Studio 36 - Journal - Nivar Dizayi by nivar dizayi

studio 36: NGV-contemporary

NIVAR

DIZAYI

992775

CONTENT

Design techniques and iterations Inside-out objects Vertical stacking Design statement Floor plan processes Section process Circulation and internal experience Facade testing Gallery analysis

Design techniques and iterations

BLURRING Looking at how mass can be used to achieve a blurring effect vs a facade treatment to segment views creating blurring on a more one dimensional plane.

Using mass to blurr the extents of the form and the rotation serves to function it in multiple directions

Aerial view Blurring boundary University of Seoul Campus, South Korea Designed by UTAA

Side view M Street Building Yongsan-gu, South Korea Designed by LESS

POSITIVE + NEGATIVE This can be achieved through light and heavy materials to deﬁne such spaces, or quite literally subtracting a central part of the building to make it more apparent. Using the subtraction technique the postive and negative creates these inbetween spaces that could be utilised for human inhabitation.

Oporto Vodafone Building Porto, Portugal Designed by Barbosa e Guimaraes Arquitectos

Aerial view

Front view

The Opus Dubai, United Arab Emirates Designed by Zaha Hadid Architects

Side view

INVERSION/NEGATIVE

The vessel extracts what would be the building per sae leaving the skeleton of the form vs the santuary which retreats into the ground opposing standard practice to build up. Using the technique from the positive and negative, this was the negative space created from the extracted elements which also appears to leave a skeleton like form .

The Sanctuary of Wadi Rum Proposal for Wadi Rum Resort, Jordan Designed by Rasem Kamal

The Vessel New York City, United States Designed by Thomas Heatherwick

ILLUSION

Paciﬁc Fair Parking Garage Gold Coast, Australia Designed by Scentre Group

NTU Cosmology Hall Taipei, Taiwan Designed by KRIS YAO | ARTECH

The manipulation of builing materials to create the illusion of dynamism and different shapes. Testing the experiential illusion whereby visually elements appear the same, but by trangressing the space we begin to feel the illusion of larger and smaller spaces.

TRANSPARENCY The effect of materials for transparency is paramount, for example, glass is visually transparent but physically obstructive. On the other hand, the batten language keeps a sense of openness with the elements, but depending on the ﬁeld or directional view it can manipulate the transparency of the form. Using a batten llike language, i have tried to create implied directional views through the spacing of the battens that would be accentuated through habitation.

Westland Town Hall Naaldwijk, The Netherlands Designed by Architectenbureau Cepezed

Visitor Center of Duna-Ipoly National Park Pilisszentiván, Hungary Designed by Építész Stúdió

FOLDING I began testing these techniques on an existing project (the Niemeyer house) to see how they could be applied to “real world” scenarios or applications.

Klein Bottle House Rye, Victoria, Australia Designed by McBride Charles Ryan

Royal Ontario Museum Toronto, Canada Designed by Daniel Libeskind

DISTORTION

I looked into how parts of the building can be exaggerated and minimised to create a distorition of scale. Often distortion is linked with something incomprehenable which is reponded to through a facade treatment but in the BIG project the whole building has been distorted.

VIA 57 West New York City, USA Designed by BIG architects

FRAGMENTATION

The Exchange Sydney, Australia. Designed by Kengo Kuma & Associates

It is interesting to note how not only is the mass fragmented through the areas that cantilever out, but the bamboo element accentuates through the spacing of the elements.

TRANSPARENCY

Japan House São Paulo, São Paulo, Brazil Designed by Kengo Kuma & Associates

Looking at the timber batten lanuage, it can also be used to divert attention away from a mass, and internally, it creates the potential for framed views out which could be utilised to highlight the transperncy or minimise it.

Samrat Yantra Observatory

iterations Inside-out objects

Completed in 1734 J a i p u r, I n d i a Built by the Rajput king Sawai Jai Singh II

I was very drawn to this project to use as the base mass for the inside out task due to the drastically different geometry that exists. Additionally, it was also interesting to see the potential of it given that it wasn't one large mass but rather a collection of smaller masses.

Modeled isometric view

Along with my team member, we modeled the form from the plans and sections we could ﬁnd online and in the process of doing this, it became apparent to me that there was a lot more complexity to the form once you begin to dissect it versus just on face value.

Modeled plan

Initial iteration.

Playing with this idea of taking something that appears quite simple and ﬁnding the complexities, i noticed i went through a pattern of reflecting or mirroring the form to generate the above.

Progressional sectional perspectives

Isometric view

Elevation

Plan

Iteration A. Isometric view

Elevation

Using a similar technique as before but beginning to stack the form and gently rotating each panel

Plan

Iteration B. Isometric view

Elevation

Then taking the two techniques of mirroring and stacking and integrating the two to test the outcome. It became apparent to me that the simplicity of the original iteration felt stronger than A and B as the mirroring was a pure idea being addressed.

Plan

House of faun, Pompeii

Modeled inversion

In contrast with the Samrat Yantra Observatory, this form had quite little negative space and there were many repetitive elements.

Modeled inversion plan

Iteration C. Isometric view

Elevation

Therefore, i set myself the challenge to ﬁnd the negative space while creating the illusion of enclosure.

Plan

I t e r a t i o n D. Isometric view

Elevation

Here, i was less concerned about the creation of negative space but rather what experience does rotate and interlock dynamic create.

Plan

Crichton Castle, Scotland Modeled inversion

This mass was quite different to the others in that it was one form, whereas prior it has been a collection of masses, so it was harder for me to play with it due to such.

Modeled inversion plan

Iteration E.

Isometric view

Elevation

In saying that, i noticed again i went back into the cycle or rotating, interlocking and mirroring as a process to generate form

Plan

Base mass + height

60m 45m

Vertical stacking

So ut hb

t rt S Stu an

Bl vd

NGV

Looking at a basic mass for the site to understand the height relationships and the potential heights

Iterations

Iteration 1.

ELEVATION 1

PLAN

Taking the base mass and splitting it in 15 degree intervals before subtracting speciﬁc pieces. The arrows represent potential views in and out and therefore the physical and visual relationship that may exist

Iteration 2.

ELEVATION 1

PLAN

Taking the base mass distorting the shape and height to create a vertical stacking with in between spaces that could provide external function such as terraces for outdoor dining.

Iteration 3.

ELEVATION 1

PLAN

Similar to prior in that the base mass is distorted, however this time i rotated them inwards and outwards to create sloping surfaces. This not only creates a clear line of sight but also the potential for the building and landscape to mesh.

Iteration 4.

ELEVATION 1

PLAN

Using the same principal of rotating inwards and outwards to create sloping surfaces, however this time trying to take a more reﬁned and rational approach and keeping the shape consistent as a linear form.

Iteration 5.

ELEVATION 1

PLAN

Keeping with the idea of this linear form, but looking at rather than sloping down, what effect does lifting the edges up have. I found that it creates the opportunity for this under croft area meshing the edges of the building.

Iteration 6.

ELEVATION 1

PLAN

Going back to the base mass, but taking the two points along the long edge of the triangle and pushing them up and out and then sloping it down towards the center.

Iteration 7.

ELEVATION 1

PLAN

Taking the negatives from the form generated in iteration one, and stacking and rotating creating in between spaces.

Revised stacking

Iteration 1A.

Given that the previous version had worked with the angles of the site to create the cuts, I feel as if the redirection towards the north does not allow for these shapes to be formed but rather creates the impression of stacked boxes, particularly from the street.

Although façade treatment may allow for a point of interest, I feel that this interface creates the impression of exclusivity rather than making the gallery appear more accessible.

Looking at the relationship with the promenade and proposed garden, again the appearance of stacked boxes seems too prevalent. The only space it speaks to is the outdoor auditorium like space - whereby it looks like an exaggerated version of such.

Referring to the previous round of iterations, although this form was not speciﬁcally ‘shortlisted’ for more development, I was interested in the form with regards to how it deﬁnes a moment in space that appears quite dramatic yet the peaks and troughs still allow for the accessible/approachable element. I also saw interest in how the 2D and 3D elements were expressed and somewhat mirrored.

I tested the original iteration within the context of the site and liked how one ‘arm’ appears to taper or reach out to the one side of the city and the other arm reaches out towards the garden and NGV - giving the impression of connecting different people into the one space.

Iteration 6A.

I experimented with the effect of combining the two planes to merge the flow between each end and in turn allowing the form to be more cohesive in drawing the eye up and down the form. Simultaneously, I exaggerated the two points in terms of their heights and also the degree to which they taper out.

From the corner of Southbank Blvd and Kavanagh St the sharp point is prevalent but the eye can also follow a trail to what may direct them towards an entry point.

Viewing it from the garden and promenade, the form is more striking and to me is more emblematic of what a contemporary gallery - in my case acting almost like a landmark to facilitate the meeting of different groups of people.

Gallery space Learning space SOUTHBANK BLVD

Gallery space

Commercial activities

KAVANAGH ST

Looking at how the form may be utilized in terms of the program requirements, with varying gallery heights, that would be pushed to the perimeters to allow for those on the street to passively engage with the art - as achieved by Diller and Scoﬁdio with the Broad Museum project.

52M 44M

Arrival

Gallery space

Learning space

Gallery space

48M

PROPOSED PROMENADE Building operations

Commercial activities

SOUTHBANK BLVD

Design statement: A contemporary gallery Initial concept/idea exploration

- How can a gallery become an outwards looking space, rather than inward looking? - How can more people of the general public engage with the gallery? - How can we remove the mark of prestige associated with galleries?

Design statement

- How can a contemporary gallery act as a meeting point for people?

Inspiration and references

OMA Parc de la Villette It keeps the illusion of architecture intact, while surrendering wholeheartedly to the needs of the metropolis. Inflated by nostalgic dreams of omnipotence Twin preoccupations: program (simple interest in what happens), which seemed the unrealized project of a marginal band of modern architecture; and the phenomena of Manhattan, which seemed, in many ways, its casual materialization. --> A combination could deﬁne a plausible relationship of architecture, modernity, and the metropolis Suppressing the three-dimensional aspect almost completely and proposing pure program instead, unfettered by any containment Pure exploitation of the metropolitan condition: density without architecture, a culture of “invisible” congestion

Prada Show The new space is built over the remnants of the previous season which serves as both a foundation, and visible background, for the current scenography. Treatment of the space is the opposite of tabula rasa – “nature vs nurture”

BIG Copenhagen harbour bath Emphasis on the current and future site conditions More direct approach to their intentions rather than ideological

Serpentine pavilion Dualities : structure and freeform, modular and sculptural, transparent and opaque, box and blob, presence and absence Effect of materials on the overall outcome

APM -

“Nature and culture” To break the rules, you must ﬁrst master them A storyline for the visitors: governed by functional requirements but conceived in a single gesture Dualities: striking yet subtle, contemporary yet timeless, functional yet sculptural

Concept development How can we look out, to see the bigger picture, but also look inward to reflect on the contents of the picture - conceiving the architecture as a whole in reference to the city and precinct, but acknowledging its relationship to the people How can gallery become a meeting point for people, - creating spaces that function like a public square How can the ideas of nature and culture be intertwined to allow the gallery to be more accessible to a diverse group of people

Design statement (interim): Human nature has taught us vital instincts as a means for survival, but what occurs beyond survival? In this new age of human history, the importance of art and culture has become another vitality in our society, but it is important to consider the effect of human nature on our response to such. Spaces such as galleries often warrant contemplation and reflection, however, a flaw in our nature is that this reflection occurs only relative to ourselves and becomes a subjective, rather than objective, reflection of the circumstances. This in turn propels a one-dimensional mindset where we choose to be oblivious to anything beyond our own being. Perhaps, there a blissfulness in oblivion and hence why we may not seek to understand the objective mindset, but as Rem Koolhaas states “the acceptance of certain realities doesn't preclude idealism. It can lead to certain breakthroughs,” and therefore, reflection must extend beyond one dimension. This contemporary gallery will facilitate a multi-faceted state of reflection whereby users will not only reflect on the art, but also the art in context with themselves, the architecture of the gallery, the city, and the culture of such. Consequently, contemporary art and culture will become more accessible to a greater audience as it allows for individuals to ﬁnd a common denominator, drawing them to the gallery.

Process - floor plans

Promenade level

In order to resolve the interiors of the project after the interim, i went to hand sketching as it feels more flexible compared to generating form with a computer which tends to become more about pure geometry and rationality.

h ag n va Ka

7 8 10

As I began to take on a more curved form to mirror the design of so-il’s garden for the promenade, it became apparent i really needed to implement into all the parts of the plan to push the idea.

4 5

Key public entrance

1 Void above

DOWN

Void above

13 Roof below

11 Void below

12 1. Foyer 2. Service desk 3. Cloak room 4. Admin 5. Service lift 6. Services shaft 7. Cafe 8. Cafe services 9. Temporary gallery 10.Toilets 11. Public access lifts 12. Design store 13. Outdoor sculpture gallery 14. Outdoor cafe seating

Southb ank Blv d

Circulation and internal experience

After testing the plans against this new interior form, i needed to rework where some of the zones were located in order of access to light or external program. Therefore, i used an exploded isometric to understand how the spaces overlaid.

h ag n va Ka

8 8

4 7

After meeting with the engineer, the structural aspects speciﬁcally column locations in areas that require a large span were resolved. The structural grid was applied and walls amended to be able to respond to such.

Staff entrance 5

2 13 3

12 UP

Void above

1 B

1. Temporary gallery 2. Service lift 3. Staff workspaces 4. Staff toilets 5. Staff kitchen 6. Achives 7. Loading dock 8. Art handling 9. Toilets 10. Public access lifts 11. Lounge and foyer 12. Auditorium 13. Services shaft

Southb ank Blv d D

Ground floor Plan

Section A

Process - section

Taking a basic section through the relative center on the shorter side accentuates how the shape of building poses difﬁculties due to the slenderness to the top and how the circulation has to respond accordingly.

Once the base of the project was modeled it became apparent to me that the experience across the building varies quite drastically, despite the exterior remaining quite pure.

Section B

Interestingly, when taking a section in the opposite direction, the building feels less dynamic

1 2

2 3

2 2

4 2 5

10 9

7 8

LEGEND Stairs (primary circulation)

14 11

Escalator (primary circulation) Escalator (secondary circulation)

Public access lifts Service lifts Key public entrance 1. Outdoor terrace 2. Permanent collection 3. Digital media gallery 4. Restaurant 5. Outdoor restaurant dining and outdoor sculpture gallery 6. Kid’s learning space/activity center 7. Member’s lounge 8. Outdoor member’s terrace 9. Research center and reading room 10.. Admin (ofﬁces + meeting room) 11. Temporary gallery 12. Design store 13. Admin 14. Cafe 15. Auditorium 16. Staff workspaces 17. Loading dock 18. Art handling 19. Achives

16 17 18

Doing this diagram allowed me to realize that the stacked style of circulation is not the most immersive gallery experience and i need to encourage people to explore the building by separating the circulation

View creation

Looking at the base model without any materials to try and capture the best view for the shapes that have been generated.

Materials

I started looking at how the interiors would feel using the polycarbonate if the material would be allowed to be expressed without an inner skin

I think it could work in areas such as the foyer but it would pose more constraints then opportunities in the gallery spaces - both visually and acoustically

Ceiling design

Looking at these examples for the ceiling treatment, the skylight could be utilized using the same angles of my geometry and then placing the reflective material for the ceiling to bounce light of it. The ribs of the skylights could follow the structure or pattern of the facade to keep a cohesive look.

Circulation and internal experience

At the mid semester review a polycarbonate material was used as it can illuminate and influence the space around it, but i needed to adapt the facade to something that is more reminiscent of reflection.

At ﬁrst i considered mirroring the design of the promenades landscape onto the facade

While it does feel like a continuation of the landscape, it feels like the pureness of the original geometry is lost in translation

It would create an interesting interior experience, however this is not enough to justify the effects that has on the facade.

Farshid Moussavi

As I used the semitransparent material during the mid sem, I thought about whether I could use a hyper reflective material to reflect the surrounding site and bridge that connection

I tested this in multiple different lighting settings, and what I liked is that the building adapts to the landscape because of the reflective nature of the façade. But the question is, what kind of material can offer this reflectivity without being basically glass… ? Or is there the possibility of using a double skin system where glazing is basically used a cladding material and the interiors can remain solid?

Facade

I went back to the polycarbonate because I really like the way that the building illuminates its surrounding and reflects the architecture onto the city in that way. Also how we can get hints into the interior without interrupting the city.

It also creates the opportunity to reflect speciﬁc circumstances through changes in the hue/temperature of the lights

G A L L E R Y A N A LY S I S

Australian Centre for Contemporary Art Architects: Wood/Marsh Y e a r: 2 0 0 2 (Melbourne)

FORM

The form of the gallery externally uses the design techniques of twisting, folding, fragmentation and jump cut to create the illusion of a building that was once whole and yet has been split in a way that can be re-formed once again. The angular edges accentuate the notions of folding and fragmentation and are counter-balanced by a shift in material that otherwise covers the whole building skin.

MATERIALS “Fragmented” panel segments are used to form the building skin that wraps around the perimeter of the facade. Interestingly, through the uniformity of the materials used, despite the obvious fragmentation, the building not still appears whole, but also that each edge suggests a continuation of another existing edge which implies the technique of jump cut. The interior expresses the inverse of the exterior, whereby there is an expression of all the folds and creases formed externally. The point of contrast however, is that although the same paneled material is employed, the ﬁnish creates a vastly different experience. In that, the rustic appeal externally references the native land, whilst the interiors highly polished ﬁnish references the content of the building - a contemporary gallery.

FORM & ACCESS As a mass, the building maintains the expression of fragmentation by separating two main gallery spaces forcing an opening towards the amphitheater. Therefore, the main entrance becomes directed towards Stuart street, whereby we see the highest point of the building announcing the entrance point.

Ofﬁce

Kitchen

Store

Set construction workshop

SPATI AL ORGANISATION & CIRCUL ATION

Gallery spaces

Evidently, whilst the plan does present the idea of fragmentation, there is an evident linearity in the way to which one experiences and moves through the building, following a logical sequence of events. Additionally, the separation between the two building masses forces uses to experience a radical change in environment before proceeding to the next gallery space.

Bar

Foyer Ofﬁces

Reception

Store

Studio Void

As you progress to the second floor, it becomes apparent that whilst the building footprint appears large, much of this space only spans one level as the area occupiable by gallery exhibitors is quite limited, and hence a dominant use of void spaces to accentuate height.

Void

Ofﬁces

Plant

Void

Ofﬁces

LIGHTING & HEIGHTS

As expected, the gallery spaces themselves are quite inwards looking with the use of artiﬁcial light, to control the perception of the work and also to prevent damage. Within the processional like spaces small glimmers of natural light peak in indicating the start or end of an exhibit.

The Broad Museum

- Group analysis (with Jade Layton + Atika Bhargava) Architects: Diller Scoﬁdio + Renfro Y e a r: 2 0 1 5 (Los angeles, USA)

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

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

MATERIALS

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

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

Primary access points Secondary access points

Gallery

Storage

SPATI AL ORGANISATION & CIRCUL ATION The exanpsive lobby space allows for people to congregate before moving into a more narrow tranaitional passage into anothe open space, being the gallery. By conﬁning the space prior to the gallery, it creates a level of intimacy despite the upcoming openess. Lobby

Private space

Public space

Transitional space

Semi-public space

Object storage Painting screens

FIRST FLOOR

SECOND FLOOR

Mechanical

Gallery

Prep

Ofﬁces

Conference

Private space

Semi-public space

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

ZONING & HEIGHTS

Public lobby, museum shop, gallery, multimedia space, collection storage, escalator, cylindrical glass elevator and central stairs. Collection storage visible to museum visitors, administrative staff ofﬁces, flexible programming space

5m 6m

22m

35,000-square-foot, column-free gallery space with ﬁltered natural light from skylights and windows

Public space

Transitional space

Semi-public space

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

LIGHTING

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

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

MoMA Expansion (New York, USA) - Group analysis (with Jade Layton + Atika Bhargava)

Architects: Diller Scoﬁdio + Renfro Y e a r: 2 0 1 9

FORM

The 53rd Street entrance canopy is a thin 42’ plane weighing 95,500 pounds, which appears to slice through the glass facade and float above the main entrance doors. The canopy is comprised of steel plates and concealed ribs, suspended on steel rods. The canopy cantilevers 26’ beyond the facade of the building, out to the sidewalk to mark the main entry point for visitors. The Studio and the Daylight Gallery share a frameless suspended glass wall with a black dot frit outer surface to delicately modulate daylight and reflection. The Studio features an additional interior glass wall with metal mesh interlayer, as the inner wall of the box-in-box, acoustically isolated construction 3’ behind to control outside sound migration and further ﬁlter daylight and view.

MATERIALS

The design taps into the historic DNA of the building, relating disparate elements through a series of strategic interventions that reflect aspects of twentieth-century modernism: purity of material expression, abstraction of space, and thinness. Synthesis is achieved with a minimalist use of materials which correlates with the existing building fabric.

The façade of the public spaces – the lobby, the suspended blade stair, the Street Level Gallery and the retail space below – employ frameless glass panels that are structurally clamped to function as glass beams both vertically and horizontally to maximize visibility from the street to activities inside the museum.

ACCESS

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

SPATI AL ORGANISATION & CIRCUL ATION

Gallery wings

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

Gallery

Terrace cafe

Studio

Daylit gallery Street level gallery Projects gallery

Public space

Semi-public space

Private space

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

LIGHTING

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

Astrup Fearnley Museum of Modern Art

- Group analysis (with Jade Layton + Atika Bhargava)

Form

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

Architects: Renzo Piano Building workshop Y e a r: 2 0 1 2 (Oslo, Norway)

Materiality The choice of materials expresses quality but with simplistic means. The form of the building, as well as the artworks within are the main focus. Keeping in the Nordic theme, the main exterior material used is a simple vertical timber cladding. 7KH PDWWH ZHDWKHUHG ¿QLVK ZDV intentional, similarly to a ship’s body, the material will age giving it a rustic aesthetic. The glass roof is a stark contrast to the heavy body and allows light to pass through. 7KH JODVV URRI GHVLJQ WDSHUV Rႇ and appears to touch the water.

Organisation of Spaces

Private space

Public space

Transitional space

Semi-public space

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

Location and Access

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

Heights + flexibility

Variable

3.5m

Variable

3.5m 3.5m 5.7m

6.0m

Exhibition spaces

Office spaces

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

Lighting

Exhibition spaces

Office spaces

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

Fondation Louis Vuitton

- Group analysis (with Jade Layton + Atika Bhargava) Architects: Gehry Partners Y e a r: 2 0 1 4

Form & Materiality

Inspired by the glass Grand Palais, and by the structures of glass, such as the Palmarium, Gehry wanted to emulate these founding structures in a creative way. The glass building again takes inspiration from a sailboat’s VDLOV LQÀDWHG E\ WKH ZLQG 7KH JODVV VDLOV HQFORVH WKH “iceberg”, which consist of a series of white shapes. The 3,600 glass panels and 19,000 concrete panels that form the facade were simulated before being moulded E\ LQGXVWULDO URERWV ZRUNLQJ Rႇ WKH FRPPRQ PRGHO The ever changing landscape and sky means that the glass sails are constantly transforming. One moment WUDQVSDUHQW WKH QH[W VLOYHU\ RSDTXH DQG UHÀHFWLQJ WKH passing clouds. The steel and timber structural elements being an integral part of the architecture casting a network of shadows.

Initial concept sketch by Gehry

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

Terrace

Galleries

Auditorium

Recreation

Access

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

Plaza Lobby Auditorium Cafe Library Gallery

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

6.8m - 12.0m

6.8m - 13.6m

3.0m

4.5m

Lighting

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

Organisation of Spaces

Private space

Public space

Transitional space

Semi-public space

Location and Access