Cain_Natalie_ReflectiveJournal

Natalie Cain 758360 Studio36

Reflective Journal

Iterations

Positive and Negative

In these iterations, I began exploring minimal surfaces in grasshopper. Using a cube as my starting point, I explored the positive form that was created through different incisions on the faces of the cube. The minimal surface becomes the positive space and the surrounding becomes the negative and vice versa. Although I was more drawn to the circular forms, there was a strong response for the bottom iteration. Perhaps this is because it appears to be a more substantial form when compared to the other iterations.

Sous Tension Marc Fornes

Minimal Surface Pavilion Digital Fab Lab/Obuchi Lab Tokyo University

ArchDaily. 2020. Marc Fornes / THEVERYMANY Installations Transform INRIA. [online] Available at: <https://www.archdaily.com/606730/marc-fornes-theverymany-installations-transform-inria> [Accessed 8 August 2020].

Gooood.cn. 2020. Minimal Surface Pavilion By Digital Fab Lab Obuchi Lab. [online] Available at: <https://www.gooood.cn/minimal-surface-pavilion-by-digital-fab-lab-obuchi-lab.htm> [Accessed 8 August 2020].

Iterations Illusion

Using the precedents to lead my exploration, I played with this notion of illusion and blurring.

The examples both appear to be weightless and appear almost as a non- object. Japanese architect Kengo Kuma discusses this notion he calls the ‘anti-object’. Associate Professor of Architecture Seng Kuan suggests that “architecture is too often seen as isolated, unique, extraordinary monuments created by geniuses”, to which Kuma considers ‘weak architecture’.I enjoyed creating these iterations, however, I preferred the look of them from afar. Up close, I found them to be quite austere and jail-like.

UK Pavilion - 2015 Milan Expo

Wolfgang Buttress - artist Simmonds Studio - engineer BDP - architects

Serpentine Pavilion 2013

Sou Fujimoto

designboom | architecture & design magazine. 2020. Sou Fujimoto’s Serpentine Gallery Pavilion Opens. [online] Available at: <https://www.designboom.com/ architecture/sou-fujimotos-serpentine-gallery-pavilion-opens/> [Accessed 8 November 2020] Howarth, D., 2020. First Images Of Completed UK Pavilion For Milan Expo Released. [online] Dezeen. Available at: <https://www.dezeen.com/2015/04/15/wolfgangbuttress-bdp-uk-pavilion-milan-expo-2015/> [Accessed 8 August 2020]..

Iterations

Fragmentation Here, I attempted to play with fragmentation.

It became apparent when in the tutorial, that I was really only fragmenting a flat plane rather than a cube. I will have another go at this iteration now that I have a better understanding.

Swoosh Pavilion

Architectural Association Students

Nature Boardwalk

Studio Gang Architects Arch2O.com. 2020. Swoosh Pavilion | The Architectural Association - Arch2o.Com. [online] Available at: <https://www.arch2o.com/swoosh-pavilion-architecturalassociation/> [Accessed 8 August 2020].

Iterations Repetition

I began playing with repetition of forms.

Beginning with the cube as a starting point, I began carving out forms. As there are gaps in between the each slice, the iterations have a weightless quality. I like how subtle changes within the form can have a strong impact on the way one views the iteration. I like these forms, however I have used this type of repetition in the past and therefore would prefer to focus on other things for this semester.

Gallery of Delas Freres Winery Carl Fredrik Svenstedt Architects

Apical Reform Studio + Workshop

Apical Reform Architects

ArchDaily. 2020. Delas Frères Winery / Carl Fredrik Svenstedt Architecte. [online] Available at: <https://www.archdaily.com/933696/delas-freres-winery-carl-fredrik-svenstedt-architecte> [Accessed 8 August 2020] Archello. 2020. Design Studio + Workshop, Apical Reform | Apical Reform | Archello. [online] Available at: <https://archello.com/project/design-studio-workshop-apical-reform> [Accessed 8 September 2020]..

Iterations Supergraphic

Although I felt quite unsure about how to tackle the supergraphic, I actually quite enjoyed this task. I looked at examples that use text in architecture, highlighting itâ&#x20AC;&#x2122;s sculptural nature. Although I do not think I will pursue the supergraphic, I quite like the way the negative space of small cubes can be organized to create a symbol. There is an also an anamorphic quality to the iterations which spell NGV with little cubes, as the letters become distorted when one moves around the form.

Werk 12 MVRDV

Endike Primary School Space Group

Mvrdv.nl. 2020. MVRDV - WERK12. [online] Available at: <https://www.mvrdv.nl/projects/298/werk12> [Accessed 8 September 2020].

Iterations Folding

I was strongly inspired by the queen of the curve, Zaha Hadid when creating these inspirations. I love the way it appears that the building is moving up through the landscape.

The main image reminds me of the movement between two people dancing, as they push their heads in opposite directions. Having said this, I think this concept of seamless folding requires large amounts of space for it to work well. In a cramped space, I think I would find it difficult to create a gentle form. In the tutorial, I was told however that I need to move away from the precedents and focus on my own ideas.

Golf Clubhouse

Oddenheim Architecture

Heydar Aliyev Centre Zaha Hadid

ArchDaily. 2020. Ayla Golfclub / Oppenheim Architecture. [online] Available at: <https://www.archdaily.com/918773/ayla-golfclub-oppenheim-architecture> [Accessed 8 September 2020 ArchDaily. 2020. Heydar Aliyev Center / Zaha Hadid Architects. [online] Available at: <https://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadidarchitects> [Accessed 8 September 2020].].

Iterations

Fragmentation This has been my favourite of my iterations thus far. I was initially inspired by the frozen methane air bubbles that create what appears to be this underwater city. I love the weightlessness of this iteration, and the way fragmentation can exist amongst clusters as well as in plan view. I am concerned however that an art gallery does not need much natural light and this iteration relies of this transparency. Nevertheless, I will try to push forward with this idea.

BIG architects

Frozen Methane Air Bubbles Lago Bianco, Switzerland

ArchDaily. 2020. Ayla Golfclub / Oppenheim Architecture. [online] Available at: <https://www.archdaily.com/918773/ayla-golfclub-oppenheim-architecture> [Accessed 8 September 2020 ArchDaily. 2020. Heydar Aliyev Center / Zaha Hadid Architects. [online] Available at: <https://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadidarchitects> [Accessed 8 September 2020].].

Iterations Detail

In exploring detail, I wanted to look at patterns in architecture. Coding programs give architects the flexibility to create openings in relation to a point attractor, which can be very helpful when dealing with controlled lighting environments. Using grasshopper, I explored how this could be achieved, thinking about how an entry atrium space may need lots of light, as opposed to a gallery space. I think I will look to use this in the future when considering cladding treatments.

Formstelle - Campus Netzwerk Format Elf Architekten

Messe Basel New Hall Herzog & de Meuron

Iterations

Negative/Inversion I was very inspired by architect and artist Steven Holl when looking at negative/inversion.

The way he carves out form what appears to be a cube is incredible, and unfortunately I found either my computer skills or my brain capability lacking when attempting to create something of a similar nature. I did however use geometric shapes to carve out of the cube, which I think look quite effective, despite being simple.

Inversion 007 Steven Holl

Hunters Point Library Steven Holl

Architects, S., 2020. INVERSION - STEVEN HOLL ARCHITECTS. [online] Stevenholl.com. Available at: <https://www.stevenholl.com/projects/inversion> [Accessed 8 September 2020].

Iterations Anomorph

When completing this anomorph iteration, I was looking at lots of examples of how this plays out in art. I like the way it distorts Sidney Nolanâ&#x20AC;&#x2122;s Kelly with Horse. Having said this, I understand that this relationship in the architectural landscape has not been explored and I will endeavour to focus on this in the future.

Anomorphic Illusions Felice Varini

Anomorphic Illusions Felice Varini

Bored Panda. 2020. Anamorphic Illusions By Felice Varini. [online] Available at: <https://www.boredpanda.com/anamorphic-illusions-felice-varini/?utm_ source=google&utm_medium=organic&utm_campaign=organic> [Accessed 8 September 2020].

Research

21st Century Museum of Contemporary Art SANAA

Form The form of the museum is considered ‘mat’ (closed with courtyards). It is a two storey building, allowing most spaces to gain access to natural light.

This is created through a basement level. This aims to keep the building volume low to mitigate the size and scale of the museum. The focus of the form is accessibility and inclusion for all.

The diameter of the circular shape is 112.5m.

Divisare. 2020. SANAA / Kazuyo Sejima + Ryue Nishizawa, Rasmus Hjortshøj - COAST · 21St Century Museum. [online] Available at: <https://divisare.com/ projects/322209-sanaa-kazuyo-sejima-ryue-nishizawa-rasmus-hjortshoj-coast-21st-century-museum> [Accessed 8 September 2020].

Program and Flexibility of Spaces The gallery is largely cellular - fixed organization of spaces. Unlike typical museums with one central entrance, there are multiple access points within the space. This is to encourage inclusion within the museum. There is a mix of public and paid areas.

Organization of Spaces -

galleries courtyards library nursery kidâ&#x20AC;&#x2122;s studio theatre offices lecture hall meeting rooms museum shop cafe/ restaurant

Circulation There is an orthogonal grid of circulation routes which double as exhibition space.

This non hierarchical space allows people to choose how they navigate through the gallery as if they were moving through the city streets.

Lighting Natural light - exterior transparent shell - courtyards - diffused skylights – different levels of opacity Artificial light - gallery spaces

Height The gallery spaces range from 4-12 metres creating a range of different spaces to suit different artworks.

Divisare. 2020. SANAA / Kazuyo Sejima + Ryue Nishizawa, Rasmus Hjortshøj - COAST · 21St Century Museum. [online] Available at: <https://divisare.com/ projects/322209-sanaa-kazuyo-sejima-ryue-nishizawa-rasmus-hjortshoj-coast-21st-century-museum> [Accessed 8 September 2020].

Indoor and Outdoor The mass of the cylindrical shape is broken up by 4 internal courtyards. These also let light into the internal space that is not lit from the transparent exterior shell.

The surrounding open space is also used as outdoor gallery space for installations and sculpture. Like parts of the internal space, this remains accessible to all visitors.

Courtyards

Structure The structure consists of steel columns and beams that support a reinforced concrete roof. The individual gallery forms are supported by cutting walls of steel beams.

Divisare. 2020. SANAA / Kazuyo Sejima + Ryue Nishizawa, Rasmus Hjortshøj - COAST ¡ 21St Century Museum. [online] Available at: <https://divisare.com/ projects/322209-sanaa-kazuyo-sejima-ryue-nishizawa-rasmus-hjortshoj-coast-21st-century-museum> [Accessed 8 September 2020].

Massing Iterations These were my original attempts at massing within the site. It was important to start thinking about: -

scale programme sunlight shadow accessibility

It was a difficult task to try and translate the ideas we had been exploring with our iterations into these forms. The triangular shape of the site also became a challenge, as I attempted to fit form into the shape without it feeling like it had just been chopped off.

Massing

Building as Abstract Shapes Building as Diagram of Functions I began thinking about the site, and its surroundings and how I could incorporate this into the design. Importantly, the site is very close to the Yarra River, which runs through Melbourne city and surrounding suburbs.

Culturally, it is a very significant site for the Indigenous people of the area, who have been inhabiting this land for thousands of years.

The task of massing causes you to think about enclosing an areas to become a receptacle for art. However, it is very important to consider how natural light will penetrate through the building. Therefore, I utilised areas of the Yarra River to serve as window openings to allow natural light into the building.

I took inspiration from Frank Gehry for this massing. I tried to think of creating abstract forms and curves to house different programs for the art gallery. The interesting part of Gehryâ&#x20AC;&#x2122;s work, is that although he uses very complex shapes on the exterior, the interior remains relatively simple - e.g. straight walls.

This shows respect to the artists who require minimalist walls to exhibit their work on.

I kept going with this idea of Gehryâ&#x20AC;&#x2122;s abstract shapes to create a clusters of buildings. I thought that the previous iteration looked too similar to Gehry, so I attempted to create a soft formed top to the forms. I took inspiration from the sculptures by Jean Arp, which almost look like bones, or artefacts. I preferred the soft forms, however the class preferred the sharp edges.

After the feedback, I returned to the sharp edged forms of the buildings and decreased the number of buildings. I became aware that entrances and vertical circulation etc. would have to exist in all of them, causing issues with space and programme. Using a map of Melbourne, I overlayed some areas of the Yarra to form the pattern of the windows - this is something I would like to consider moving forward.

I decided to mix the idea of the windows inspired by the Yarra with the concept of building as a container. However, I feel that it just looks like an extruded box with an attached facade. Unlike the individual buildings above that could have designated programme, this would have to be intelligently designed in its interior to playfully separate galleries without it feeling dull.

Massing

Unsuccessful Attempts

When making this massing, I actually really enjoyed being simple with my shapes and using the arch to reflect that of the NGV arch.

However, in the tutorial, I was told that it was too ‘modernist’, which I can understand. When designing a contemporary art gallery, I need to think in a more ‘cutting edge’ way, rather than looking back to previous art/architectural movements.

In this massing iteration, I attempted to think of folding in a more geometric way as opposed to soft, fluid folds. I took inspiration from the Oslo Opera House. I thought it would be interesting to explore how people could walk on the building from the promenade. However, the class did not like this, so I will steer away from it.

Artist Bridget Riley was the inspiration behind this massing. She uses paint to create optical illusions and a strong sense of movement in her work which I attempted to replicate in 3d.

Unfortunately, I feel that this attempt lies flat in the 2d, and is only really expressed on the facade. I think I became too bogged down by the precedent, that I lost sight of the task of ‘massing’.

I attempted to return to my iteration for folding in this massing however I think it was very unsuccessful. I found it difficult to fold when dealing with a limited space (the site).

I think I will move away from this idea in the future.

Focusing on the facade and how light would penetrate through, I started playing around with grasshopper. The idea of a point attractor system could be beneficial to control the openings along a facade to allow more light through in public areas, and less light in particular gallery spaces which require artificial lighting.

The class had really liked my iteration that related to minimal tensile surface which I had created through grasshopper. I tried to redo this iteration in relation to the site, however, the feedback received was that it had become too stylised. I agree with this and also believe that it would be hard to fit the programme into this space. I do really like the form though, so I will look into how I can incorporate this into my future design.

Research

Jean Arp Artist 1886-1966

Artist Jean Arp was best known for his abstract and dadaist work. Moving from France to Switzerland to escape the war, Arp became very interested in using biophillic forms and combining them with the laws of chance. He is quoted suggesting that there was an ‘expressive power’ that he so longed to achieve. He would tear up pieces of paper and throw them in the air, and let them fall naturally. He would then stick them down.

I would like to explore this kind of power of chance in my work. There is a simplicity about his paintings and sculptures, yet also a beauty. It appears like falling leaves in the autumn, or the random spots on a dog. This release of control allows the beauty of variety to shine through.

Drawing inspiration from this work, I went back to my original fragmentation iteration. The shapes of the fragments are a similar shape to Arp’s work, and I wanted to start thinking about how I could incorporate chance into my design.

Constllations According to the Laws of Chance Jean Arp 1933

According to the Laws of Chance Jean Arp

1933 Arp, H., 2020. Hans Arp Sculptures, Bio, Ideas. [online] The Art Story. Available at: <https://www.theartstory.org/artist/arp-hans/> [Accessed 8 November 2020].

Massing

Building as Landscape Building as Abstract Shape

After researching the work of Jean Arp and revisiting my original iteration of fragmentation, I attempted to deliver this narrative within the site context. I love the way the planes gently move along the site and the promenade, connecting the two sites together.

The issue however, was trying to create form within these shapes that would be appropriate for housing art. Given that the gallery does not need huge amounts of natural light, I needed to create a more opaque form with these planes.

Here, i attempted to create form through folding over some of the planes. I also used the work of SANAA as inspiration, as they often use these holes to create large skylights in their architecture. Ultimately, the issue of form is still relevant here, and I need to close it up.

Attempting to create enclosed environments, I began starting to create walls between some of the planes. This meant simplifying some of the shapes and reducing the amount of planes and connections. I worry however, that it is starting to look a bit like an apartment block. I feel that it has lost its gentleness and beauty that was expressed in the early massing with the planes.

When I presented this massing to the class, Anna suggested that it reminded her of a grotto. I like this idea of rock formations and erosion, and I think this could help lead my design statement. Perhaps I could discuss the effects of climate change, and the rate at which our world is collapsing. However, I think it is important that I simplify this model as I still think there is too much going on.

Here, my simplification of the form took away from the excitement of the previous massing.

All of a sudden, my peers were suggesting that it reminded them of the Guggenheim in New York, which is a great reference, however it was built in 1959. Given that we are designing a contemporary art gallery, it is important that the building design compliments this.

In an attempt to translate my iteration into a massing, I utilised thin sticks to create this blurring effect on the facade. By slicing through the layers of the sticks, I created movement through wavy lines. It reminded me of the movement seen in Bridget Riley’s paintings. However, the feedback suggested that it was much more of a facade rather than massing.

This iteration, I utilised the building more as a container, essentially just extruding the triangular form up and creating this blurred facade around it. Instead of the wavy patterns above, I layererd the vertical sticks and created indentations and pop outs of different shapes. I drew inspiration from Arp’s relief sculptures which pop out and create shadows.

I’m not sure that it captures the simplicity of his work, and this idea of chance.

Rather than utilising the organic shapes as facade elements, I attempted to merge them together on the site as massing options. I wanted to think about how I could attempt to utilise chance in this, however, I found that when I did mimic Arp’s method of throwing up bits of paper, it did not cover the site enough to work with the programme. The vertical sticks in this I think would be intimidating on ground level and feel almost like a jail cell.

In an attempt to utlise this chance theory, I threw several shapes up in the air and allowed them to land freely. I then attempted to stack or fold them on top of each other to create the form. I think if the site was larger and there was less to fit into the building, this could be a really interesting concept to explore. However given the limitations, I think I will move away from this idea.

Massing

Building as Abstract Shapes Building as Diagram of Functions

I returned to my concept of blurring that I had explored in my initial iterations. It made me question, what is it that we are blurring? Are we blurring boundaries between : - exterior and interior - public and private - fine art and craft - rich and poor - locals and visitors I think there is a lot to say about this concept, particularly in relation to an art gallery. How do we entice people to come in and feel welcome and valued when contemporary art has often been overtaken by the elitist? How can form engage with the public?

Research

Rock Formations

I began exploring organic forms in international architecture. The Hutong Bubble was a revitalization project of an aging neighbourhood. In order to save a heritage area from being torn down, MAD architects looked at how they could use contemporary architecture to blend in and rejuvenate Hutong.

The curvilinear form provides a contrast to the traditional surroundings, however the mirrored effect allow the extensions to blend in.

As Chicagoâ&#x20AC;&#x2122;s famous landmark, Kapoor seeks to captivate pedestrians in the alluring, reflective surface. Reflections are different on each side, allowing the pedestrian to choose which reflection they see. The reflection depicts the world around in a distorted fashion, allowing each viewer to come to an understanding of the artwork in their own situation and setting.

Itâ&#x20AC;&#x2122;s contemporary form seeks to promote modern day engineering and computer skills.

Hutong Bubble MAD Architects 2019

Cloud Gate Anish Kappor 2006

ArchDaily. 2020. Hutong Bubble 218 Urban Renovation / MAD Architects. [online] Available at: <https://www.archdaily.com/929000/hutong-bubble-218-madarchitects> [Accessed 8 September 2020] Anishkapoor.com. 2020. Cloud Gate. [online] Available at: <http://anishkapoor.com/110/cloud-gate-2> [Accessed 8 October 2020]..

The theme behind this design is described as an ‘earth cut landscape’. MAD explains that it ‘juxtaposes two transcendental scales of time - the ancient and the future, through the setting of an ethereal artistic urban landscape’. It allows people to engage with the geological past whilst being confronted with the futuristic notion of curved structures and buildings that seem to defy gravity.

Schenzen Culture Park MAD Architects

Located in Georgia, this design takes inspiration from the pebbles found of Batumi beach, each pebble containing a different function. The gentle curves of this building provide a soft entry into the building, and appear relatively ambiguous within the landscape. However, this idea is successful only because it is relevant to its context.

Batumi Aquarium Henry Larson Architects

ArchDaily. 2020. MAD Reveals The Shenzhen Bay Culture Park Masterplan. [online] Available at: <https://www.archdaily.com/942442/mad-reveals-the-shenzhen-bay-culturepark-masterplan> [Accessed 8 October 2020] ArchDaily. 2020.

Batumi Aquarium / Henning Larsen Architects. [online] Available at: <https://www.archdaily.com/73022/batumi-aquarium-henning-larsen-architects> [Accessed 8 October 2020]..

Rather than looking at overseas examples, I thought that it was important to look at the culturally rich history that we have here in Australia and near the site itself.

Basalt boulders at Birrarung Marr

Indeed, as the oldest continuous living culture in the world, Indigenous Australians have been living, working, and tending to the land for at least 65,000 years. Bruce Pascoeâ&#x20AC;&#x2122;s Dark Emu shines light on the widely unknown sophistication of these societies, to educate Australians on a national history we deserve to be proud of.

Inspired by the basalt boulders in the nearby Birrarung Marr, and the imagery of the ancient grindstones, I will attempt to incorporate Australiaâ&#x20AC;&#x2122;s historical context in a contemporary manner. As a civic space, NGVC has the responsibility to address its contextual history, and celebrate the longevity and influence of art that drives our future.

Splash. 2020. Education Resources For Schools Teachers And Students - ABC Education. [online] Available at: <https://education.abc.net.au/home#!/ digibook/2702964/exploring-aboriginal-melbourne-with-the-koorie-heritage-trust> [Accessed 8 October 2020].

In Australia, grindstones have been dated back 50,000 years, suggesting that these civilizations were performing this thousands of years before the Egyptians.. This process was used in art making, creating a strong correlation to the gallery. I will try to draw inspiration from these smooth forms in my massing.

Basalt boulders present at Birrarung Marr show a strong connection to the earth, and architecture as landscape. They exist here are sculpture and memorial, and invite reflection and play amongst children.

Research

Indigenous History

Massings

Building as Abstract Shapes Building as Diagram of Functions

After looking at the precedents, I attempted to start creating organic, sculptural form in rhino. I found this difficult, as it was hard to manipulate the shapes without creating sharp edges at the apex.

Perhaps this is a limitation with my skills, I am sure there might be an easier way to do it. I was trying to think about manipulating the shapes in reference to the Indigenous context and in reference to the research conducted.

After realising that these forms were not really working for me, I took inspiration from Toyo Itoâ&#x20AC;&#x2122;s Baroque Museum. It reminded me of tracks in a landscape, however in the studio, the feedback suggested that it looked too much like a church.

This was my first attempt at creating form from sculpture. I found it really difficult to create undulating shapes that would create interesting interior views. I do like the under croft area that can be seen on the building on the left. Fitting in the programme however may be difficult given that there are different levels and it does not take up the entire site.

In this iteration, I used the shapes of the boulders showcased at Birrarung Marr to create the diagram of function. Knowing that the form would cause issues with space, I created a podium where the ground floor would have more flexibility. I am not sure about the design though, it feels tokenistic perhaps.

Although by raising the rock formation I am trying to highlight our Indigenous heritage, I do not think it translates well in design form.

I tried instead to utilise only one organic form to ease the complexity of the circulation/ functional organization etc. I somehow think this loses the essence of what I am trying to say with these forms, and therefore have no particular interest in the aesthetic of it.

I decided to try the two forms, allowing them to interact and overlap. Ultimately, I just do not think I want to pursue this design as it does not feel like it is my style or targeted to my skill base. It would also be very bold in the city, and I do not think that I have a strong enough narrative to justify its presence among the other busy surrounding buildings.

Research

Erosion in Victoria

Inverloch Coastline 2014-2020

Climate change threatens to destroy a life we once took for granted. We have all seen the vision of the ice caps melting in Antarctica, however this footage seems removed from our lives in Victoria. This attitude is reinforced by the general complacency of our governments who continue to take marginal action on climate change. Rising sea levels, high wave energy and dramatic weather events threaten to destroy homes, businesses, and infrastructure.

The coastline of Inverloch has receded 33 metres in less than a decade. For these design proposals, I want to explore utilising the imagery of erosion to raise attention to the prevalence of climate change in our contemporary society.

https://www.smh.com.au/environment/climate-change/erosion-fromsurging-seas-threaten-roads-homes-and-beaches-20200517-p54tpu.html

https://www.theage.com.au/national/victoria/rising-sea-erosion-to-wreak-havoc-in-low-lying-suburbs-report-20190621-p5204z.html#:~:text=Increasing%20storm%20 intensity%2C%20coupled%20with,Gippsland%20coast%2C%E2%80%9D%20it%20says. https://d2n3eh1td3vwdm.cloudfront.net/general-downloads/AT-3-Final-Report-for-Geomorphic-and-Ecovestigation-Surf-Parade-Shared-Path-Inverloch-Progress Update-CM-16-March-2016.PDF

https://www.theage.com.au/politics/victoria/this-victorian-surf-club-is-under-threat-as-climate-change-eats-away-at-the-coast-20190927-p52vgy.html https://www.smh.com.au/environment/climate-change/erosion-from-surging-seas-threaten-roads-homes-and-beaches-20200517-p54tpu.html

Recently artists who exhibited at the NGV triennial gathered to discuss the question – can artists and designers be agents of social change? In this exhibition, Argentinian artist Alexandra Kehayoglou’s carpet installation was inspired by the Santa Cruz River in Patagonia, that is to be cut apart by two hydroelectric power dams. Through her art, she aims to “bring attention to a situation that Is being silenced”. How can architecture of this Contemporary gallery highlight Victoria’s unspoken threats?

‘Free Santa Cruz River’

The NGV International is obviously choosing to exhibit artists who are grappling with social, cultural and political commentary within their works. Given the connection to the NGV C, as designers we must consider how we can enhance this commentary not only in the art that is displayed, but in the architecture itself. The contemporary gallery must deal with contemporary issues, and climate change is arguably the greatest challenge our generation faces. How can we use art and architecture to expose its danger?

Ngv.vic.gov.au. 2020. Can Artists And Designers Be Agents Of Change? | NGV. [online] Available at: <https://www.ngv.vic.gov.au/multimedia/can-artists-anddesigners-be-agents-of-change/> [Accessed 8 September 2020].

Santa Cruz River, Alexandra Kehayoglou, 2017

Research

How can artists and designers be agents of social change?

NGV Triennial - Alexandra Kehayoglou

Site Analysis Location

The site chosen for NGV contemporary sits on the south side of the Yarra in Southbank, Melbourne. St Kilda Road runs near the site, collecting large amounts of traffic, public transport and pedestrians. This would likely be the main movement route from Finders Street Station.

The site is located amongst great diversity of space. Being situated within the CBD fabric, there are large high rise buildings surrounding the site.

Site Analysis Art Precinct

The site for the NGV contemporary is surrounded by many other buildings that celebrate the arts. Between the segregated site, are the Australian Ballet Studios. The building is approximately 24 metres high.

Perhaps its most significant neighbour however, is the NGV International, originally designed

by Roy Grounds in the 1960s. It has strong geometric shapes in its plans and sections, similar to much of the other surrounding geometry.

Given that this area is so filled with the arts, it will be reasonable to assume that high volumes of people will be utilising this space.

I think this is why creating a welcoming and comfortable promenade for all will be very important to the success of the design. The government want to create a new movement pattern coming down through St Kilda Road and through the promenade. Currently, the promenade area exists as Sturt St, a busy road with low levels of natural light due to the surrounding tall buildings. By raising this up by 8 metres, we will be able to access that natural light, and create a place for people to walk, linger, gather, and create.

Site Analysis Parkland

The site is located amongst great diversity of space. Being situated within the CBD fabric, there are large high rise buildings surrounding the site, however, to the east are the abundant Royal Botanical Gardens.

This area draws tourists and locals, creating a strong drawpoint for people to visit the gallery. It is also something that should be considered when deciding potential views out of the gallery.

The Yarra River is a culturally significant site for local Wurundjeri people, who have spent thousands of years on this land. The original name was ‘Birrarung’ or ’Birrarung Marr’, translating to ‘river of mists. Currently, just north of the river bank is the parkland site Birrarung Marr, dedicated to celebrating Indigenous history.

Interestingly, the name ‘Yarra’ was mistakenly given to the river by early European settlers, who believed they were utilising the word for river in the Boonwurrung language. However, Yarra Yarra, in fact translates to waterfall.

Although to Melbournians this seems strange, we must remember that the river itself has gone through dramatic changes since the European settlers. Once there was a waterfall, however, it was removed by early settlers.

Site Analysis

Architectural Landscape

Surrounding the NGV Contemporary site are many other significant architectural sites contributing to a busy street aesthetic. Given that it is situated within an arts precinct, this is unsurprising, however, there are a lot of competing ideas and designs within the space.

Other than these buildings highlighted, most of the surrounding buildings are high rise apartment/ office towers.

Although the streets e.g. Southbank Boulevard are wide and the buildings can be experienced from a distance, there remains an architectural discourse between them. They all seem to be competing for your attention as a pedestrian or a passer by.

Melbourne Recital Centre by Ashton Raggot McDougall is the direct opposite face to the prominent facade of the NGV C on Southbank Boulevard. The idea behind their facade referred to the instruments that were inside.

They viewed the instruments as precious, and the facade was created to symbolically wrap and protect them.

Roy Groundsâ&#x20AC;&#x2122; NGV International was completed in 1968, with its strong and austere bluestone facade creating controversy at the time. Its simplicity and monumental modernism contrasts with the chaotic and detailed facade of the Recital Centre.

As the NGVC will sit between the two, it may need to act as a mediator, drawing aspects of Grounds simplicity with the contemporary nature of the Recital Centre.

ABC Melbourne Cox Architects

Melbourne Recital Centre ARM

Melbourne Recital Centre ARM

NGV International Roy Grounds

Arts Centre Roy Grounds

Federation Square LAB, Bates Smart

MID SEMESTER REVIEW

Form Finding

Inverloch and Port Fairy

Inverloch and Port Fairy are two of the worst affected coastlines in Victoria by erosion. Wild weather events and rising sea levels are putting homes, businesses, parks, and infrastructure at great risk. The iconic tourist drive along the Great Ocean Road is in jeopardy as the sea comes as close as 7 metres from the road at a certain point. The Intergovernmental Panel of Climate Change warned that without action, sea levels will be 5m higher by 2300 (Millar and Preiss, 2019).

Low lying neighborhoods like Inverloch and Port Fairy will be completely wiped out, and generations to come will not experience the beauty of these iconic Australian places.

To emphasise these eroded coastlines and raise awareness of this prevalent issue, I overlaid the coastlines of Inverloch and Port Fairy to create the form of the buildings.

https://www.smh.com.au/environment/climate-change/hotter-oceans-wilder-weather-less-ice-the-ipcc-upgrades-projections-to-catastrophic-20190925-p52uy5.html

Form Finding

Inverloch and Port Fairy

It was important for me to attempt to materialize the reality of the erosion in these two areas in Victoria in a real and obvious way. I tried to do this with floor plates as I found that they are symbolic of the natural layers of the earth that become eroded. The play with light was important in this design as it symbolized the movement of the earth and the changing nature of the coastline.

This layered effect works well I think in the plan, particularly before the facade is implemented.

However, it is difficult to show these floor plates when you must remember that the gallery is ultimately there to be the receptacle for art, and clean opaque walls will be needed. Ideally, I would want a translucent/ transparent facade, however this would not be appropriate for a gallery.

Natural, diffused light however, could come in through the skylights on the roof.

1. Site The promenade that attaches the two buildings creates a ‘coastline’

2. Floors The height of the building is around 24m, allowing for 3 levels of floor plates (ground, first, second)

3. Roof The highest point of the roof exists at the boundaries of the coastline form

4. Lower Roof The inner roof sits just below, allowing natural light to stream through into the building

5. Skylight The skylight at the centre of the building measures 33 metres from the coast, signifying Inverloch’s erosion that has occurred in 12 years

6. Facade Confronting solid facade that takes inspiration from the high wave energy and the erosive coasts

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The ground floor prioritized public space for people to gather and experience the joy of the building. The temporary exhibition space in the centre when you walk in would be flooded with light, highlighting the 33m of erosion on Inverlochâ&#x20AC;&#x2122;s coastline.

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The first floor largely houses the temporary exhibition space, which would contain international and local works. This would I assume be paid exhibition space, requiring a ticket. The void at the centre would allow natural light to shine through from the roof, and allow people of this floor to look down to the lower exhibition.

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I imagined this second building to house the entirety of the permanent collection. This would mean that the organization of the two galleries could be clearly defined. Entrance was prioritized through the promenade as City Road is heavily trafficked by cars.

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Although the NGV memberâ&#x20AC;&#x2122;s lounge should not be in a prime location compared with public areas, I did not want to hide it away underground. This building would be quieter and more appropriate for a private lounge that could be easily cornered off.

The majority of the level would be dedicated to the permanent collection as below.

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The section highlights the large skylights ar the boundary of the building and the differing ceiling heights. This allows natural light into the space, whilst symbolizing the reality of erosion of our coastlines. The skylight that surrounds the building allows visitors to immediately be hit by a light filled space.

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The section showcases the large skylight that signifies the 33m of coastline erosion that has occurred over the past 12 years in Inverloch.

The diffused light would shine down onto the temporary sculpture exhibition on the ground floor, whilst also providing diffused light into the other gallery spaces on the first and second floor.

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Reflection

Erosion Scheme 1

In the feedback that I received from my mid sem crit, I was told that the idea about erosion was strong and worthwhile, however, the connection to Inverloch and Port Fairy was a bit of a stretch.

I can understand this, as relating issues that are occurring in regional Victoria may not feel as relevant to urban Melbourne. One crit suggested that if I want to explore erosion, I should look into the erosion of the Yarra, and the history of the swampland that the site lies on. I donâ&#x20AC;&#x2122;t know if I am as interested in exploring this history.

One suggestion that was made was to turn the promenade into a site for protest. I do really like this idea, particularly given that the government want there to be strong pedestrian movement down through the arts precinct from Flinders Street Station.

One crit also mentioned that the large, stone facade could reference the Roy Groundsâ&#x20AC;&#x2122;s NGV International bluestone facade, however another crit did not like the facade at all. I guess this shows how architecture can be so subjective, and you have to push your own instincts.

One crit also mentioned that he enjoyed the way I had played with light. I will look to continue with this idea in my following work.

It was important for me to attempt to materialize the reality of the erosion in these two areas in Victoria in a real and obvious way. I tried to do this with floor plates as I found that they are symbolic of the natural layers of the earth that become eroded. The play with light was important in this design as it symbolized the movement of the earth and the changing nature of the coastline.

This layered effect works well I think in the plan, particularly before the facade is implemented.

However, it is difficult to show these floor plates when you must remember that the gallery is ultimately there to be the receptacle for art, and clean opaque walls will be needed. Ideally, I would want a translucent/ transparent facade, however this would not be appropriate for a gallery.

Natural, diffused light however, could come in through the skylights on the roof.

1. Massing on site Extruding the site boundaries to create a â&#x20AC;&#x2DC;containerâ&#x20AC;&#x2122; for art

2. Facade fins Undulating fins that resemble the layers of the earth, and the waves that are changing the coast

3. Roof Connection Creating a rooftop link between the two buildings where visitors can see the view of the gardens and the Yarra

4. Promenade Using the same language as the facade fins to create undulating pathways between the buildings

Form Finding Erosion layers

Like the other scheme, I wanted to keep the ground floor largely public, with a strong and open temporary exhibition viewable from the entrance. This would draw people in who may be only interested in going to the cafe, gift shop or childrenâ&#x20AC;&#x2122;s learning centre.

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The promenade level had a large balcony that allowed people to walk around and experience the building. It also meant that the temporary exhibition could fan out onto the balcony in the public area, as well as the restaurant on days when the weather was nice.

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This northern building would largely house the permanent collection, and be the quieter of the two galleries. I attached the building onto the existing Ballet Centre in an attempt to capture more space that I am losing to the facade, This may be an issue in the future if I do not have enough floor space.

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Given that this building is a bit quieter, I thought the positioning of the Research Library was appropriate. I also prioritized the positioning of the Indigenous Gallery at the entrance of the external walkway, giving people the opportunity to flow through this area. Now that I am reflecting upon this, I think it might be better to place the Indigenous Gallery in the Southbank Boulevard Building to ensure that this exhibition is given a prime location. I would worry that only people who choose to go to the research library or NGV members would bother going to this level, which would be a great pity given the amazing contemporary artwork created by Indigenous Australians.

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The section highlights the large skylight and the double heighted space within the building. This area would be a good space to exhibit large scultpures to allow people to view the art over two levels.

The fins on the left hand side (City Road) only run half the way down to ensure the building does not interfere with cars on the street or the loading dock.

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Reflection

Erosion Scheme 2

This design seemed to be preferred by the guest crits, who appreciated the use of balconies, and the undulating form. Like the feedback mentioned in the previous scheme, it was recommended that I look at the geology of the site and the Yarra River.

Perhaps, we as the people, are the eroding force.

Maybe I use the movement of people to inform the design.

One crit also suggested that I look at Dight Falls, where fresh water meets salt water. It would be interesting to start looking at how I could articulate this flowing form in the plan and section.

Out of the two schemes, I definitely prefer the external form of this scheme. Although the other scheme is perhaps more bold, I feel like I can relate to this one at a greater depth. I like where I have started to go with the organization of spaces, however further development needs to occur. I know that my tutor Anna would like to see me incorporate my minimal surface iteration into my design, so I will attempt to incorporate that in with what I have learned from this mid semester review.

An Overexposed City Virilio, 2002

In his essay The Overexposed City, Virilio critiques the way in which our urban environments are being overcome by the media and the technological world, leading to a collapse of our historical understanding of boundaries. He discusses this notion of rotation, and how people now move fleetingly across the city, which contributes to its ultimate collapse.

Are we falling into this trap within our architectural landscape? Are we studying our surroundings and respecting our environment, or are we becoming so possessed and hypnotized by technological advances that we are creating an urban environment where monumental architecture collides and competes?

The surroundings of the site to the NGV C materialize this idea of competing architecture.

Each site, whether it be the Arts Centre Spire, ABC Building, the Melbourne Recital Hall is competing for our attention, competing for the moment when a pedestrian might look up from their device and actual experience the city.

Virilio describes how “each surface is an interface between two environments that is ruled by a constant activity in the form of an exchange.” As designers, we must acknowledge that by making our mark on the architectural landscape, we are creating relationships between buildings. The interactions between neighboring buildings creates an architectural dialogue, and we must respond to this in our design statement.

Reflecting on this idea, I believe that my design should maintain simplicity on its facade.

In an already chaotic design landscape, these buildings should be given space to breathe, without increased competition. It may also show respect and reference to the simplicity of Roy Grounds’s NGV, with its solid bluestone facade.

Virilio’s suggests that the absence of opacity within architecture limits the opportunity for hidden aspects. With this in mind, it is important to consider how surprise, and expectation contributes to the experience of viewing art.

Research

Manetti Shrem Museum So Il

Form The form of the museum is considered ‘mat’ (closed with courtyards). It is a one storey building, allowing most spaces to gain access to natural light. Large, permeable areas brought together through a canopy create a light filled and transparent environment.

Rectilinear forms beneath the canopy create the divided spaces for learning, and exhibition. Much of the work however, is displayed under the canopy, blending the interior and exterior, and the formal and informal.

The canopy itself creates a interplay between the interior and exterior, and creates a strong experiential environment. The idea of the layers of textures and lines derives from the surrounding rural fields, connecting the gallery with its context.

The grand canopy was described as “a patchwork of geometric forms that refers to the agricultural landscape and the vast horizon”.

So-il.org. 2020. SO – IL | Jan Shrem And Maria Manetti Shrem Museum Of Art. [online] Available at: <http://so-il.org/projects/jan-shrem-and-maria-manetti-shremmuseum-of-art> [Accessed 8 September 2020].

Program and Flexibility of Spaces The gallery is largely cellular with a fixed organization of spaces that are largely geometric in form. However, surrounding these fixed spaces, there is an open plan layout that allows flexibility of display. This allows the art to become part of the building, and engage the visitors and the students. The central lobby allows barrier free circulation to all spaces.

Organization of Spaces - art landscape - events plaza - central lobby - community education/ art studios - outdoor education spaces - galleries - art garden - collection classroom - offices - back of house - loading/recycling - courtyards

Circulation The circulation of the space centres around the central lobby, which blurs in from the outdoor gallery.

All gallery and learning spaces are accessible from this central location. The circulation patterns are largely direct and orthogonal, as are the interior spaces.

Lighting Natural light - glass walls in lobby - courtyards - open air grand canopy Artificial light - gallery spaces Many of the works in the permanent collection are light sensitive, therefore internal galleries had to be artificially lit.

Indoor and Outdoor The grand canopy is used as the draw card to bring people into this gallery. This exterior area creates shadows partially shielding visitors from the elements.

Outdoor exhibitions can be held under this canopy for sculptures or installations, blurring the connection between the interior and exterior, and public and private. It encourages art to be experienced by all.

https://www.archdaily.com/367358/uc-davis-selects-so-il-to-design-new-art-museum https://www.abitare.it/en/architecture/projects/2017/02/02/so-il-and-bohlin-cywinski-jackson-museum-in-california/

Structure The structure of the canopy uses as braced frame system, to accommodate for the pavilionâ&#x20AC;&#x2122;s irregular and undulating shapes and wide spans.

Custom laminated glass was used for the curved floor to ceiling height walls, and pre-cast concrete makes up the remaining structural walls.

I liked this gallery as it centred around a strong atrium that allowed circulation to all areas. Like a lot of Saanaâ&#x20AC;&#x2122;s work as well, the gallery has a lot more space to spread out, and can achieve its programme over the one level. This is my biggest issue, as I am finding it difficult to work with my atrium across the levels without taking up too much space for the programme.

https://architizer.com/blog/practice/materials/manetti-shrem-museum/ https://www.theplan.it/eng/award-2017-culture/manetti-shrem-museum-of-art-1

Research

Kukje Gallery So Il This gallery uses concrete as its structure, in combination with a delicate metal mesh to create a lightweight, building that blurs into the landscape. It uses a rectilinear plan that externalizes circulation, and pops out to create interaction between the interior and exterior. It uses a largely open plan form, given that the gallery space is quite small.

I would love to try and create a similar atmosphere to this in my atrium, however I am finding the triangular shape difficult to deal with. I have been trying to fit my circulation and levels within the suction shape, however maybe I should try to use more mundane cuts (like the little cut to the stairs) as the circulation, and let the suction shape stand alone.

ArchDaily. 2020. Kukje Gallery / SO-IL. [online] Available at: <https://www.archdaily.com/237697/kukje-gallery-so-il> [Accessed 8 September 2020].

Suction Exploration

After the mid sem crit and conversations with Anna, I decided to try to finally pursue this suction shape. I think it will be a very cool atrium space that could really add excitement and logic to my design. The difficult part about it however, is that the form itself derives from a cube. Therefore, trying to make it work within a triangle, and within the levels is very difficult.

These quick diagrams show the suction with ground, first and second floor, all just separated by 8metres. I feel this is problematic, as I wonder how people will move through the interior of the suction. Perhaps there will have to be little cuts, rather than circulation coming from the openings themselves. I will have to further explore this.

I began to start having a play with the suction in the site form. In these examples, I adjusted the positioning of the openings to work with the levels. In class, Anna suggested that I move away from the traditional levels, and create a more enticing environment. I need to think about the section and how I can create meaningful spaces within the suction space, to ensure not too much space is given to atrium.

I need to stop stylizing it in order to make it work within the form.

I also tried to reference the Roy Groundâ&#x20AC;&#x2122;s NGV International, with the three courtyard light wells. Feedback given was that this didnâ&#x20AC;&#x2122;t work, and that I should just stick to the one opening to provide natural light.

Grasshopper Definition

STARTING MESH CUT BOX

CREATE VERTICES AROUND THE EDGES

MESH DIVIDED INTO VERTICES

SEPARATE VERTICES AROUND THE OPENINGS

ALLOWS MESH TO RELAX

CREATES MINIMAL SURFACE

‘ON’ BUTTON FOR RELAXATION

TIME FRAME FOR THE MESH TO TOGGLE

Grasshopper Definition - Visual

Structure Exploration As this surface was generated through grasshopper, I was able to extract the wire frame input. The minimal surface that was created was formed by intersecting curves that come together when a mesh relaxes.

After speaking to Shaw, who works at ARUP, he confirmed that using this mesh wire frame would be appropriate for the structure.

Although it will not really be used as a structural element or take much of the load of the building, you have to ensure that people will be safe if they lean on it/ push into it.

I would think that using cable mesh, like seen in the MSD would be appropriate for the project.

Structure Precedents

The MSD at Melbourne Uni utilises stainless steel mesh that stretches the entire height and span of the atrium space. This exists over five storeys. John Wardle Architects used the WEBNET mesh as a safety barrier whilst maintaining transparency and air flow within the building.

The mesh contains stainless steel mesh, support cables, stainless steel tube and custom components. It exists as a very suitable material, given that it can be tensioned into three dimensional forms, as opposed to traditional steel pipes.

Lightweight tensile structures still need structural support, often through connection to large concrete foundations. Tensile loads could also be counteracted through screw anchors into the concrete.

Reference: https://www.tensile.com.au/project/melbourne-school-of-design/

Research

Christo and Jean Claude Working as an artist, Christo is famous for his act of wrapping buildings, landscapes and objects.

In 1967, he wrapped Kunsthalle in Bern Switzerland, using reinforced polystyrene, nylon rope and slits to enter.

The bulk of the building was softened by the translucence of the material.

In 1995, he wrapped the Reichstag in silver fabric. “they have open dimensions that absorb everything” He aims to enact a response from people and claims that “every interpretation of the projects are legitimate, even the most critical, even the most positive”

Kunsthalle, Bern Switzerland Christojeanneclaude.net. 2020. Home. [online] Available at: <https://christojeanneclaude.net/> [Accessed 8 November 2020].

I find his use of wrapping very interesting. He does not define his meaning of the artwork, he allows people to people to create their own interpretations. Why would we “wrap” a building? Is it to protect the architecture or what is inside (as in the case of ARM’s Melbourne Recital Centre)? Is it to soften its impact on the surroundings? Why does he wrap trees? - Is this a comment on the neeed to protect and cherish the natural landscape, or by wrapping them is he denying the tree access to full sunlight and reducing its connection to bird life?

Research and Implementation NGV International Roy Grounds

Roy Grounds’s NGV International is striking and bold in form. With dark bluestone on the facade, the building stands as a mass in the landscape, concealing the inner programme of the gallery within the opaque facade.

I believe that when designing the NGV contemporary gallery, I must make reference to this striking building which brings so much culture, excitement and richness to Melbourne’s CBD. Yet referencing another building brings with it challenges - how does one tribute another building without feeling like it is a copy? And how could I bring my interior suction form in to relate to this design.

Firstly, I looked at the features of the NGV International. Clad in bluestone, there is a distinct lack of transparency and ambiguity. The facade does not blur into the surroundings, it dominates.

Creating a sense of illusion and translucency allows me to reference the NGV with conviction. To create a true point of change, that signifies more than just the architecture.

A change in style, a change in the art and a change in society. Prioritizing weightlessness over mass, and translucency over opacity, my gallery will seek to contain a ‘trace’ of the NGV. Where one can see and feel the presence of Grounds’s design, yet experience a widely different environment.

FINAL DESIGN

How might the design of the NGV Contemporary explore the exchange between art, architecture, humans and the environment, and how can this influence a visitor’s experience in the gallery?

In his essay “An Overexposed City”, Virilio describes how ‘each surface is an interface between two environments that is ruled by constant activity in the form of exchange.’ As designers, we must recognise and question our role in developing this architectural dialogue and consider how this relationship affects the human experience. The NGV Contemporary is situated within the centre of an arts precinct, surrounded by an array of stylised and striking forms which collide and compete for the attention of the viewer. Most importantly, Roy Grounds’ NGV International sits adjacent to the site, bold and austere in form and materiality. This notion of exchange has formed the basis of my design, as I attempt to provide a softness and translucency to the landscape whilst leaving a trace of Grounds’s design. Swathed in smooth, white materials, the exterior façade absorbs rather than reflects, and contrasts with the solidness of the existing NGV building.

Indeed, this exchange remains integral within this contemporary gallery, where the translucent mesh dominates the space, framing a void that creates a connection between floors. Drawing on Bauldrillard’s theory of hyperreality, this translucency removes the clear distinction between spaces and people within the gallery.

Our experience of viewing art blends with our observations of others viewing art. If contemporary art is designed to encourage discussion and debate in this divided world, this gallery intends to blur the physical and social boundaries that divide visitors and encourage a mutual awareness and understanding of others.

I believe that my sections are more telling of the design intent of the gallery. Dominating the space, they create a void of light and translucency throughout the building. The irregularity within floors enabled me to create a pop out sculpture space that interacts with visitors from several areas of the gallery.

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Both galleries are similar is form, creating a connection across the promenade. If you were to prioritse one building, it may lead to the neglect of certain art forms/ categories, which would be detrimetnal to the push for equality in art and society.

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The gallery will utilse a steel frame, lined with concrete to protect from fire hazard. Exterior walls are concrete and double glazed glass. The external facade will be a steel mesh, painted white. It will hand from the roof tensioned by threaded rods. The interior void structure will utilise a steel frame, with fabric mesh.

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The northern building is home to more of the administrative sectors in addition to the galleries.

Here, we have artist workshops in full view of the ticketing area, enlightening visitors of the process of art marking.

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1. FOYER 2. TICKETS/CLOAKROOM 3. PERMANENT EXHIBITION 4. ARTIST WORKSHOP 5. SCULPTURE 6. GIFT SHOP 7. STAFF ADMINISTRATION 8. VOID

0

10m

ITY

C

D A O

R

3.

1.

1.

BASEMENT FLOOR _NORTH

4.

5.

1.

2.

2.

1. PERMANENT EXHIBITION 2. ARTIST STUDIO 3. VIP MEMBERâ&#x20AC;&#x2122;S LOUNGE 4. STAFF ADMINISTRATION 5. LOADING DOCK

0

10m

1.

1.

FIRST FLOOR _NORTH

1.

2.

3.

1.

1. PERMANENT EXHIBITION 2. SCULPTURE 3. VOID

0

10m

This top level is a quieter level and home to the research library, quiet reading room, and administrative offices. It would likely be visited

by VIP members, and employees, however it is important to still acknowledge their importance to this gallery. The mesh structure provides the access to the art, even when they are not in a gallery space.

1.

2.

3.

SECOND FLOOR _NORTH

7.

6.

7.

7.

5.

4.

3.

1. RESEARCH LIBRARY 2. QUIET READING ROOM 3. PERMANENT EXHIBITION 4. VOID 5. SCULPTURE 6. LOUNGE 7. OFFICES