiles. It is like an incredible frugal thing with life between artificial and natural. The physical property of the mountain is the only thing it needs to be expressed. The architects used fine texture to deal with this large-scale building in the facade design. Ningbo Museum uses the skin texture of masonry to stick to the outside of the concrete and uses the scale of brick to refine the surface of large blocks.15 The treatment of the continuous surface grid weakens the heaviness of the building, increases the sense of the scale of the building, and forms a rational spatial order.

15. Wöhler, Till. 2010. “Ningbo Museum by Pritzker Prize Winner Wang Shu.” Architectural Review.

Figure. 38. “Facade exteiror, Ningbo Historic Museum.” 2009.

Week 2

Figure. 39. “Reused bricks, Ningbo Historic Museum.” 2009.

MATERIAL The exterior of the building is using tiles that is collected from abandoned traditional residential wall practices in eastern Zhejiang. By using the old bricks and broken tiles collected during the demolition of local old villages as building materials, making the museum building itself is a physical carrier for recording history.16

16. “Ningbo Historic Museum / Wang Shu, Amateur Architecture Studio.” 2009. ArchDaily.

Figure. 40. “Short Elevation, Ningbo Historic Museum.” 2009.

Figure. 41. “Internal circulation, Ningbo Historic Museum.” 2009.

Figure. 42. “Facades and stairs, Ningbo Historic Museum.” 2009.

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NINGBO HISTORY MUSEUM INSIDE - OUT

Main Entry

Week 2

REFLECTION

Ningbo History Museum is a successful example of massing by distorting and subtraction. The practice I had through the spatial verb, assemblage and stacking, I understood the difficulty of balancing the spatial arrangement. Ningbo History Museum had integrated it with the function of the museum and the circulation fluently. Also, I appreciated the architect respecting the context by reusing the demolished bricks in the neighbourhood. The memories of the old are kept and remain with the bricked facade.

Double Height Void

Vertical Circulation

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05 Initial Concept

05 INITIAL CONCEPT INITIAL CONCEPT INITIAL CONCEPT INITIAL CONCEPT INITIAL CONCEPT INITIAL CONCEPT

Week 2 - 3

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05 Initial Concept

THE PURPOSE OF A CONTEMPORARY ARTS GALLERY IN FITZROY

PURPOSE OF GALLERY The purpose of galleries changes in contemporary times; it becomes a destination where people want to get away from everyday life. It is a place where people seek insights and ideas to reflect and re-imagine our immutable lives6. The gallery can no longer focus on selling artists’ work to collectors, a wealthy habit that has been developed since medieval times7. Brian O’Dohery once said that a gallery is where the outside world must not intervene8. The neutralised properties of a gallery with carefully constructed walls allow art elegantly to display in contextually free space. Therefore, a gallery is a platform or a sacred space like a church. It will enable us to forget about where we are, and time is less important than the art that is displayed in front of us. We reflect through this filtered space and get inspired through arts in quality time.

NATURE OF CONTEMPORARY ARTS Contemporary arts represent a broad range of arts that challenge the idea and convention of arts across multiple mediums. It is a continuation of rebelling attitude towards social norms that is no longer led by religious or formalistic views but inspiration from daily life.11 It is a movement developed through an evolution of art movements, from realism, impressionism, Dada, Surrealism and Abstract Expressionism to now.10 Contemporary art is conceptual, diverse in mediums and no longer confined in a particular representation style. Following conceptualising arts, contemporary art is an ongoing art movement that does not create art for admiration. The thinking and reflection process is a crucial part of the contemporary arts. It requires viewers to engage, interpret and unpack the ideas behind what is present in front of them.

Week 2 - 3

ARTS IN FITZROY Fitzroy is Melbourne’s inner suburb that nurtured a mix of art development for decades. The combination of galleries, studios and artists, and street arts make Fitzroy a diverse, vibrant, and colourful neighbourhood. The galleries are distinct from one another. From a print workshop, a photography gallery to the famous Gertrude Glasshouse. Fitzroy is a definition of possibilities and characters. Art thinking and imagination are not confined within gallery spaces, as you are submerged into arts from the surrounding, enjoy arts from the street furniture and wall and stylish retail.12

Art mural in Fitzroy

Gertrude street winter art projection

Figure. 43. Smith, Tom. 2016. “The Best Things to See and Do in Fitzroy, Melbourne.”

Figure. 44. “Gertrude Street Projection Festival 10th Anniversary.” 2017.

Weekend art market at Rose Street

Gertrude Glasshouse Gallery

Figure. 45. “The Rose St. Artists’ Market.” n.d.

Figure. 46. “Gertrude Glasshouse Gallery | Sibling.” 2017

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05 Initial Concept

Liveworks Festival of Experimental Art 2019 Figure. 47. “Performance Space - Liveworks Archive - Unbearable Darkness - Choy Ka Fai .” 2019.

THE NEW CONTEMPORARY ART GALLERY IN FITZROY Untitled is art galleries that amplify the ideas of arts and facilitate the sediment of individual thinking. The new galleries are not another private contemporary gallery in Fitzroy. It has a larger vision to be a gallery designed for public and experimental contemporary arts. It is programmed for galleries, an experimental art lab, a public lawn, and a café. To cater to the diverse characters of contemporary artworks, from outdoor to indoor, from drawing to sculpture, from installation to digital art, located in the art hub suburb Fitzroy. The gallery’s experience is focused on evoking insight and reflection of daily life and oneself. It allows the individual to “construct or deconstruct” values in life through arts.13 It is a sophisticated design art journey that starts from an opening gesture through the form and ends in a poetic ‘void’ space. Visitors can engage, unpack, and echo ideas through the journey after reaching the summit of the art journey. It is a place where you bathed in arts and only arts. Interaction between artists and the public is another focus of the gallery. It facilitates the neighbourhood by providing a scared urban public realm to cater for seasonal art events in Fitzroy, such as art projection and art forum.

Week 2 - 3

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Carmen Herrera: Lines of Sight at Whitney Museum of American Art in 2017 Figure. 48. “Carmen Herrera: Lines of Sight.” 2017.

PURSUIT OF ABSTRACT AND NEUTRAL IN ARCHITECTURE Being inspired by artists Donald Judd and Carmen Herrera and architect Manuel Aires Mateus, the gallery aims to design an architecture that seeks spatial harmony in the context. Judd once said, “It requires more effort to get rid of things that are not important”.14 I would like to explore the permanence of simplicity through a simple and poetic expression of form and space to help people feel and concentrate on arts. “We have to art about art”15, the architecture itself is

an aesthetic sculpture. The architecture prioritises the exhibited arts through abstract and minimal form expression and acts as an inviting gesture to welcome people into the arts. The proportion and geometries are harnessed to release timeless meaning within the context. The context is about the land settled in Fitzroy the relationship to topography, views, sun and built form. The spatial organisation is designed to respond to the context. To allow an efficient and sustainable day to day function, visitors can focus on the time of the artworks through the interior design of walls, stairs, and voids.

Donald Judd : Curated by Flavin Judd at Thaddaeus Ropac, Paris (2019) Figure. 49.“Donald Judd | Curated by Flavin Judd.” 2019.

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06 Urban Massing

06 URBAN MASSING URBAN MASSING URBAN MASSING URBAN MASSING URBAN MASSING URBAN MASSING

Week 3

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06 Urban Massing

25m

GERTRU

DE ST

ITH

01 ABSTRACT

BUILDING AS FUNCTIONS

BUILDING AS ABSTRACT

FLOOR LEVEL STACKING | PURE FORMS STACKED As I like the idea of the curved wall and the box from the Court House Project, I further developed the form in the urban massing exercise. However, it looks narrow and thin with the gesture of curved wall set back in if the site is just the corner of the street.

SMITH ST

Week 3

SMITH ST

GERTRUDE ST

VOID G

2 AA

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06 Urban Massing

25m

RT R

GERTRU

DE ST

1.2 ABSTRACT

BUILDING AS FUNCTIONS

BUILDING AS ABSTRACT

FLOOR LEVEL STACKING | SCULPTURAL STACK Another iteration of the curved wall, but submerged into the basement to create a semi-basement courtyard space.

SMITH ST

ES T

Week 3

ITH

121

BB 5

G B1

SMITH ST

GERTRUDE ST

1 AA

2-3

122

06 Urban Massing

25m

GERTRU

DE ST

ITH

1.3 ABSTRACT

BUILDING AS FUNCTIONS

BUILDING AS ABSTRACT

FLOOR LEVEL STACKING | PUNCTUATION STACKING The form is stacked and distorted by a series of boxes. The idea is referenced from SANAA’s New York New Museum and uses the opportunity of skylight to create dynamic stacking gestures.

SMITH ST

Week 3

BB 4

SMITH ST

GERTRUDE ST

SMITH ST

VOID

2 AA

123

124

06 Urban Massing

25m

GERTRU

DE ST

ITH

04 ABSTRACT

BUILDING AS FUNCTIONS

BUILDING AS ABSTRACT

FLOOR LEVEL STACKING WITH ARTICULATION This iteration is a form exploration by ground circulation and subtracted openings. The opening spaces on different levels are orientated and positioned to enjoy the best views of the surrounding.

SMITH ST

Week 3

125

BB 5

SMITH ST

GERTRUDE ST

2 AA

VOID 3

126

06 Urban Massing

25m

GERTRU

DE ST

ITH

05 ABSTRACT

BUILDING AS FUNCTIONS

BUILDING AS ABSTRACT

STACKED AND WRAPPED In this iteration, I have explored the idea of a cracking facade to create a form that looks plain in the distance, but if people look at details, it is a cracked box with a gap on it.

SMITH ST

Week 3

AA 4

SMITH ST

VOID

SMITH ST

GERTRUDE ST

12 AA

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06 Urban Massing

REFLECTION

The urban massing exercise is beneficial for doing formmaking with formal stacking logic and considering the site context. Being surrounded by Victorian terrace housing or aged buildings, the interfaces have to be carefully considered to fit into the context. As discussed in the class, we are expanding our site to a larger area by demolishing some adjacent buildings. I will do another few iterations on the best form-making and look again at its possibility.

Week 3

129

130

06 Urban Massing

E UD

R RT

SMIT

H ST

06 ABSTRACT

BUILDING AS FUNCTIONS

BUILDING AS ABSTRACT

FLOOR LEVEL STACKING | PURE FORMS STACKED The curved wall is modified and adjusted to fit in the site as well as more elegant. In this iteration, I also consider the vertical circulation of the building based on my site analysis. In general, I think the built form can tell the story of my interpretation of a contemporary art gallery and the simple and bold gesture in architecture. However, more thinking is required to make it more efficient as a gallery space.

Week 3

19m

131

132

06 Urban Massing

G SMITH ST

VOID

3 2 1 G B1 B2 AA

Week 3

133

REFLECTION GERTRUDE ST

After the class discussion, I think the curved wall needs to be flipped to reflect the actual circulation needs in the site. Most of the people who visited art spaces in the area will come from Gertrude Street instead of Smith St. For the mid-semester presentation. I will need to re-adjust the core and the curved gesture to reflect my thinking.

SMITH

134

06 Urban Massing

E UD

R RT

SMIT

H ST

02 ABSTRACT

BUILDING AS FUNCTIONS

BUILDING AS ABSTRACT

FLOOR LEVEL STACKING | PURE FORMS STACKED This iteration is a form making that I try to build inside out by using the folding concept in the previous exercise. I am trying to create a folded and cut internal space covered by a box. Will, a gap in the upper level, the illusion of floating, is created. The welcoming gesture from the ground wall is also explored by composing the interlock and rotated walls.

Week 3

25m

135

136

06 Urban Massing

G SMITH ST

VOID

3 M 2

1 G B1 B2 AA

Week 3

137

REFLECTION GERTRUDE ST

I will need to explore further on the envelope to allow the whole building to share the same language of cut and fold because, at the moment, the building envelope is using a very static method to fold and cut.

SMITH

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07 Mid Semester Review

07 MID SEMESTER REVIEW MID SEMESTER REVIEW MID SEMESTER REVIEW MID SEMESTER REVIEW MID SEMESTER REVIEW MID SEMESTER REVIEW

Week 3 - 4

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DESIGN STATEMENT

REFERENCE Carmen Herrera Blanco y Verde, 1962. Figure. 50. “Carmen Herrera | Artist | Royal Academy of Arts.” 2019.

AESTHETIC/ SCULPTURAL/ SIMPLICITY/ MINIMAL/ ABSTRACT Being inspired by artists Donald Judd and Carmen Herrera and architect Aires Mateus, the gallery aims to design an architecture that seeks spatial harmony in the context. These 3 reference works are in different mediums yet share the simplicity and minimal aesthetic expression to convey a concept. Judd once said, “It requires more effort to get rid of things that are not important”. Therefore, the challenge of this architecture is minimisation. “We have to art about art,” said Carmen in her recent documentary. In this project, I would like to explore the permanence of simplicity through a simple and poetic expression of form and space to help people feel and concentrate on arts. The architecture that I would like to pursue is an aesthetic sculpture that, like Aires Mateus mentioned, “ use our instinct to react’ the context.

Week 3 - 4

REFERENCE Donald Judd Specific objects

REFERENCE Aires Mateus Grândola Meeting Center

Figure. 51. “Project Space: Donald Judd - Exhibitions - Mnuchin Gallery.” 2009.

Figure. 52. “Gråndola Community Center.” 2017.

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5 POINTS CONCEPT

The gallery aims to design an architecture that seeks spatial harmony and permanence in the context. The Untitled is a sophisticated design art journey that starts from an opening gesture through the form and ends in a poetic ‘void’ space. It is inspired by Donald Judd, Carmen Herrera, and Aires Mateus, the artists and architects that use their abstract yet aesthetic work to release thoughts through the means – the shapes, light and context.

FORM

It is a white sculptural stacking distinct from the adjacent colourful Victorian-style terraces. The built form is responded to the topography, views, sun and adjacent buildings. The proportion, geometries and colour are harnessed to release timeless meaning within the context.

SPATIAL ORGANISATION

To allow an efficient and sustainable day to day function. The space is carefully designed to utilise the natural light. Visitors can focus on enjoying the artworks as hints by walls, stairs, openings, and voids.

PROGRAMME

To provide opportunities to reflect on themselves and spark curiosity from contemporary arts through quality exhibitions and supportive spaces. The gallery caters for multiple mediums of experimental contemporary artworks, from outdoor to indoor, from drawings to installations.

INDOOR & OUTDOOR

To facilitate the arty neighbourhood by providing a scared urban realm for seasonal art events, such as art projection and art forum. The architecture also provides opportunities for interaction between artists, visitors, and the community through sensory and circulation experiences.

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SITE ANALYSIS/ BROADER CONTEXT

ELGIN ST

JOHNSON ST

FARADAY ST

VERA S CARLTON ST

MOOR ST

COLLINGWOO

WELLINGTON ST

FITZROY

SMITH ST

BRUNSWICK ST

NICHOLSON ST

LYGON ST

SWANSTON ST

CARLTON GIPPS

1.2KM 16 mins walk

LANDG

GERTRUDE ST

400m

VICTORIA PARADE

T ES

ALBERT ST

Train station (closest to site)

Tram stop (next to site) Train/tram track

T GS

Walking radius (400m, 800m, 1200m)

RIN

Site

LEGEND

CLARENDON ST

H ET

B ZA

ELI

MELBOURNE CBD

LANSDOWNE ST

E SS RU

N LO

ON ST

T ES

AL SD

EAST MELBOURNE

Week 3 - 4

143

TRANSPORT The site has a tram stop just in front of the Gertrude St, where most people are coming from this direction if they are coming from CBD.

OD Collingwood Train Station

LENNOX ST

HODDLE ST

ABBOTSFORD

GRIDGE ST

1,200m

VICTORIA ST

CHURCH ST

800m

RICHMOND

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SITE ANALYSIS/ BROADER CONTEXT

ELGIN ST

JOHNSON ST

FARADAY ST

VERA S CARLTON ST

MOOR ST

Fitzroy Town Hall

CARLTON

Royal Exhibition Building

WELLINGTON ST

FITZROY

SMITH ST

BRUNSWICK ST

GIPPS

NICHOLSON ST

LYGON ST

SWANSTON ST

Melbourne Museum

COLLINGWO

LANDGRIDGE ST

GERTRUDE ST

Carlton Gardens VICTORIA PARADE

ALBERT ST

LEGEND Site Walking radius (400m, 800m, 1200m) Cutlural landmark Views opportunities

Parliament House

Powlett Reserve

Fitzroy Gardens

CLARENDON ST

H ET

B ZA

ELI

MELBOURNE CBD

G RIN

ON ST

NS LO

St Patrick’s Cathedral

ELL SS RU

T ES

L DA

State Library Victoria

T ES

LANSDOWNE ST

EAST MELBOURNE

Week 3 - 4

145

VIEWS In terms of view, the site has an excellent view from all sides, and it can see the whole CBD from the south-west side and the Royal Exhibition Building from the west, Fitzroy town hall from the north and distance Dandenong range mountain view from the east.

LENNOX ST

OOD

HODDLE ST

Andrews Reserve

Collingwood Town Hall

ABBOTSFORD

Dandenong Ranges

CHURCH ST

VICTORIA ST

RICHMOND

146

07 Mid Semester Review

SITE ANALYSIS/ BROADER CONTEXT

ELGIN ST

JOHNSON ST

FARADAY ST

VERA S CARLTON ST

MOOR ST

GIPPS S

SMITH ST

FITZROY

WELLINGTON ST

NICHOLSON ST

LYGON ST

SWANSTON ST

BRUNSWICK ST

CARLTON

COLLINGWO

LANDGRIDGE ST

GERTRUDE ST

400m

VICTORIA PARADE

T ES

ALBERT ST

Site Walking radius (400m, 800m, 1200m) Art galleries The Rose street market Fitzroy street art walk

T GS

RIN

LEGEND

CLARENDON ST

H ET

B ZA

ELI

MELBOURNE CBD

LANSDOWNE ST

E SS RU

ON ST

T ES

L DA

NS LO

EAST MELBOURNE

Week 3 - 4

ARTS Fitzroy has the most concentrated gallery spaces in the adjacent neighbourhood, supported by an art walk and a regular weekend market.

LENNOX ST

HODDLE ST

OOD

147

ABBOTSFORD

1,200m

VICTORIA ST

CHURCH ST

800m

RICHMOND

148

07 Mid Semester Review

SITE ANALYSIS/ IMMEDIATE CONTEXT LEVEL & HEIGHTS The site has approx. 1.5m height different from the west to the east. The slope is the character in the area.

LT S

MIT

T ES

R RT

Ys RB

RID

G ND

LEGEND Site boundary Levels

SUN & WIND Sun is from the Gertrude St side, and the strongest wind is from the north.

LT S

MIT

Ys RB

RID

G ND

LEGEND Site boundary Sun direction Challenging northern rose wind

T ES

R RT

Week 3 - 4

TRANSPORT Due to the busy intersection of the tram in the main road, little smith street gives the best opportunity for loading and dropping off artwork.

LT S

MIT

T ES

R RT

Ys RB

RID

G ND

LEGEND Site boundary Tram stop Tram track

Traffic direction

PEDESTRIAN CIRCULATION The highest circulation is from the east of Gertrude St, especially for people joining the art galleries.

LT S

MIT

Ys RB

RID

G ND

LEGEND Site boundary Circulation flow

T ES

R RT

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SELECTED DESIGN ITERATIONS

BLUR

EMBED (1)

EMBED (2)

FOLDING (1)

FOLDING (2)

JUMP-CUT (1)

FRAGMENTATION

DISTORT

INSIDE OUT (1)

)

Week 3 - 4

INVERSION (1)

INVERSION (2)

JUMP-CUT (2)

CHAOS

INSIDE-OUT (2)

INSIDE OUT (3)

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07 Mid Semester Review

THE 2 SCHEMES The two schemes share the same design vision but use a different formmaking approach through an opposite circulation design.

SCHEME 1 DISTORT AND PEEL

SCHEME 2 CUT AND FOLD

5 storey 2 basements

4 storey 2 basements

Building height: 25m GFA: 3,030m2

Building height: 20.2m GFA: 2,900m2

Week 3 - 4

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SCHEME 1. DISTORT AND PEEL

Week 3 - 4

SMI

155

156

07 Mid Semester Review

SCHEME 1 DESIGN PROCESS The first scheme starts from the interpretation of circulation to have a gesture to welcome people into the gallery. The peeling is the gesture to open up the entry for people. And to allow skylight and a submerged courtyard, the form is then subtracted and distorted.

E UD

TR ER

1. 20M WIDTH X 26M LENGTH X 25M HEIGHT

E UD

TR ER

3. PEELING

2. CIRCULATION

T ES

TR ER

4. DISTORT & SUBMERGE

T ES

TR ER

Week 3 - 4

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SCHEME 1 A TOP-DOWN JOURNEY

View from Gertrude Street The art journey of the scheme is from the top to down, where people start the visiting by the top level and then gradually go down to the basement and end its journey in the courtyard basement level.

Week 3 - 4

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View from Smith Street The spatial organisation is based on lighting and day to day function, where, permanent gallery and digital media gallery space is concentrated in the basement with a small cinema. The café faces Smith street with a gift shop just next to the foyer. On the ground, loading will be on the back lane, and there is a small laneway for staff access.

Week 3 - 4

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SCHEME 1 FLOOR PLANS The spatial organisation is based on lighting and day to day function, where, permanent gallery and digital media gallery space is concentrated in the basement with a small cinema.

LEGEND Site boundary Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff Office

B2 FLOOR AREA 545m2

LT SMITH ST

Week 3 - 4

163

GERTRUDE ST

SMITH ST

164

07 Mid Semester Review

SCHEME 1 FLOOR PLANS The sunken courtyard is on this level, which is just next to the project space gallery and the digital media gallery.

LEGEND Site boundary Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff Office

B1 FLOOR AREA 545m2

LT SMITH ST

Week 3 - 4

165

GERTRUDE ST

5 5

SMITH ST

166

07 Mid Semester Review

SCHEME 1 FLOOR PLANS The café faces Smith street with a gift shop next to the foyer. On the ground, loading will be on the back lane, and there is a small laneway for staff access.

LEGEND Site boundary Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff Office

G FLOOR AREA 445m2

LT SMITH ST

Week 3 - 4

167

GERTRUDE ST

SMITH ST

168

07 Mid Semester Review

SCHEME 1 FLOOR PLANS The temporary gallery space will change regularly from levels 1 and 2. It enjoys a double-height space between two floors for a larger installation.

LEGEND Site boundary Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff Office

1 FLOOR AREA 370m2

LT SMITH ST

Week 3 - 4

169

GERTRUDE ST

4 SMITH ST

170

07 Mid Semester Review

SCHEME 1 FLOOR PLANS Natural lighting can be diffuse through the northern side and illuminate the atrium space in levels 1 & 2.

LEGEND Site boundary Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff Office

2 FLOOR AREA 375m2

LT SMITH ST

Week 3 - 4

171

GERTRUDE ST

SMITH ST 0

172

07 Mid Semester Review

SCHEME 1 FLOOR PLANS On the 3rd level, there is the staff office and an experimental art lab.

LEGEND Site boundary Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff Office

3 FLOOR AREA 375m2

LT SMITH ST

Week 3 - 4

173

GERTRUDE ST

14 SMITH ST 0

174

07 Mid Semester Review

SCHEME 1 FLOOR PLANS The top-level is an outdoor terrace where people can enjoy outdoor sculpture and a great sensory experience, especially towards the CBD and the Dandenong mountains.

LEGEND Site boundary Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff Office

4 FLOOR AREA 375m2

LT SMITH ST

Week 3 - 4

175

GERTRUDE ST

SMITH ST

176

07 Mid Semester Review

SCHEME 1 SECTION AA The building is 25 m high in total; most floors are 5 m floor to ceiling height, except the ground floor.

FFL 25.0

LEGEND Site boundary 1

Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff Office

4 FFL 20.2 7 3 FFL 14.9

2 FFL 9.6

1 FFL 4.3

1 G FFL 0.0

5 B1 FFL -5.3

5 B2 FFL -10.6

177

GERTRUDE ST

AA SMITH ST

LT SMITH ST

Week 3 - 4

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07 Mid Semester Review

SCHEME 1 SECTION BB To keep proportional to the ground, primarily aligned with the shops on Smith St..

FFL 25.0 LEGEND Site boundary 1

Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff Office

4 FFL 20.2

3 FFL 14.9

2 FFL 9.6

1 FFL 4.3 11 G FFL 0.0

B1 FFL -5.3

10 B2 FFL -10.6

Week 3 - 4

179

GERTRUDE ST

SMITH ST

LT SMITH ST

180

07 Mid Semester Review

SCHEME 2. CUT AND FOLD

Week 3 - 4

SMI

181

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07 Mid Semester Review

SCHEME 2: DESIGN PROCESS The second scheme is also started from the interpretation of circulation to welcome people into the gallery. Through subtraction, the space is formed to create that gesture and make the folding in multi-level. The skin is cut and folded further for natural light opening.

E UD

TR ER

1. 20M WIDTH X 26M LENGTH X 25M HEIGHT

E UD

TR ER

3. SUBTRACTION

2. CIRCULATION

T ES

TR ER

4. CUT & FOLD

T ES

TR ER

Week 3 - 4

183

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07 Mid Semester Review

SCHEME 2 A BOTTOM - UP JOURNEY

View from Gertrude Street Unlike scheme 1, scheme 2 is an architecture that creates a bottom-up journey. It starts from the angled walls on Gertrude St, inviting people into the gallery.

Week 3 - 4

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186

07 Mid Semester Review

View from Smith Street The built form is subtracted on the southeast side to align with the building on the Smith St. Secondary entry is located on the Smith Street side.

Week 3 - 4

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188

07 Mid Semester Review

SCHEME 2 FLOOR PLANS It shares a similar logic with scheme one but with a more dynamic stair circulation for the spatial organisation.

LEGEND Site boundary Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff Office

B2 FLOOR AREA 545m2

LT SMITH ST

Week 3 - 4

189

GERTRUDE ST

SMITH ST

190

07 Mid Semester Review

SCHEME 2 FLOOR PLANS

LEGEND Site boundary Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff Office

B1 FLOOR AREA 545m2

LT SMITH ST

Week 3 - 4

191

GERTRUDE ST

5 SMITH ST 0

192

07 Mid Semester Review

SCHEME 2 FLOOR PLANS

LEGEND Site boundary Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff Office

G FLOOR AREA 390m2

LT SMITH ST

Week 3 - 4

193

GERTRUDE ST

SMITH ST

194

07 Mid Semester Review

SCHEME 2 FLOOR PLANS

LEGEND Site boundary Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff Office

1 FLOOR AREA 405m2

LT SMITH ST

Week 3 - 4

195

GERTRUDE ST

SMITH ST

196

07 Mid Semester Review

SCHEME 2 FLOOR PLANS

LEGEND Site boundary Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff Office

2 FLOOR AREA 290m2

LT SMITH ST

Week 3 - 4

197

GERTRUDE ST

SMITH ST 0

198

07 Mid Semester Review

SCHEME 2 FLOOR PLANS

LEGEND Site boundary Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff Office

3 FLOOR AREA 290m2

LT SMITH ST

Week 3 - 4

199

GERTRUDE ST

SMITH ST 0

200

07 Mid Semester Review

SCHEME 2 FLOOR PLANS

LEGEND Site boundary Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff Office

4 FLOOR AREA 615m2

LT SMITH ST

Week 3 - 4

201

GERTRUDE ST

8 SMITH ST 0

202

07 Mid Semester Review

SCHEME 2 SECTION AA Floor plates are fragmented become floor within floors, so the taller level is connected with stairs for people to move up to the rooftop which people can enjoy the 360-degree rooftop view of the surroundings.

4 FFL 20.2

LEGEND

Site boundary 1

Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff Office

3 FFL 14.9

2 FFL 9.6

1 FFL 4.3

G FFL 0.0

5 B1 FFL -5.3 5 B2 FFL -10.6

Week 3 - 4

203

GERTRUDE ST

AA SMITH ST

LT SMITH ST

204

07 Mid Semester Review

SCHEME 2 SECTION BB Scheme 2 has a shorter massing which is more proportion to the surroundings but still keeps the quality of spaces and logic of scheme 1.

4 FFL 20.2

LEGEND Site boundary 1

Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff Office

3 FFL 14.9

2 FFL 9.6 4 1 FFL 4.3 3 G FFL 0.0

B1 FFL -5.3

B2 FFL -10.6

Week 3 - 4

205

GERTRUDE ST

SMITH ST

LT SMITH ST

206

07 Mid Semester Review

REFLECTION

After the mid-semester presentation, I received positive feedback on both of my schemes which is motivating. I believe I am on the right track of the language that I would like to pursue through the numerous iterations of formmaking practice in the past weeks. The next step for me is to start testing new form making based on scheme 1 and try to extract the ideas of scheme 2, especially the north elevation, into my final scheme. Furthermore, the language of my form making should start explored in the internal space to create a more coherent building.

Week 3 - 4

Selected practice render - interior

POIETIC RENDER STYLE EXPLORATION The styles of renders affect how people perceive the design. Therefore, exploring the techniques earlier will be good for me to deliver my ideas through compelling renders in my final design that match my design statement.

Selected practice render - exterior

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208

08 Form Development

NEW SCHEMES - PEELING WALLS EXPLORATION (Based on mid crit’s schemes)

SCHEME 3.1

SCHEME 3.2

Peel from southern side

SCHEME 1 DISTORT AND PEEL

Peel from southern and eastern side

SCHEME 2 CUT AND FOLD

Week 4 -5

SCHEME 3.3

Peel from southern and eastern side on different level

I begin my new scheme by exploring the peeling walls on the east and south facades. The setback from the Smith St Victorian terrace building is one of the good ideas I should retain from Scheme 2. Therefore, different proportions and extent of bending walls are being tested in the new schemes to look for the best solution.

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210

08 Form Development

NEW SCHEMES - ROOF EXPLORATION (Based on mid crit’s schemes)

Roof terrace

SCHEME 3.1

SCHEME 1 DISTORT AND PEEL

Step (pro

SCHEME 3.2

SCHEME 2 CUT AND FOLD

Week 4 -5

p down roof terrace ovide skylight to staff room below)

Roof terrace

SCHEME 3.3

The second step is to see if there are opportunities on the roof. The thinking of the top is still lacking at the moment. I believe it has to be further developed after I settle the form.

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08 Form Development

NEW SCHEMES - WESTERN FACADE EXPLORATION (Based on mid crit’s schemes)

Same window width on both level but different side

SCHEME 3.1

SCHEME 1 DISTORT AND PEEL

SCHEME 3.2

SCHEME 2 CUT AND FOLD

Week 4 -5

Upper window double width (staff room) and single width windo on lower level (termporary gallery)

Upper window double width

SCHEME 3.3

The opening of windows on the western facade shaped the character of the building from the west. With the core in the side, windows also provide natural lighting and a good view of the CBD.

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08 Form Development

FURTHER SCHEMES - PEELING SKINS EXPLORATION (Based on scheme 3.2)

SCHEME 3.4

SCHEME 3.2

Peel from southern and eastern side

SCHEME 3.5

Week 4 -5

SCHEME 3.6

I tested the proportion of the bending wall and its opening to see which works the best. After the first round of exploration, I found that scheme 3.2 with a double-height bent wall on the south and a single floor bent wall on the east looks the best. Based on that, I continue to explore three more schemes.

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216

08 Form Development

REFLECTION

Extracting the goods from the two proposed schemes is a thoughtful task. Through the process, I rethink my proposed schemes in mid-semester presentation from another angle. To filter and compare which parts of the ideas are more substantial among two schemes. Of course, none of the schemes is the best at the moment. Yet, through different trial and error, the form is improving and moving towards a better scheme step by step.

MEANING OF VOID To focus on scheme 1 - bend and subtract as my form ideology. I researched some other galleries that I find are successful in giving people a poetic feeling in a gallery. Teshima Art Museum by Ryue Nishizawa and Benesse House by Tadao Ando are two galleries I visited during my Japan trip in early 2020. The void in their architecture is my inspiration for my basement courtyard in an art gallery. When moving on to the detailed design, the opening of windows and the position of the trees are essential for me to create the space that facilitates people to reflect and enjoy the art journey.

Week 4 -5

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08 Form Development

SCHEME 3.7

(Based on scheme 3.6)

View from Smith Street

Moving on from the iterations in the past week, I have started modifying the plans and windows opening with more detail based on scheme 3.6.

SCHEME 3.6

Week 4 -5

View from intersection of Smith St and Gertrude Street

REFLECTION The roof glass balustrade looks inconsistent with the rest of the built form. I used the same solid white colour for the roof terrace, maybe even better.

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08 Form Development

SCHEME 3.7

(Based on scheme 3.6)

View from Gertrude Street

Other than the roof, I have also tested the windows curtain to see what style should be used in the built form. The glass windows with mullions are apparent on the northern facade, and it blocked the continuity of the white box massing where the windows are the break and subtraction.

SCHEME 3.6

Week 4 -5

View from Little Smith Street

REFLECTION The glass windows with mullions are apparent on the northern facade, and it blocked the continuity of the white box massing where the windows are the break and subtraction.

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08 Form Development

SCHEME 3.7 FLOOR PLANS

LEGEND

Site boundary Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff office

Mechanical room

LT SMITH ST

Week 4 -5

223

GERTRUDE ST

15 SMITH ST

224

08 Form Development

SCHEME 3.7 FLOOR PLANS

LEGEND Site boundary Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff office

Mechanical room

LT SMITH ST

225

GERTRUDE ST

5 5

SMITH ST

Week 4 -5

226

08 Form Development

SCHEME 3.7 FLOOR PLANS

LEGEND Site boundary Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff office

Mechanical room

LT SMITH ST

Week 4 -5

227

GERTRUDE ST

SMITH ST

228

08 Form Development

SCHEME 3.7 FLOOR PLANS

LEGEND Site boundary Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff office

Mechanical room

LT SMITH ST

229

GERTRUDE ST

SMITH ST

Week 4 -5

230

08 Form Development

SCHEME 3.7 FLOOR PLANS

LEGEND Site boundary Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff office

Mechanical room

LT SMITH ST

231

GERTRUDE ST

4 9

SMITH ST

Week 4 -5

232

08 Form Development

SCHEME 3.7 FLOOR PLANS

LEGEND Site boundary Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff office

Mechanical room

LT SMITH ST

233

GERTRUDE ST

7 10 SMITH ST

Week 4 -5

234

08 Form Development

SCHEME 3.7 FLOOR PLANS

LEGEND Site boundary Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Store

Loading dock

Small cinema

Toilet

Staff office

Mechanical room

ROOF

LT SMITH ST

Week 4 -5

235

GERTRUDE ST

SMITH ST 0

236

08 Form Development

REFLECTION

When begins to work on the building details, more question comes up regarding the representation of the style. Consistency in the minimalist style is crucial for my design. Therefore, I will need to research more on different architects and like real-life examples to understand the language.

LANGUAGE OF OPENING SANNA and Anacleto Angelini are two different styles of architect. Yet they have a clear language of glass opening and detail treatment which reflect their philosophy of architecture. For my design, the setback of the windows with minimal window joints will be a good representation of the architecture style I would like to pursue from this gallery.

Week 4 -5

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238

08 Form Development

SCHEME 3.8

(Based on scheme 3.7)

View from Smith Street In scheme 8, I am focused on doing the material testing for ground opening as well as window opening.

SCHEME 3.7

Week 4 -5

View from Smith Street (With cut out windows)

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240

08 Form Development

SCHEME 3.9

GERTRUDE ST

R FFL 25.8

SMITH ST

LT SMITH ST

4 FFL 20.8

SCULPTURAL TERRACE +

EXP. ART LAB

BREAKOUT

3 FFL 16.4

TEMP. GALLERY (2) 2 FFL 11.1

TEMP. GALLERY (1) 1 FFL 5.8

GIFT SHOP M FFL 1.35

FFL 0.0

RECEP

FFL 1

G FFL 0.0 SMITH ST

BACK OF HOUSE

PROJECT GALLE

BACK OF HOUSE

STORAGE

B1 FFL -5.3

B2 FFL -10.6

Section (1) Level Strategies In this scheme, I focused on tackling the level strategy on the ground floor to respect the existing topography in the site.

Week 4 -5

+ CAFE

Floor to floor height

PTION

FOYER

1.35

FFL 1.35

SPACE ERY

4.45 m LITTLE SMITH ST

DIGITAL ART GALLERY

SMALL CINEMA

6.05 m

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08 Form Development

SCHEME 3.9

GERTRUDE ST

R FFL 25.8

SMITH ST

LT SMITH ST

4 FFL 20.8

3 FFL 16.4

2 FFL 11.1

1 FFL 5.8 LOADING DOCK FFL 1.5 LITTLE SMITH ST

M FFL 1.35 G FFL 0.0

B1 FFL -5.3

B2 FFL -10.6

Section (2)

TOILETS FFL 1.35

Week 4 -5

Floor to floor height

GIFT SHOP FFL 0.0

5.5 m

SMITH ST

243

244

08 Form Development

SCHEME 3.9 FLOOR PLANS

LEGEND Site boundary Foyer

Reception

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Small cinema

Staff office

Toilet

Shared breakout space

Storage

Loading dock

Mechanical room

Back of house

Technician room

LT SMITH ST

Week 4 -5

245

GERTRUDE ST

13 19

FFL -10.6 18

SMITH ST

246

08 Form Development

SCHEME 3.9 FLOOR PLANS

LEGEND Site boundary Foyer

Reception

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Small cinema

Staff office

Toilet

Shared breakout space

Storage

Loading dock

Mechanical room

Back of house

Technician room

LT SMITH ST

Week 4 -5

247

GERTRUDE ST

10 6

FFL -5.3 SMITH ST

248

08 Form Development

SCHEME 3.9 FLOOR PLANS

LEGEND Site boundary Foyer

Reception

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Small cinema

Staff office

Toilet

Shared breakout space

Storage

Loading dock

Mechanical room

Back of house

Technician room

LT SMITH ST

Week 4 -5

249

GERTRUDE ST

10 FFL -5.3

FFL 1.35

1 FFL 0

1 FFL 1.35 2

16 FFL 1.5

SMITH ST

250

08 Form Development

SCHEME 3.9 FLOOR PLANS

LEGEND Site boundary Foyer

Reception

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Small cinema

Staff office

Toilet

Shared breakout space

Storage

Loading dock

Mechanical room

Back of house

Technician room

LT SMITH ST

Week 4 -5

251

GERTRUDE ST

SMITH ST

5 FFL 5.8

252

08 Form Development

SCHEME 3.9 FLOOR PLANS

LEGEND Site boundary Foyer

Reception

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Small cinema

Staff office

Toilet

Shared breakout space

Storage

Loading dock

Mechanical room

Back of house

Technician room

LT SMITH ST

Week 4 -5

253

GERTRUDE ST

SMITH ST

5 FFL 11.1

254

08 Form Development

SCHEME 3.9 FLOOR PLANS

LEGEND Site boundary Foyer

Reception

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Small cinema

Staff office

Toilet

Shared breakout space

Storage

Loading dock

Mechanical room

Back of house

Technician room

LT SMITH ST

Week 4 -5

255

GERTRUDE ST

13 14

FFL 16.4

SMITH ST

256

08 Form Development

SCHEME 3.9 FLOOR PLANS

LEGEND Site boundary Foyer

Reception

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Small cinema

Staff office

Toilet

Shared breakout space

Storage

Loading dock

Mechanical room

Back of house

Technician room

ROOF

LT SMITH ST

Week 4 -5

257

GERTRUDE ST

9 3 10

SMITH ST

FFL 20.8

258

09 Design Development

09 DESIGN DEVELOPMENT DESIGN DEVELOPMENT DESIGN DEVELOPMENT DESIGN DEVELOPMENT DESIGN DEVELOPMENT DESIGN DEVELOPMENT

Week 6

259

260

09 Design Development

SCHEME 3.10 FLOOR PLANS

LEGEND 1

Foyer

Reception

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Small theatre

Staff office

Toilet

Shared breakout space

Storage

Loading dock

Mechanical room

Back of house

Technician room

Cloak room and temporary storage

Indoor courtyard

OPTION 1

Week 6

261

GERTRUDE ST

13 19

FFL -10.6 18

SMITH ST

262

09 Design Development

SCHEME 3.10 FLOOR PLANS

LEGEND Foyer

Reception

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Small theatre

Staff office

Toilet

Shared breakout space

Storage

Loading dock

Mechanical room

Back of house

Technician room

Cloak room and temporary storage

Indoor courtyard

OPTION 2

LT SMITH ST

Week 6

263

GERTRUDE ST

13 19

FFL -10.6 18

SMITH ST

264

09 Design Development

SCHEME 3.10 FLOOR PLANS

LEGEND Foyer

Reception

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Small theatre

Staff office

Toilet

Shared breakout space

Storage

Loading dock

Mechanical room

Back of house

Technician room

Cloak room and temporary storage

Indoor courtyard

LT SMITH ST

Week 6

265

GERTRUDE ST

10 6

FFL -5.3 SMITH ST

266

09 Design Development

SCHEME 3.10 FLOOR PLANS

LEGEND Foyer

Reception

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Small theatre

Staff office

Toilet

Shared breakout space

Storage

Loading dock

Mechanical room

Back of house

Technician room

Cloak room and temporary storage

Indoor courtyard

LT SMITH ST

Week 6

267

GERTRUDE ST

10 FFL -5.3

FFL 1.35

FFL 0

16 FFL 1.5

SMITH ST

268

09 Design Development

SCHEME 3.10 FLOOR PLANS

LEGEND Foyer

Reception

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Small theatre

Staff office

Toilet

Shared breakout space

Storage

Loading dock

Mechanical room

Back of house

Technician room

Cloak room and temporary storage

Indoor courtyard

LT SMITH ST

Week 6

269

GERTRUDE ST

SMITH ST

5 FFL 5.8

270

09 Design Development

SCHEME 3.10 FLOOR PLANS

LEGEND Foyer

Reception

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Small theatre

Staff office

Toilet

Shared breakout space

Storage

Loading dock

Mechanical room

Back of house

Technician room

Cloak room and temporary storage

Indoor courtyard

LT SMITH ST

Week 6

271

GERTRUDE ST

SMITH ST

5 FFL 11.1

272

09 Design Development

SCHEME 3.10 FLOOR PLANS

LEGEND Foyer

Reception

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Small theatre

Staff office

Toilet

Shared breakout space

Storage

Loading dock

Mechanical room

Back of house

Technician room

Cloak room and temporary storage

Indoor courtyard

OPTION 1

LT SMITH ST

Week 6

273

GERTRUDE ST

FFL 16.4

SMITH ST

274

09 Design Development

SCHEME 3.10 FLOOR PLANS

LEGEND Foyer

Reception

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Small theatre

Staff office

Toilet

Shared breakout space

Storage

Loading dock

Mechanical room

Back of house

Technician room

Cloak room and temporary storage

Indoor courtyard

OPTION 2

LT SMITH ST

Week 6

275

GERTRUDE ST

FFL 16.4

SMITH ST

276

09 Design Development

SCHEME 3.10 FLOOR PLANS

LEGEND Foyer

Reception

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Small theatre

Staff office

Toilet

Shared breakout space

Storage

Loading dock

Mechanical room

Back of house

Technician room

Cloak room and temporary storage

Indoor courtyard

OPTION 1

ROOF

LT SMITH ST

Week 6

277

GERTRUDE ST

21 9

10 FFL 20.8

SMITH ST

278

09 Design Development

SCHEME 3.10 FLOOR PLANS

LEGEND Foyer

Reception

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Small theatre

Staff office

Toilet

Shared breakout space

Storage

Loading dock

Mechanical room

Back of house

Technician room

Cloak room and temporary storage

Indoor courtyard

OPTION 2

ROOF

LT SMITH ST

Week 6

279

GERTRUDE ST

21 9

10 FFL 20.8

SMITH ST

280

09 Design Development

SCHEME 3.10 FLOOR PLANS

LEGEND Foyer

Reception

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Small theatre

Staff office

Toilet

Shared breakout space

Storage

Loading dock

Mechanical room

Back of house

Technician room

Cloak room and temporary storage

Indoor courtyard

OPTION 3

ROOF

LT SMITH ST

Week 6

281

GERTRUDE ST

21 9

SMITH ST

FFL 20.8

282

09 Design Development

SCHEME 3.10 FLOOR PLANS

LEGEND Foyer

Reception

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Small theatre

Staff office

Toilet

Shared breakout space

Storage

Loading dock

Mechanical room

Back of house

Technician room

Cloak room and temporary storage

Indoor courtyard

OPTION 4

ROOF

LT SMITH ST

Week 6

283

GERTRUDE ST

21 9

10 SMITH ST

FFL 20.8

284

09 Design Development

SCHEME 3.10 FLOOR PLANS

LEGEND Foyer

Reception

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Small theatre

Staff office

Toilet

Shared breakout space

Storage

Loading dock

Mechanical room

Back of house

Technician room

Cloak room and temporary storage

Indoor courtyard

OPTION 5

ROOF

LT SMITH ST

Week 6

285

GERTRUDE ST

21 9

10 FFL 20.8

SMITH ST

286

09 Design Development

SCHEME 3.10 SECTION AA LEGEND 3

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Small theatre

Staff office

Storage

Loading dock

Back of house

Cloak room and temporary storage

Week 6

287

GERTRUDE ST

SMITH ST

LT SMITH ST

288

09 Design Development

SCHEME 3.10 SECTION BB LEGEND 1

Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Small theatre

Toilet

Loading dock

Week 6

289

GERTRUDE ST

SMITH ST

LT SMITH ST

290

09 Design Development

SCHEME 3.10 EXTERIOR VIEWS

View from Smith St - Day

View from corner of Gertrude St and Smith St - Day

Week 6

View from Smith St - Night

View from corner of Gertrude St and Smith St -Night

291

292

09 Design Development

SCHEME 3.10 EXTERIOR VIEWS

View from Gertrude St

View from corner of Gertrude St and Smith St

Week 6

Top vew from corner of Gertrude St and Smith St

View from Little Smith St

293

294

09 Design Development

SCHEME 3.10 INTERIOR VIEWS

B1 - Project space gallery

L2 - Temporary Gallery

Week 6

L2 - Temporary Gallery

295

296

09 Design Development

SCHEME 3.10 INTERIOR VIEWS

B1 -Courtyard

Week 6

L3 - Indoor courtyard

297

298

10 Final Review

10 FINAL REVIEW FINAL REVIEW FINAL REVIEW FINAL REVIEW FINAL REVIEW FINAL REVIEW

Week 7

299

300

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DESIGN STATEMENT

REFERENCE Carmen Herrera Blanco y Verde, 1962.

REFERENCE Donald Judd Specific objects

Being inspired by artists Donald Judd and Carmen Herrera and architect Manuel Aires and Mateus and SANAA, the gallery aims to design an architecture that seeks spatial harmony in the context with a timeless form. These reference works are in different mediums yet share the simplicity and minimal aesthetic expression to convey a concept. Judd once said, “It requires more effort to get rid of things that are not important”. Therefore, the challenge of this architecture is minimisation.

“We have to art about art,” said Carmen in her recent documentary. In this project, I would like to explore the permanence of simplicity through a concise and poetic expression of form and space. To help people feel and concentrate on arts. The architecture that I would like to pursue is an aesthetic sculpture that, like Aires Mateus mentioned in his interview, ‘use our instinct to react’ or SANAA’s philosophy of ‘being proportional’ with the context.

Week 7

REFERENCE SANAA (Ryue Nishizawa) Teshima Art Museum

REFERENCE Aires Mateus Grândola Meeting Center

301

302

10 Final Review

OVERAL

LL VIEW

Week 7

303

304

10 Final Review

VIEW FROM IN

NTERSECTION

Week 7

305

306

10 Final Review

GERTRUDE STREET PROJECT

Gertrude Street Projection Festival, held yearly in the area, g

TION FESTIVAL OPPORTUNITY

gives a huge opportunity for the site to be part of the festival.

Week 7

307

308

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GERTRUDE STREET PROJECT

Full wall projection Yandell Walton - Shift

TION FESTIVAL OPPORTUNITY

n of local artist work ting Surrounds (2019)

Week 7

309

310

10 Final Review

GERTRUDE STREET PROJECT

Curved wall projectio Maia Kjend - D

TION FESTIVAL OPPORTUNITY

on of local artist work Dwolma (2021)

Week 7

311

312

10 Final Review

VIEW FROM GER

RTRUDE STREET

Week 7

313

314

10 Final Review

VIEW FROM

M SMITH ST

Week 7

315

316

10 Final Review

ELEVATIO

ON VIEW

Week 7

317

318

10 Final Review

PROGRAMME

LEVEL OF PRIVACY LOW

LEGEND

Courtyard/terrace Foyer Retail Staff office/ lab Services/ Loading Digital gallery

HIGH

Performance theatre/ Back of House/ Storage

Week 7

R CORE

TR Y

LT S

B2 SM

U TR ER

319

320

10 Final Review

FLOOR PLANS

LT SMITH ST

LEGEND

AREA

Performance theatre

75 m2

Gallery storage

215 m2

Back of house

20 m2

Technician room

20 m2

Mechanical room

50 m2

Toilet

40 m2

B2 FLOOR AREA 515 m2

Week 7

321

GERTRUDE ST

21 19 20 13

SMITH ST

16 FFL -10.6

322

10 Final Review

FLOOR PLANS

LT SMITH ST

LEGEND

AREA

Project space gallery

260 m2

Digital media gallery

105 m2

Outdoor courtyard

85 m2

Back of house

40 m2

B1 FLOOR AREA 515 m2

Week 7

323

GERTRUDE ST

SMITH ST

FFL -5.3

324

10 Final Review

FLOOR PLANS

LT SMITH ST

LEGEND

AREA

Foyer

115 m2

Reception

65 m2

Cloak room

20 m2

Gift shop

65 m2

Outdoor courtyard

85 m2

Loading dock

25 m2

Back of house

25 m2

G FLOOR AREA 380 m2

17 FFL 1

325

GERTRUDE ST

11 FFL -5.3

FFL 1.35

FFL 0

SMITH ST

7 1.5

Week 7

5 FFL 0

326

10 Final Review

FLOOR PLANS

LT SMITH ST

LEGEND

AREA

Temporary gallery

325 m2

Back of house

40 m2

1 FLOOR AREA 410 m2

Week 7

327

GERTRUDE ST

SMITH ST

6 FFL 5.8

328

10 Final Review

FLOOR PLANS

LT SMITH ST

LEGEND

AREA

Temporary gallery

290 m2

Sculpture terrace

13 m2

Outdoor courtyard

30 m2

Back of house

30 m2

2 FLOOR AREA 410 m2

Week 7

329

GERTRUDE ST

SMITH ST

11 6 FFL 11.1

330

10 Final Review

FLOOR PLANS

LT SMITH ST

LEGEND

AREA

Experimental art lab

75 m2

Indoor courtyard

20 m2

Staff office

140 m2

Shared breakout space

45 m2

Toilet

6 m2

3 FLOOR AREA 345 m2

Week 7

331

GERTRUDE ST

21 15

SMITH ST

9 14 FFL 16.4

332

10 Final Review

FLOOR PLANS

LT SMITH ST

LEGEND

AREA

Cafe

45 m2

Sculpture terrace

210 m2

Indoor courtyard

20 m2

R FLOOR AREA 345 m2

Week 7

333

GERTRUDE ST

SMITH ST

10 FFL 16.4

334

10 Final Review

SECTION BB

LEGEND 3

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor terrace

Staff office

Storage

Loading dock

Back of house

Cloak room and temporary storage

FFL 25.0 10

R FFL 20.8

3 FFL 16.4

18 2 FFL 11.1

18 1 FFL 5.8

G FFL 1.5 LG FFL 0.0 LITTLE SMITH ST 18

B1 FFL -5.3

18 B2 FFL -10.6

Week 7

335

GERTRUDE ST

SMITH ST

LT SMITH ST

SMITH ST

336

10 Final Review

SECTION AA

LEGEND 1

Foyer

Cafe

Gift shop

Temporary gallery

Project space gallery

Digital media gallery

Experimental art lab

Sculpture terrace

Outdoor courtyard

Indoor courtyard

Performance theatre

Storage

FFL 25.8

R FFL 20.8

9 3 FFL 16.4

6 2 FFL 11.1

6 1 FFL 5.8

5 G FFL 1.35 LG FFL 0.0

8 B1 FFL -5.3

B2 FFL -10.6

Week 7

337

GERTRUDE ST

SMITH ST

LT SMITH ST

DETAIL SECTION 1

GERTRUDE ST 7

338

10 Final Review

DETAIL SECTION

FOYER

OUTDOOR COURTYARD

DIGITAL ART GALLERY

PROJECT SPACE GALLERY

Week 7

GERTRUDE ST

SMITH ST

LT SMITH ST

G FFL 1.35

LG FFL 0.0

B1 FFL -5.3

339

340

10 Final Review

B PERFORMANCE THEATRE

B2 E AND GALLERY STORAGE

Week 7

341

342

10 Final Review

B DIGITAL AR

B1 RT GALLERY

Week 7

343

344

10 Final Review

B OUTDOOR C

B1 COURTYARD

Week 7

345

346

10 Final Review

LG ENTRY AND

G D GIFT SHOP

Week 7

347

348

10 Final Review

G LOADING

G G DOCK

Week 7

349

350

10 Final Review

G FOYER AND

G RECPETION

Week 7

351

352

10 Final Review

G GIFT S

G SHOP

Week 7

353

354

10 Final Review

1 TEMPORAR

1 RY GALLERY

Week 7

355

356

10 Final Review

2 TEMPORAR

2 RY GALLERY

Week 7

357

358

10 Final Review

2 TEMPORARY GALLERY AN

2 ND OUTDOOR COURTYARD

Week 7

359

360

10 Final Review

3 INDOOR COURTYARD AND S

3 SHARED BREAKOUT SPACE

Week 7

361

362

10 Final Review

R SCULPTURE TER

R RRACE AND CAFE

Week 7

363

364

10 Bibliography

BIBLIOGRAPHY TEXTS “History of Conisbrough Castle.” n.d. English Heritage. https://www.english-heritage.org.uk/visit/places/conisbrough-castle/history/. “Court House Studies, Interior Perspective Study.” The Art Institute of Chicago. 2018. https://www.artic.edu/artworks/63817/court-house-studies-interior-perspective-study. Sano, Junichi. 2005. “A Spiral and Collinearity : Invisible Geometrical Relationships in the Plans of the House with Three Courts and the Court House with Garage by Mies Van Der Rohe.” Journal of Architecture and Planning (Transactions of AIJ) 70 (588): 229–35. https://doi.org/10.3130/aija.70.229_2. “Significance of Conisbrough Castle.” n.d. English Heritage. https://www.english-heritage.org.uk/visit/places/conisbrough-castle/history/significance/. Moussavi, Farshid, and Daniel López. The Function of Form. Actar, 2009. https://search.ebscohost.com/login.aspx?direct=true&AuthType=sso&db=cat00006a&AN=melb.b3360518&site=eds-live&scope=site. Jessica Backus. 2016. “Why You Don’t Get Contemporary Art | TEDxCornellTech.” www.youtube.com. Accessed January 16, 2022. https://www.youtube.com/watch?v=-07e6L93pF4&t=279s. O’doherty, Brian. 2010. Inside the White Cube: The Ideology of the Gallery Space. Berkeley: University of California Press. https://search.ebscohost.com/login.aspx?direct=true&AuthType=sso&db=cat00006a&AN=melb. b2541503&site=eds-live&scope=site. McIntyre, Charles. “Museum and Art Gallery Experience Space Characteristics: An Entertaining Show or a Contemplative Bathe?” International Journal of Tourism Research 11, no. 2 (March 2009): 155–70. https://search.ebscohost.com/login. aspx?direct=true&AuthType=sso&db=bth&AN=36783225&site=eds-live&scope=site. Chadwick, A. F. The Role of the Museum and Art Gallery in Community Education. Nottingham Studies in the Theory and Practice of the Education of Adults: 4. Department of Adult Education, University of Nottingham [for the] National Institute of Adult Education, 1980. https://search.ebscohost.com/login.aspx?direct=true&AuthType=sso&db=cat00006a&AN=melb.b6668165&site=eds-live&scope=site. Mckenna-Cress, Polly, and Janet Kamien. 2013. Creating Exhibitions : Collaboration in the Planning, Development, and Design of Innovative Experiences. Hoboken, New Jersey: Wiley. Gibson, Eric. “The Passion of Donald Judd.” New Criterion, April 1, 2020. https://search.ebscohost.com/login.aspx?direct=true&AuthType=sso&db=edsglr&AN=edsglr.A621477036&site=eds-live&scope=site. Calvelo, Marianne. “Interview with Manuel Aires Mateus.” Interstices: Journal of Architecture and Related Arts (2012): 113-115. Taborda, Claudia. “Manuel Aires Mateus: an architecture for the art of life.” Shijie Jianzhu [World Architecture] 268 (2012): 16-21. Kotoulas, Sotirios, and Karline Moeller. “Donald Judd.” Border Crossings 39, no. 3 (November 2020): 104–7. https:// search.ebscohost.com/login.aspx?direct=true&AuthType=sso&db=vth&AN=147759038&site=eds-live&scope=site. Roper, Mark. 2010. “When in ... Fitzroy, Melbourne, Australia.” The Guardian, October 2, 2010, sec. Travel. https://www. theguardian.com/travel/gallery/2010/oct/03/when-in-fitzroy-melbourne-australia.

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Sheposh, Richard. 2020. “Contemporary Art.” Salem Press Encyclopedia. https://search.ebscohost.com/login.aspx?direct=true&AuthType=sso&db=ers&AN=125600195&site=eds-live&scope=site. Senn, Evan. “Carmen Herrera: Lines of Sight.” Woman’s Art Journal 38, no. 2 (September 22, 2017): 58. https://search.ebscohost.com/login.aspx?direct=true&AuthType=sso&db=edsgao&AN=edsgcl.666017448&site=eds-live&scope=site. Alison Klayman. 2015. “The 100 Years Show: Carmen Herrera.” Motto Pictures. Nikolaï Saoulski. 2019. “Donlad Judd: Curated by Flavin Judd - Paris Marais.” Thaddaeus Ropac. “Museum of Image & Sound.” 2019. DS+R. Accessed January 17, 2022. https://dsrny.com/project/museum-of-image-and-sound?fbclid=IwAR04LKKxNWo1tlKqg6qCVdYenHC72Uly-vDQfMQ7gNUWHiOrHxuN2QqXMGM. “Museum of Image and Sound.” 2019. Arquitectura Viva. February 7, 2020. https://arquitecturaviva.com/works/museo-de-imagen-y-sonido-rio-de-janeiro-3?fbclid=IwAR02L5CoV0ygOUol8hwTquwq8Wrs76UeoHFgPoZfyKaYvq0zpZt1uTclTy4 “Museum of Image and Sound by Diller Scofidio + Renfro.” 2009. Dezeen. August 14, 2009. https://www.dezeen. com/2009/08/14/museum-of-image-and-sound-by-diller-scofidio-renfro/. Arquitectura Viva. 2018. “History Museum in Ningbo - Amateur Architecture Studio.” Arquitectura Viva. Arquitectura Viva. December 26, 2018. https://arquitecturaviva.com/works/history-museum-in-ningbo. Wöhler, Till. 2010. “Ningbo Museum by Pritzker Prize Winner Wang Shu.” Architectural Review. March 1, 2010. https:// www.architectural-review.com/buildings/ningbo-museum-by-pritzker-prize-winner-wang-shu. “Ningbo Historic Museum / Wang Shu, Amateur Architecture Studio.” 2009. ArchDaily. February 22, 2009. https://www. archdaily.com/14623/ningbo-historic-museum-wang-shu-architect.

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IMAGES MicroOne. “Trendy Vivid Color Abstract.” DesignBundles.net, September 19, 2020. https://designbundles.net/microone/907912-trendy-vivid-color-abstract-vector-shapes-for-cont?ref=1vvdv8. Otl Aicher. “Square, Circle, Triangle.” 2009. 80. August 13, 2009. https://80magazine.wordpress.com/2009/08/13/cadrado-circulo-triangulo-1-square-circle-triangle-1/. Bridget Riley.“ Compositionwith Circles 4.” 2004. Artsy.net. Accessed January 25, 2022. https://www.artsy.net/artwork/ bridget-riley-composition-with-circles-4-2004-signed. Aessestudio. “Fosoanomia.” 2009. Accessed January 25, 2022. https://weare1910.tumblr.com/post/22644333826/studiofmmilanoIllusion. “Untitled.” 2021. The Henryk Berlewi Archive. February 10, 2021. https://berlewi.com/works/. Sol LeWitt. “Incomplete Open Cube Drawing - Ten & Eleven Part Variations , Ca. 1973–1974.” Artnet.com. Accessed January 10, 2022. http://www.artnet.com/artists/sol-lewitt/incomplete-open-cube-drawing-ten-eleven-part-nkvAnAgDjc3hQSt9V3vYmg2. Purkinje, J. “Deceptions of the Senses Are the Truths of Perception.” The Science of Optical Illusions. Accessed January 10, 2022. https://people.cornellcollege.edu/dsherman/illusions/index.html. “Humans since 1982.” n.d. Humans since 1982. Accessed January 25, 2022. https://www.humanssince1982.com/. Sol LeWitt. “Incomplete Open Cube Drawing - Ten & Eleven Part Variations , Ca. 1973–1974.” Artnet.com. Accessed January 10, 2022. http://www.artnet.com/artists/sol-lewitt/incomplete-open-cube-drawing-ten-eleven-part-nkvAnAgDjc3hQSt9V3vYmg2. Studiomister. “Creative Black and White, Logo.” Designspiration. Accessed January 10, 2022. https://www.designspiration.com/save/3412563214/. ‌ “Untitled”. Palm & Laser. 2013. Accessed January 10, 2022. https://palmandlaser.tumblr.com/post/68019429069. Studiomister. “Creative Black and White, Logo.” n.d. https://www.flickr.com/photos/24758892@N05/favorites/ page11/?view=lg “Blue Simple Circle Border Texture”. n.d. https://pngtree.com/freepng/blue-simple-circle-border-texture_2932365.html Kelly, Robert. “Thicket Assemblage LXX.” 2008. http://www.contemporarygallery.it/html/exhibition_work.asp?posizione=past&imageID=468&func=9 “Pause - Reflect - Plan.” 5 Steps to Reflect and Find Clarity When You Feel Lost. https://www.peopleatheartcoaching. com/reflect-and-plan-in-5-steps MoMA. “Richard Serra Sculpture: Forty Years.” https://www.moma.org/audio/playlist/236 Kazimir Malevich. “Eight Red Rectangles.” 1915. https://www.artsy.net/artwork/kasimir-severinovich-malevich-suprematist-composition-with-eight-red-rectangles “Conisborough, Donjon.” n.d. https://premoderno.tumblr.com/page/44 “Conisbrough Castle.” 2021. https://en.wikipedia.org/wiki/Conisbrough_Castle “Rory. 2007. “A Sculpture for Living: Courtyard House 3: Court-House with Gararge, Mies van Der Rohe.” http://asculptureforliving.blogspot.com/2007/02/courtyard-house-3-court-house-with.html “Ludwig Mies van Der Rohe. Court House Project, Plan. 1945-46 | MoMA.” https://www.moma.org/collection/works/767 “Concept of MIS, Museum of Image and Sound.” 2009. Dezeen. August 14, 2009. https://www.dezeen.com/2009/08/14/ museum-of-image-and-sound-by-diller-scofidio-renfro/.

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“Form making of MIS, Museum of Image and Sound.” 2009. Dezeen. August 14, 2009. https://www.dezeen. com/2009/08/14/museum-of-image-and-sound-by-diller-scofidio-renfro/. “View of MIS and its surroundings, Museum of Image & Sound.” 2019. DS+R. Accessed January 17, 2022. https://dsrny. com/project/museum-of-image-and-sound?fbclid=IwAR04LKKxNWo1tlKqg6qCVdYenHC72Uly-vDQfMQ7gNUWHiOrHxuN2QqXMGM. “Section of MIS, Museum of Image and Sound.” 2009. Dezeen. August 14, 2009. https://www.dezeen.com/2009/08/14/ museum-of-image-and-sound-by-diller-scofidio-renfro/. “Plans of MIS, Museum of Image and Sound.” 2019. Arquitectura Viva. Arquitectura Viva. February 7, 2020. https://arquitecturaviva.com/works/museo-de-imagen-y-sonido-rio-de-janeiro-3?fbclid=IwAR02L5CoV0ygOUol8hwTquwq8Wrs76UeoHFgPoZfyKaYvq0zpZt1uTclTy4 “Short section of MIS, Museum of Image and Sound.” 2009. Dezeen. August 14, 2009. https://www.dezeen. com/2009/08/14/museum-of-image-and-sound-by-diller-scofidio-renfro/. “View of vertical boulevard along MIS’s facade, Museum of Image & Sound.” 2019. DS+R. Accessed January 17, 2022. https://dsrny.com/project/museum-of-image-and-sound?fbclid=IwAR04LKKxNWo1tlKqg6qCVdYenHC72Uly-vDQfMQ7gNUWHiOrHxuN2QqXMGM. “MIS illustrative perspective, Museum of Image and Sound.” 2019. Arquitectura Viva. Arquitectura Viva. February 7, 2020. https://arquitecturaviva.com/works/museo-de-imagen-y-sonido-rio-de-janeiro-3?fbclid=IwAR02L5CoV0ygOUol8hwTquwq8Wrs76UeoHFgPoZfyKaYvq0zpZt1uTclTy4 “Façade detail, Museum of Image and Sound.” 2019. Arquitectura Viva. Arquitectura Viva. February 7, 2020. https:// arquitecturaviva.com/works/museo-de-imagen-y-sonido-rio-de-janeiro-3?fbclid=IwAR02L5CoV0ygOUol8hwTquwq8Wrs76UeoHFgPoZfyKaYvq0zpZt1uTclTy4 “MIS elevation, Museum of Image and Sound.” 2019. Arquitectura Viva. Arquitectura Viva. February 7, 2020. https:// arquitecturaviva.com/works/museo-de-imagen-y-sonido-rio-de-janeiro-3?fbclid=IwAR02L5CoV0ygOUol8hwTquwq8Wrs76UeoHFgPoZfyKaYvq0zpZt1uTclTy4 “Back facade, Museum of Image and Sound.” 2019. Arquitectura Viva. Arquitectura Viva. February 7, 2020. https://arquitecturaviva.com/works/museo-de-imagen-y-sonido-rio-de-janeiro-3?fbclid=IwAR02L5CoV0ygOUol8hwTquwq8Wrs76UeoHFgPoZfyKaYvq0zpZt1uTclTy4 “Back façade detail, Museum of Image and Sound.” 2019. Arquitectura Viva. Arquitectura Viva. February 7, 2020. https:// arquitecturaviva.com/works/museo-de-imagen-y-sonido-rio-de-janeiro-3?fbclid=IwAR02L5CoV0ygOUol8hwTquwq8Wrs76UeoHFgPoZfyKaYvq0zpZt1uTclTy4 “Site Plan, Ningbo Historic Museum / Wang Shu, Amateur Architecture Studio.” 2009. ArchDaily. February 22, 2009. https://www.archdaily.com/14623/ningbo-historic-museum-wang-shu-architect. “Site Plan, Ningbo Historic Museum / Wang Shu, Amateur Architecture Studio.” 2009. ArchDaily. February 22, 2009. https://www.archdaily.com/14623/ningbo-historic-museum-wang-shu-architect. “Exterior form, Ningbo Historic Museum / Wang Shu, Amateur Architecture Studio.” 2009. ArchDaily. February 22, 2009. https://www.archdaily.com/14623/ningbo-historic-museum-wang-shu-architect. “Long section, Ningbo Historic Museum / Wang Shu, Amateur Architecture Studio.” 2009. ArchDaily. February 22, 2009. https://www.archdaily.com/14623/ningbo-historic-museum-wang-shu-architect. “Exterior view, Ningbo Historic Museum / Wang Shu, Amateur Architecture Studio.” 2009. ArchDaily. February 22, 2009. https://www.archdaily.com/14623/ningbo-historic-museum-wang-shu-architect. “Interior atrium, Ningbo Historic Museum / Wang Shu, Amateur Architecture Studio.” 2009. ArchDaily. February 22, 2009. https://www.archdaily.com/14623/ningbo-historic-museum-wang-shu-architect. “Plans, Ningbo Historic Museum / Wang Shu, Amateur Architecture Studio.” 2009. ArchDaily. February 22, 2009. https://

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www.archdaily.com/14623/ningbo-historic-museum-wang-shu-architect. “Long section, Ningbo Historic Museum / Wang Shu, Amateur Architecture Studio.” 2009. ArchDaily. February 22, 2009. https://www.archdaily.com/14623/ningbo-historic-museum-wang-shu-architect. “Elevation, Ningbo Historic Museum / Wang Shu, Amateur Architecture Studio.” 2009. ArchDaily. February 22, 2009. https://www.archdaily.com/14623/ningbo-historic-museum-wang-shu-architect. “Façade exterior, Ningbo Historic Museum / Wang Shu, Amateur Architecture Studio.” 2009. ArchDaily. February 22, 2009. https://www.archdaily.com/14623/ningbo-historic-museum-wang-shu-architect. “Reused bricks, Ningbo Historic Museum / Wang Shu, Amateur Architecture Studio.” 2009. ArchDaily. February 22, 2009. https://www.archdaily.com/14623/ningbo-historic-museum-wang-shu-architect. “Short Elevation, Ningbo Historic Museum / Wang Shu, Amateur Architecture Studio.” 2009. ArchDaily. February 22, 2009. https://www.archdaily.com/14623/ningbo-historic-museum-wang-shu-architect. “Internal circulation, Ningbo Historic Museum / Wang Shu, Amateur Architecture Studio.” 2009. ArchDaily. February 22, 2009. https://www.archdaily.com/14623/ningbo-historic-museum-wang-shu-architect. “Façade and stairs, Ningbo Historic Museum / Wang Shu, Amateur Architecture Studio.” 2009. ArchDaily. February 22, 2009. https://www.archdaily.com/14623/ningbo-historic-museum-wang-shu-architect. INITIAL CONCEPTS “Carmen Herrera | Artist | Royal Academy of Arts.” 2019. Www.royalacademy.org.uk. https://www.royalacademy.org.uk/ art-artists/name/carmen-herrera-hon-ra. “Project Space: Donald Judd - Exhibitions - Mnuchin Gallery.” 2009. Www.mnuchingallery.com. Accessed January 20, 2022. https://www.mnuchingallery.com/exhibitions/project-space-donald-judd#tab:slideshow. “Gråndola Community Center.” 2017. Architizer. June 22, 2017. https://architizer.com/projects/grandola-community-center/. Smith, Tom. 2016. “The Best Things to See and Do in Fitzroy, Melbourne.” Culture Trip. January 10, 2016. https://theculturetrip.com/pacific/australia/articles/top-10-things-to-do-and-see-in-fitzroy/. “Gertrude Street Projection Festival 10th Anniversary | Yarra City Council.” 2017. Www.yarracity.vic.gov.au. Accessed January 20, 2022. https://www.yarracity.vic.gov.au/events/2017/07/21/gertrude-street-projection-festival-10th-anniversary. “The Rose St. Artists’ Market.” n.d. The Rose St. Artists’ Market. Accessed January 20, 2022. https://www.rosestmarket. com.au/. “Gertrude Glasshouse Gallery | Sibling.” 2017. Accessed January 20, 2022. http://siblingarchitecture.com/projects/gertrude-glasshouse/. “Performance Space - Liveworks Archive - Unbearable Darkness - Choy Ka Fai .” 2019. Performancespace.com.au. Accessed January 20, 2022. https://performancespace.com.au/program/unbearable-darkness-by-choy-ka-fai/. “Carmen Herrera: Lines of Sight.” 2017. Wexner Center for the Arts. Accessed January 20, 2022. https://wexarts.org/exhibitions/carmen-herrera-lines-sight. “Donald Judd | Curated by Flavin Judd.” 2019. Thaddaeus Ropac. Accessed January 20, 2022. https://ropac.net/exhibitions/44-donald-judd-curated-by-flavin-judd/.

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