TABLE OF CONTENTS
01 Spatial Verbs
02 Inside-out Objects
03 Site Analysis
04 Design Statement
05 Urban Massing
06 Mid-term Review
07 Gallery Analysis
08 Design Developement
09 Final Review
01 SPATIAL VERBS
Blur/ Order and Disorder/ Expand/ Quotation/ Non chronological order/ Embed/ Anamorphic/ Detail/ Fragmentation/ Optics/ Inversion& negative/ Illusion/ Transparency/ Folding
Using a shared design tool-kit, in which we apply design and graphicspatial techniques to a ser ies of architectur al or ganizations. This will be achieved through proposing contempor ar y ar t Project Space for Melbourne. We will be encouraged to explore architectural design as an inter vention within the surrounding Fitzroy ar ts precinct. There will be a series of architectural inter ventions, centring on form making, the program and the site. Developing a sound under standing of different spatial and gr aphic techniques designers adopt and how these may communicate ideas and concepts through architectural design. These studies shall be fostered and developed by conducting site and program investigations in order to establish a par ticular design process.
Negative From Le Corbusier's Free plan to Rem Koolhaas's void str ategy. Thinking about Negative space is constantly giving new understandings. These iterations first uses the logic of subtraction to extract two irregular par ts from a complete assembly. Then move the par t to a cer tain distance to form negative space with the original par t. What is subtracted in the following steps is added back to the original whole to form a variety of interior Spaces. Through the reor ganization, the "window", "passage", "atrium" and other architectural Spaces are formed.
Studio 36: Untitled | Pengcheng Yang 1230867
6
Fold I star ted to explore pliable surface from OMA, and then the continuous surface can become the roof, ground, and walls of a building. This is an attempt to explore the possibility of such continuous changes. Star ting from a rectangular plate , it is folded in a variety of ways, but the folded edge increases continuity in the for m of cur ved surface , enhancing the sense of boundar y of space. The different folding results form a gradually enriched space through combination. The continuous plate of circulation and wall for m creates buildings of different volumes through visual propor tion. My tutor Anna and I both liked the second iteration because of its simple composition and potential for spatial development.
7
01 / Spatial Verbs
Order From Le Corbusier's Free plan to Rem Koolhaas's void strategy. Thinking about Negative space is constantly giving new understandings. These iterations first uses the logic of subtraction to extract two irregular par ts from a complete assembly. Then move the par t to a cer tain distance to form negative space with the original par t. What is subtracted in the following steps is added back to the original whole to form a variety of interior Spaces. Through the reorganization, the "window", "passage", "atrium" and other architectural Spaces are formed.
Studio 36: Untitled | Pengcheng Yang 1230867
8
Disorder Unlike Order Iteration, this uses similar logic to the VM House . The design of disorder is added to the over all repetitive building units. This disorder mainly affects the orientation of geometric objects, forming continuous and discontinuous surfaces between aggregates of different orientations. From four identical aggregates gr adually changed to 16 aggregates with different orientations and refinements. Finally, a continuous aggregate is extr acted. It for ms a different spatial expression from the or iginal complete geometr ic matr ix. Like a circulation space in a circular town.
9
01 / Spatial Verbs
Embed Embed two geometric forms - the geometric soild and the skeleton of the solid. Expressions that emphasize wholeness and boundaries contrast to create a space for positives and negatives. In the final iteration, it includes multiple expression combinations such as skeleton containing solid, solid filling skeleton, skeleton containing skeleton and so on. Similar to Sou Fujimoto's structure, the interaction between space and environment is realized through the gaps between the geometry, some Spaces are completely open to the environment, others have certain boundaries. Studio 36: Untitled | Pengcheng Yang 1230867
10
Distort Distor tion affects the shape of the subject towards the edges of the frame. So iteration creates a misleading impression by creating a whole series of distor tions on both continuous and parallel surfaces. I distor t a rectangular array to create a shape that visually presents a dynamic terrain. Combined and tested, dynamic terrain and walls can be formed.
11
01 / Spatial Verbs
Fragementation Breaking something into pieces. I understand fragmentation as an anarchic deconstruction. The substance is composed of smaller substances, and the wall is a whole composed of bricks. Here, the whole is dissolved in different degrees of random ways, forming par ts with different connection behaviors. These sections form Spaces in the gap and inside.Figure 2 is a ver tical fragementation test.
Chaos Chaos is developed in a specific environment, but there is no predefined structure. Its str ucture, as long as it has one, is multidimensional and always different. Chaos constantly reinventing itself.(figure 3)
Studio 36: Untitled | Pengcheng Yang 1230867
12
13
01 / Spatial Verbs
Illusion This iteration is inspired by Escher's “infinity” concept, which creates some visual illusion by disturbing the rational arrangement of some elements. Here it is captured from a special perspective. The placement of stairs and walls breaks the spatial layout of Newtonian gravity, resulting in visual misdirection and illusion.
Studio 36: Untitled | Pengcheng Yang 1230867
14
15
01 / Spatial Verbs
Boolean A continuous block is extracted from the ver tical solid to create a continuous cur ved space inside. The internal continuous negative space realized through Grasshopper shows cer tain rules. New continuous surfaces form from the outside.
Studio 36: Untitled | Pengcheng Yang 1230867
16
Jump-cut "Jump cut" the soild with geometr y of the arch. There are a number of aisles both horizontally and ver tically within the space and also a regular skylight at the top. Unlike the expression of Vaults in postmodern, these four iterations of Spaces break the postmodern expression of architectural integrity. Here the exploration of a spatial "surprise" begins with a sudden interruption when viewing the continuous edges of the building.
17
01 / Spatial Verbs
Quotation/ Inversion This iteration explores the deconstruction and reorganization of two of Louis Kahn's classic symmetrical buildings. The reorganization of the interior space inver ses the Kahn Librar y's spatial design. The exterior is a deconstr uction of the Sher-Bangla Nagar project, with the ver tical wall at the entrance transformed into a cylindrical representation.
Studio 36: Untitled | Pengcheng Yang 1230867
18
Phillips Exeter Academy Librar y and Dining Hall, Exeter, New Hampshire 1965-72 ( h t t p : / / w w w. d e s i g n c u r i a l . c o m / news/louis-kahn---six-mostimpor tant-buildings-4323752/) 19
Sher-e-Bangla Nagar, Capital of Bangladesh Dhaka, Bangladesh 1962-83 ( h t t p : / / w w w. d e s i g n c u r i a l . c o m / n e w s / louis-kahn---six-most-impor tantbuildings-4323752/)
01 / Spatial Verbs
Studio 36: Untitled | Pengcheng Yang 1230867
20
Mix- foam develpoements T h e s e i t e r a t i o n s c o n t i nu e t o d e ve l o p n e g a t i ve s p a c e a n d a d d m o r e d e t a i l e d architectural elements. Skylight is inspired by Tadao Ando's Church of Light. The wall design of the entrance is a quotation to the concept of light leakage in the window of The Changjiang Ar t Museum of Dong Gong.
21
01 / Spatial Verbs
Studio 36: Untitled | Pengcheng Yang 1230867
22
Folding Iteration-2 developement Folding iteration-2 continues to develop. The inner and outer space formed by two continuous surfaces is more rationalized. Than I did a series of stacking tests and modified par t of the surface to meet the needs of the real space. The two intersecting surfaces of the wall can be used as a boundar y dividing the public and private areas of the interior. The gap between the ver tical surface and the transverse surface becomes the space for the installation of the staircase. A single - and multi-storey space system is formed.
23
01 / Spatial Verbs
02 INSIDE-OUT OBJECTS
Pick a traditional interior space and turn it inside out and then manipulate it as an object which will then become a formal exploration for ideas for architecture or even ideas for a galler y. Turn the space our model inside out into form. Through the exploration and reconstr uction of the interior space of the old castle, the development of its interior space into new spatial possibilities. Getting r id of the constr aints of for m or finding new composition may be the direction of my thinking.
(Source:https://www.thecastlesofscotland.co.uk/the-best-castles/other-ar ticles/ comlongon-castle/)
Studio 36: Untitled | Pengcheng Yang 1230867
26
27
02 / Inside-out
Objects
Studio 36: Untitled | Pengcheng Yang 1230867
28
29
02 / Inside-out
Objects
Studio 36: Untitled | Pengcheng Yang 1230867
30
INSIDE-OUT ITERATION 1 The vaulted hall was chosen as the main body. Select three interior spaces from the ground floor plan as volumes to "jump cut" from the main body, forming positive and negative spaces.
31
02 / Inside-out
Objects
Studio 36: Untitled | Pengcheng Yang 1230867
32
33
02 / Inside-out
Objects
Studio 36: Untitled | Pengcheng Yang 1230867
34
INSIDE-OUT ITERATION 2
Select three interesting shapes from the plan and pieced them together into three new shape combinations. Next, take these three sets of shapes, conver t them into space, and lay them out in a var iety of order s, directions. Than, multiple passageways in and out of the spaces are cut in the shape of windows - finally, foam multiple inner and outer spaces.
35
02 / Inside-out
Objects
Self Reflection
The stairs themselves are stacked to create ascending and descending Spaces and the triangular roof are special spatial elements in Comlongon Castle . Therefore , I choose both to tr y some spatial combination. And to carr y out the interior space of the cutting. Inspired by The architectural style of Chris Precht, I intend to introduce the rules of spatial combination and systematically arrange and combine them to form a ver tical architectural matrix.
Imagine source:https://in.pinterest.com/pin/568298046729437566/
Studio 36: Untitled | Pengcheng Yang 1230867
36
Internal Roof Space
Stair Space
37
02 / Inside-out
Objects
INSIDE-OUT ITERATION 3
The gabled roof of the castle was chosen, and its internal staircase was combined as an element. The staircase is embedded ina variety of ways, and cir ulations is added to for m a variety of combination types. The new combination types are cobined and adjusted to combine them into a new spatial possibility.
Studio 36: Untitled | Pengcheng Yang 1230867
38
39
02 / Inside-out
Objects
Studio 36: Untitled | Pengcheng Yang 1230867
40
INSIDE-OUT ITERATION 4
Continue to develop iteration 3 space possibilities. The alignment repeats and the fur ther oper ations of inver se , disorder, and fragment form a more extensie volume space system.
41
02 / Inside-out
Objects
03 SITE ANALYSIS
Studio 36: Untitled | Pengcheng Yang 1230867
44
45
03 / Site Analysis
Studio 36: Untitled | Pengcheng Yang 1230867
46
47
03 / Site Analysis
Studio 36: Untitled | Pengcheng Yang 1230867
48
49
03 / Site Analysis
Studio 36: Untitled | Pengcheng Yang 1230867
50
51
03 / Site Analysis
04 DESIGN STATEMENT
(Untitled) is a new art center locate at the intersection of Collingwood and Fitz becomes the new landmark of the Fitzroy.
My proposal is to resist the trend that the status of art in the museum is gradually r and consumers are less willing to buy in recent years, this may provide an opportun functional diversity, architectural forms, cultural symbols, integration of architecture
(Untitled) is a functional complex catering to Melbourne's diverse cultural and art a Untitled will inject a new architectural form connecting the two main streets of Fi can be adjusted according to the needs of activities and the particularity of art wo believes that architectural value comes from architectural art and the medium of ma rather than "on" the building. The exterior and exterior facades can become three-d new visual landscapes viewed from the inside. The diversity of culture can be expres space to introduce the characteristics of the Chinese landscape, the choice of mater expression of the interior of the building space rather than the ordinary two-story s
In the midst of the pandemic and the prolonged lockdown, Australia's arts and cultu the museum should not be a "high-taste" form of entertainment, but a cultural sanct lockdown is over.
Studio 36: Untitled | Pengcheng Yang 1230867
54
zroy neighborhoods. It integrates art and architecture into a unified art body and
reduced to a form of entertainment. In a world where COVID-19 continues to affect nity to transform the form of art museums. So I'm going to focus on five main ideas: and art, and post-pandemic situations.
activities. The Fitzroy features a multicultural, inclusive, flexible and functional space. itzroy. The interior of the building is no longer a fixed and rigid space division but orks. Break the idea that architecture and art are separate, for example, Wes Jones aterial expression. So art can be used as an architectural element to connect spaces dimensional murals and become part of the art. Windows and exterior views become ssed through the form and style of the building, such as the creation of the interior rials from the collection of Fitzroy traditional buildings’. (Untitled) will focus on the small building behind the decorative walls of most of the facades of Fitzroy.
ure are being devastated. To foster the creativity of the next generation, the role of tuary that inspires and disseminates art. (Untitled) will be a "fresh" place to go once
55
04 / Design Statement
05 URBAN MASSING
We e x p e r i e n c e d a c h a n g e i n s i t e s i z e , successively exploring the strategy of developing space for a small site , massing creation without site restriction, and massing creation for the final site. It is an interesting and critical process to design thematic space based on the specific conditions of the site and the orientation of the design statement.
Design Iogic-circulation-stacking-space-function Seeking the way ultimate use of space, reducing the space of the walking path while using it to become par t of a lar ger space . The path begins at the left entrance and leads visitor s disgonally to the building. Form the right enter the ver tical circulation to the different floors. The nor th facade of the building allows sunlight come through hole, which is directed according to the path of the sun on the site. Studio 36: Untitled | Pengcheng Yang 1230867
58
The contrast between the dynamic facade and the uniform plane of the site, the windows and views formed in the gaps.
59
05 / Urban Massing
Aniti To convey a deeper or extra-architectural meaning through architecture , like the declaration of a doctrine, is to go through scholarly debate between the old and the new. The concept of deconstruction is used in the reconstruction of Foam, which is a careless attempt and the beginning of new ideas. Studio 36: Untitled | Pengcheng Yang 1230867
60
Design logic:Function-connection-rational-view Star ting with the functional space , we r andomly and deliber ately create sever al geometric Spaces and then tr y to solve the problem of their connection. And form effective, practical staircases. Creating problems and then solving them is an interesting process. The building intersects with the outside world as public Spaces and natural light is introduced at different angles. 61
05 / Urban Massing
Design logic-circulation-stacking-space -function I n s p i r e d by t h e l ayo u t o f t h e M aya l i n V i e t n a m Ve t e r a n s M e m o r i a l , a s we l l a s obser vations of the setting and building contents in the distance of the site . The orientation of the Windows and the obser vation deck are designed to bring more interesting views to the users, and the Angle of the wall rotation avoids blocking the Windows of the surrounding buildings. Studio 36: Untitled | Pengcheng Yang 1230867
62
63
05 / Urban Massing
Studio 36: Untitled | Pengcheng Yang 1230867
64
Design logic:Function-connection-rational-view Star ting with the functional space , we r andomly and deliber ately create sever al geometr ic Spaces and then tr y to solve the problem of their connection. And form effective, practical staircases. Creating problems and then solving them is an architectur al process. The galler y space grow up under the limit of sur rounding building and site shape. 65
05 / Urban Massing
Design logic:Function-connection-rational-view A new approach to the architectural elements transforms the facade of the site building and its window decoration into the ceiling of the minimalist building. It forms a kind of crossover between modernist forms and traditional Victorian architecture Studio 36: Untitled | Pengcheng Yang 1230867
66
Design logic:Deconstruction-Stacking Deconstr uction: select one building from Melbourne heritage building(tram engine house 1887-1940), contemporar y(rmit design hub) and traditional architecture(vic residential). Recombine them and embeded them in new architectural forms. 67
05 / Urban Massing
Studio 36: Untitled | Pengcheng Yang 1230867
68
Inspired by the way Bar r anca Museum stacking. It tur ns retangles into ir regular pentagons to form origami-like Spaces. A platform is built at the same height as a passageway connecting all Spaces. 69
05 / Urban Massing
Diagram According to the situation of the site and the balance of indoor and public space, it is divided ver tically and forms a fully open public area on the upper level to meet the needs of community activities such as live music. The ver tical tower becomes the obser vation point of the whole Fitzor y. Studio 36: Untitled | Pengcheng Yang 1230867
70
Diagram Continue to develop the facade of Massing 2. The site is divided into four par ts to form successively elevated platforms. In the interior, ATRIUM are added as public areas while the surrounding walls play a cer tain sound insulation role. 71
05 / Urban Massing
Diagram Creating space according to the path, the suspended structure reduces the heaviness of the building, forming a semi-open atrium as an activity area. Visitor s can travel through the building through multiple paths, while the roof also ser ves as an activity area. Studio 36: Untitled | Pengcheng Yang 1230867
72
73
05 / Urban Massing
De
Bre arc sep Jon is a ar t arc co tha The fac dim bec Wi vie lan the
Studio 36: Untitled | Pengcheng Yang 1230867
74
esign Iogic
eak the notion tthat chitecture and ar t are parate . Inspired by n e s We s t h e b u i l d i n g ar tfact chitectur al. So t can be used as an chitectur al element to nnect Spaces rather an "on" the building. e exterior and interior ade can become threemensional mur als and come par t of the ar t. indows and exter ior ews become new visual ndscapes viewed from e inside.
75
05 / Urban Massing
Des
Co con thro arc wa to the At lan an nat the atm spa Japa
Studio 36: Untitled | Pengcheng Yang 1230867
76
sign Iogic
ntinue to develop the ncept of ar t expressed ough architecture. The chitectural landscape s introduced inside better complement e ar tistic content. the same time. the ndscape can provide oppor tunity to br ing tural elements into e building, creating the mosphere of meditiation ace in Chinese and anese gradens.
77
05 / Urban Massing
Studio 36: Untitled | Pengcheng Yang 1230867
78
79
05 / Urban Massing
Studio 36: Untitled | Pengcheng Yang 1230867
80
The top floor has a lar ge open public space and views around it. The doubledeck exhibition hall in the central space creates a gap with the surrounding space to allow more natur al light into t h e m i d d l e f l o o r. T h e g r o u n d f l o o r i s composed of two par ts, the middle of which forms a passageway connecting the front and back entrances. 81
05 / Urban Massing
An outer surface closed to the outside wor ld with a sense of myster y. Two volumes of different heights open inward. The different levels of the interior allow visitors on both sides to have different views of the opposite side, with both the elevated height on the left and the roof on the right ser ving as viewing areas. The special-shaped str ucture acts as a connecting channel between the two static volumes like a flowing liquid, achieving a high dynamic and static contrast. The stained glass on the top floor is a tribute to the Bauhaus.
Studio 36: Untitled | Pengcheng Yang 1230867
82
Design process: The building is located at the cor ner of a tr am line . So here is an arrow pointing in the direction of Smith Street, and its open state is facing Car lton Garden as a symbol of welcome. A suspended space is inser ted on the open side of the pyramid to reduce the heavy sense of direct connection between the building and the ground. Both the ground floor and the top floor are designed as semi-open Spaces to enhance the connection with the outside world.
83
05 / Urban Massing
Studio 36: Untitled | Pengcheng Yang 1230867
84
85
05 / Urban Massing
Studio 36: Untitled | Pengcheng Yang 1230867
86
87
05 / Urban Massing
Studio 36: Untitled | Pengcheng Yang 1230867
88
89
05 / Urban Massing
06 MID-TERM REVIEW My Statement focuses on architectural form, functional flexibility, architectural atmosphere, ar tistic expression and regionalism in the context of Fitzroy and Melbourne. Scheme 1 focuses on the expression of organic cur ves in architecture. Its dynamic appearance is different from the main architectur al characteristics of Fitzroy cuboid and ver tical facade . The building is suspended from the ground to create a visual sensation of weightlessness. Scheme 2 enhances the communication with the city on the view, and its mobile roof adds a changeable shadow installation that creates a variety of light atmospheres. The architectural form of the atrium concept differs from that of Frank Lloyd's Guggenheim Museum, whose cur ving walls were protested by ar tists. Scheme 2 str ives to explore a balance between the best means of exhibiting wor ks and expressing architectural beauty.
Studio 36: Untitled | Pengcheng Yang 1230867
92
Scheme 01
In star k contrast to Melbourne's strict urban grid, Scheme01's organic cur ves will become a new landmar k for ar t lover s, visitor s, a n d p e d e s t r i a n s a l i ke . I t s d y n a mi c p hys i cal appear ance floats from the ground to for m a 4meter s high. The open foyer makes the interior of the building fully in contact with the exterior, and visitor s can enter the hall by a slanted ladder. The sunken facade of the middle floor is designed to hide par t of the interior wor ld of the building and make the building more attractive and mysterious. An adjustable roof system at the top of the building creates a different top-level environment according to the weather while accommodating the different ar tistic activities of Fitzroy. The concept of an atrium adopted i n s i d e t h e b u i l d i n g t o a l l ow v i s i t o r s f r o m d i f fe r e n t f l o o r s a n d l o c a t i o n s t o o b s e r ve different perspectives of the building as well as ar t displays in the atrium. People at different levels can inter act, enhancing the sectional design.
93
06 / Mid-term Review
Iterations
Studio 36: Untitled | Pengcheng Yang 1230867
94
95
06 / Mid-term Review
Scheme 01 Street View
Studio 36: Untitled | Pengcheng Yang 1230867
96
97
06 / Mid-term Review
Scheme 01 Plan
Studio 36: Untitled | Pengcheng Yang 1230867
98
0
99
1
5
10M
06 / Mid-term Review
Scheme 01
0
Studio 36: Untitled | Pengcheng Yang 1230867
1
5
10M
100
101
06 / Mid-term Review
Studio 36: Untitled | Pengcheng Yang 1230867
102
103
06 / Mid-term Review
Studio 36: Untitled | Pengcheng Yang 1230867
104
105
06 / Mid-term Review
Scheme 01
Studio 36: Untitled | Pengcheng Yang 1230867
106
107
06 / Mid-term Review
Scheme 01 Street View
Studio 36: Untitled | Pengcheng Yang 1230867
108
109
06 / Mid-term Review
Scheme 01 Bird View
Studio 36: Untitled | Pengcheng Yang 1230867
110
111
06 / Mid-term Review
Studio 36: Untitled | Pengcheng Yang 1230867
112
Scheme 02 As a landmar k building located in the boundar y between Collingwood and Fitzroy, Scheme02 emphasizes obser vations and views of the city. Visitor s can enjoy different views of the city in this design. The introduction of the atrium concept enhances the communication of visitor s within the building, and the separated connections of the interior Spaces control the functional division and flow of people inside . Scheme02 is a weekend place to go for a day. Visitors will be fascinated to discover the uniqueness of each corner of the building, and the rich spatial changes stimulate visitors' interest in exploring the space to extend their visit time. An adjustable roof system at the top of the building creates a different top-level environment according to the weather while accommodating the different ar tistic activities of Fitzroy. The concept of the atrium concept differ s from that of Frank Lloyd's Guggenheim Museum, whose cur ving walls were protested by ar tists. Scheme 2 strives to explore a balance between the best means of exhibiting wor ks and expressing architectur al beauty. Visitors to different locations can see different perspectives of the building and ar t displays in the atrium. People at different levels can interact, enhancing the section design. Fitzroy has a diver se population and cultural background, and its cultur al inclusion is expressed through architectur al means. In order to meet the sensitivity requirements of ar tistic wor ks to light, Scheme 2 designs a variety of architectural means of light processing. It combines and transforms the techniques of eastern and western architectural works.
113
06 / Mid-term Review
Scheme 02 Iterations
Studio 36: Untitled | Pengcheng Yang 1230867
114
115
06 / Mid-term Review
Scheme 02 Diagram
Studio 36: Untitled | Pengcheng Yang 1230867
116
117
06 / Mid-term Review
Scheme 02 Street View
Studio 36: Untitled | Pengcheng Yang 1230867
118
119
06 / Mid-term Review
Scheme 02 Plan
Studio 36: Untitled | Pengcheng Yang 1230867
120
0
121
1
5
10M
06 / Mid-term Review
Scheme 02
0
1
5
Studio 36: Untitled | Pengcheng Yang 1230867
10M
122
123
06 / Mid-term Review
Studio 36: Untitled | Pengcheng Yang 1230867
124
125
06 / Mid-term Review
Studio 36: Untitled | Pengcheng Yang 1230867
126
127
06 / Mid-term Review
Scheme 02
Studio 36: Untitled | Pengcheng Yang 1230867
128
129
06 / Mid-term Review
Scheme 02 Diagram
Studio 36: Untitled | Pengcheng Yang 1230867
130
131
06 / Mid-term Review
Scheme 02 Street View
Studio 36: Untitled | Pengcheng Yang 1230867
132
133
06 / Mid-term Review
Scheme 02 Bird View
Studio 36: Untitled | Pengcheng Yang 1230867
134
135
06 / Mid-term Review
07 GALLERY ANALYSIS
Stacking / Landscape /Urban context
The exter ior of the building is wr apped with folded aluminum panels. The cutting position of the panels avoids the sight r ange of people sitting and standing, achieving 70% visual transparency and realizing the visual connection between the building and the surrounding environment. I m a g i n e : h t t p s : / / w w w. a r c h d a i l y. c o m / 9 3 3 3 5 8 / g i z i - a r t - b a s e - b c h o - p a r t n e r s ? a d _ source=myarchdaily&ad_medium=bookmark-show&ad_content=current-user
Studio 36: Untitled | Pengcheng Yang 1230867
138
The GIZI _Ar t Base is an ar t site that needs to be responsible for accommodating four S paces: gal l er y, c o m m erc i al s pac e , of fi c e an d mu l ti - f ami ly r e s ide n c e . To accommodate the different and conflicting nature of the modules, four ver tically stacked par titions were chosen. The business district on the first floor has convenient entrance and intuitive visual requirements, and the galler y's demand for a more intimate and private environment and the sale of ar tworks requires more external layout. The atrium can ser ve as a medium for isolating individual housing units.
139
07 / Gallery Analysis
The landscape of moss, rock and gr avel was chosen to provide a contemplative environment for those viewing the ar twork. This design logic is that the environment ser ves the function. The CFT (concrete-filled tube) and PT (post-tension) structural systems are designed to improve spatial flexibility and utilization.
Studio 36: Untitled | Pengcheng Yang 1230867
140
The function of the entire ar t area revolves around the painter's work - a painting style of delicate and repetitive emotions. The intricate nature of the museum reflects the gentle and subtle complexity of its paintings. Therefore, in architectural design details, the expression of different appearance corresponding to different functional areas is not adopted, but a single coherent system is established to meet functional requirements.
141
07 / Gallery Analysis
Studio 36: Untitled | Pengcheng Yang 1230867
142
143
07 / Gallery Analysis
Urban context / Material
MUSEUM CIUDAD DE MÉXICO, MEXICO: The project showcases one of the largest contemporar y ar t collection in Latin America and square is constrained due to the individual quality of the adjacent buildings. You can see from the project chose to create a unique building to join this unidentifiable street scene. Figure the complex modern structure surrounding it. A similar situation exists in Fitzroy, where the complex building could create even greater confusion.
(Imagine source:https://www.archdaily.com/641
Studio 36: Untitled | Pengcheng Yang 1230867
144
is par t of the urban renewal of Mexico City. The integration of the museum in this triangular Figure 1 the complex landscape created by the urban content surrounding the site. Therefore, 2 shows the difference in material use. The minimalist facade of the building contrasts with surrounding blocks are dominated by traditional Victorian buildings,so the addition of a large
1093/museo-jumex-david-chipperfield-architects?ad_source=search&ad_medium=search_result_all0
145
07 / Gallery Analysis
Studio 36: Untitled | Pengcheng Yang 1230867
146
Line work: one of the highlight that fascinates me most about this museum is the design of detail. The light tracks of the museum's exhibitions are no longer outside the structure but par t of the building's lines. The installation of architectural works also has a good aesthetic. Black and white, pure white walls and marble flooring materials.
147
07 / Gallery Analysis
Studio 36: Untitled | Pengcheng Yang 1230867
148
149
07 / Gallery Analysis
Studio 36: Untitled | Pengcheng Yang 1230867
150
151
07 / Gallery Analysis
Transparency / Material
Studio 36: Untitled | Pengcheng Yang 1230867
152
153
07 / Gallery Analysis
Studio 36: Untitled | Pengcheng Yang 1230867
154
155
07 / Gallery Analysis
Artist
Studio 36: Untitled | Pengcheng Yang 1230867
156
‘The Next Day’
157
07 / Gallery Analysis
Studio 36: Untitled | Pengcheng Yang 1230867
158
159
07 / Gallery Analysis
Studio 36: Untitled | Pengcheng Yang 1230867
160
161
07 / Gallery Analysis
Studio 36: Untitled | Pengcheng Yang 1230867
162
163
07 / Gallery Analysis
Studio 36: Untitled | Pengcheng Yang 1230867
164
165
07 / Gallery Analysis
Material / Facade
Studio 36: Untitled | Pengcheng Yang 1230867
166
167
07 / Gallery Analysis
08 DESIGN DEVELOPMENT
Studio 36: Untitled | Pengcheng Yang 1230867
170
171
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
172
173
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
174
175
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
176
177
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
178
179
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
180
181
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
182
183
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
184
185
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
186
187
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
188
189
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
190
191
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
192
193
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
194
195
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
196
197
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
198
199
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
200
201
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
202
203
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
204
205
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
206
207
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
208
209
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
210
0
211
1
5
10M
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
212
0
213
1
5
10M
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
214
215
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
216
217
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
218
219
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
220
221
08 / Design Developement
Studio 36: Untitled | Pengcheng Yang 1230867
222
09 FINAL REVIEW
223
09 / Final Review
Studio 36: Untitled | Pengcheng Yang 1230867
224
Design Statement Fitzroy is known for its ubiquitous street art and rich art scene. But the artsy Fitzroy neighborhood lacks a landmark that is the neighborhood’s cultural calling card. About my design, the galler y will act as an "intruder" to break the architectural style of Fitzroy, which is dominated by traditional Victorian architecture The main concept is to break with the traditional museum layout, forcing visitors to move from space to space and t h e n b r i n g i n g t h e v i s i t o r ' s e x p e r i e n c e eve n t u a l ly t o t h e terrace , alternating with the urban landscape around the galler y. Ensuring that the galler y is fully in touch with the neighborhood and welcoming, my galler y design will not obscure the art on display but will be able to change and allow for a wider range of permeability and brightness. As a space in between, the atrium is different from the wall division of different areas in architectural space and forms a buffer area to relieve aesthetic fatigue through soft media like light. Special exhibitions are located in the atrium and viewed in sequence from the bottom up and the lift would take visitors to the top of the building. The building's main u s e o f g l a s s c u r t a i n w a l l s , p re c a s t c o n c re t e , a n d m e t a l structure systems are combined to form a simple and vibrant building volume, a clean and dynamic wave of the city. The gallery experience will become an activity that encourages participation and inclusion.
225
09 / Final Review
Site Analysis-Orientation/ Location
Royal Park
Carlton Park
Melbourne Central
F
Dockland
National Gallery of Vic
Albert Park
Studio 36: Untitled | Pengcheng Yang 1230867
226
Yarra Bend Park
Fitzroy Contemporary Gallery
Fitzroy Gardens
ctoria
k
0
227
300
1500
3000
09 / Final Review
Studio 36: Untitled | Pengcheng Yang 1230867
228
Collingwood Yard Collinswood Yard is a new contemporary art district consisting of three separate buildings and their central courtyard. It provides a comfortable and affordable environment for artists of all kinds to create. The atrium space provides a venue for art activities that can attract more art lovers. Adding the atrium to the public building not only enhances the building's ability to gather people but also increases its adaptability. Fitzroy contemporary gallery has a better location than Collingwood Yard, at the junction of Gertrude Street and Smith Road tram lines. In the context of the rich street culture, MOCA can become the cultural name card of a region and truly collect the existing scattered art galleries and street art.
229
09 / Final Review
Diagram-Foam iterations
Orientation According to the site direction and the location of adjacent buildings, the site is divided into an entrance facing two main streets and a secondary entrance behind which can be used as a loading zone.
Stacking /
In order to reduce the heavin main space is suspended to below it. The addition of the ing to have a circular access utilizati
Dynamic / Function Rethinking dynamic architecture to enhance the flow of building lines. Curved walls around the atrium divide the space into three parts (art gallery, public area, staff area).
Studio 36: Untitled | Pengcheng Yang 1230867
Avoid "to
230
Atrium
ness of the building, the o create a public space atrium allows the builds path to increase space ion.
Terrace / Skylight Add viewing platforms at different angles to enhance the interaction between the building and the urban context. Skylights are designed to allow plenty of natural light into the space. The entrance will be added according to the needs of the functional area.
Minimalismt
oo bulky"
231
Simplify the outline of the building and remove unnecessary design. Design development stage begins..
09 / Final Review
Studio 36: Untitled | Pengcheng Yang 1230867
232
233
09 / Final Review
Studio 36: Untitled | Pengcheng Yang 1230867
234
235
09 / Final Review
Diagram-Circulation
3rd le
2nd le
1st le
Ground
Basem
Studio 36: Untitled | Pengcheng Yang 1230867
236
evel
evel
evel
level
ment
237
09 / Final Review
Diagram-Exhibition Zone Artist Jonny Niesche Contemporary gallery Painting
Artist James Turrell Digital media gallery Installation art,visual art
Artist Anish Kapoor Contemporary gallery Installation art,sculpture,painting
Studio 36: Untitled | Pengcheng Yang 1230867
238
Artist Richard Serra Project space gallery Sculpture
Artist Jonas Burger Contemporary gallery Painting
Artist James Turrell Digital media gallery Visual art Artist James Turrell Digital media gallery Visual art
Artist Emilio Villalba Contemporary gallery Painting
Artist Amish Kapoor Project space gallery Installarion art,sculpture
239
09 / Final Review
Diagram-Functional area
3rd level Artist Jonny Niesche Contemporary gallery Painting
2nd level Artist James Turrell Digital media gallery Installation art,visual art
1st level Artist Anish Kapoor Contemporary gallery Installation art,sculpture,painting
Ground level Gallery Gift Shop Cafe
Basement Storage Art Rack Storage System
Studio 36: Untitled | Pengcheng Yang 1230867
240
3rd level Artist Richard Serra Project space gallery Sculpture Terrace
2nd level Artist James Turrell Digital media gallery Visual art
Artist Emilio Villalba Contemporary gallery Painting Ground level Foyer ,reception
Basement Artist residential studio Artist room Workshop Artist courtyard
241
09 / Final Review
Diagram-Roof glazing shading
The automated shading system is inst at the top of the Project Space G events and exhibitions. Different we achieve the control of indoor light. T have a fully closed roof, and the sha sculptures and art lectures, allowing to be introduced into the room.
The design of the top floor takes int between the gallery's location and th floor design adds an ample viewing ar scape. When rain falls, visitors can vi Visitors can also choose to see the ci ing on the weather and mood.
Studio 36: Untitled | Pengcheng Yang 1230867
242
talled on the glass facade system Gallery to accommodate multiple eather and lighting conditions to The light-sensitive exhibition will ading system will be removed for g more natural light and fresh air
to account the height difference he surrounding buildings. The top rea according to the urban landiew the sunset from the terrace. ity indoors or outdoors, depend-
243
09 / Final Review
Diagram-Artfacial light / Nature light
1PM August 13,2021 -Nature light
The prolonged lockdown caused people to st by the building has a subtle impact on peop museum, in order to balance the sensitiv emphasize the flow of natural light in each design in the spatial layout and building or architectural atmosphere between p
Studio 36: Untitled | Pengcheng Yang 1230867
244
1PM August 13,2021 -Artificial light
tay at home. The absorption of natural light ple's health and spirit. In the design of the ve requirements of artworks to light and h space, I added the corresponding lighting rientation. There is a huge difference in the pure artificial light and natural light.
245
09 / Final Review
Studio 36: Untitled | Pengcheng Yang 1230867
246
247
09 / Final Review
Studio 36: Untitled | Pengcheng Yang 1230867
248
249
09 / Final Review
Studio 36: Untitled | Pengcheng Yang 1230867
250
251
09 / Final Review
Studio 36: Untitled | Pengcheng Yang 1230867
252
253
09 / Final Review
Studio 36: Untitled | Pengcheng Yang 1230867
254
255
09 / Final Review
Studio 36: Untitled | Pengcheng Yang 1230867
256
257
09 / Final Review
Studio 36: Untitled | Pengcheng Yang 1230867
258
259
09 / Final Review
Studio 36: Untitled | Pengcheng Yang 1230867
260
261
09 / Final Review
Studio 36: Untitled | Pengcheng Yang 1230867
262
263
09 / Final Review
Studio 36: Untitled | Pengcheng Yang 1230867
264
265
09 / Final Review
Studio 36: Untitled | Pengcheng Yang 1230867
266
267
09 / Final Review
Studio 36: Untitled | Pengcheng Yang 1230867
268
269
09 / Final Review
Studio 36: Untitled | Pengcheng Yang 1230867
270
271
09 / Final Review
Studio 36: Untitled | Pengcheng Yang 1230867
272
273
09 / Final Review
Studio 36: Untitled | Pengcheng Yang 1230867
274
275
09 / Final Review
Studio 36: Untitled | Pengcheng Yang 1230867
276
277
09 / Final Review
Studio 36: Untitled | Pengcheng Yang 1230867
278
279
09 / Final Review
Studio 36: Untitled | Pengcheng Yang 1230867
280
281
09 / Final Review
Studio 36: Untitled | Pengcheng Yang 1230867
282
283
09 / Final Review
Studio 36: Untitled | Pengcheng Yang 1230867
284
285
09 / Final Review
Thank you for reading.