UNTITLED
A Project Art Space for Melbourne Studio 36 | Anna Ner vegna S k y e Ta n g 9 0 0 8 3 0 L e v e l E
Nov 2021
CONTENTS
0 1 S p a t i a l Ve r b s
02 Inside Out Objects 03 Site Analysis
04 Design Statement
05 Urban Massing
06 Mid-term Schemes
07 Gallery Analysis
08 Design Development
09 Final Review
01 In this task, I explored different formal techniques(spatial verbs) to generate experimental iterations. The research on art and the architectural precidents help us to understand and examine these techniques. I also learned how to use graphic techniques to communicate the design ideas, including appropriate drawings and renders.
01 Spatial Verbs
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Super Graphic
Blur
Positive & Negative
Inversion
Folding
Folding 6
Transparency
Illusion
Fragmentation
Disorder
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01 Spatial Verbs - Super Graphic
My Iteration by using grasshopper image sampler Aluminum perforated panel is popular to build a creative facade. This system can provide ventilation, solar shading and privacy, the variation of the perforations’ size and density can be customed to create graphic signs. Andy Warhol was an American Pop artist and his works explored the connection between celebrity culture and artistic expression. His silkscreen painting transformed Marilyn Monroe from a pop icon into a pop art product. Most of his works employ an arresting colour scheme. My iteration is using the digital technique to convert this iconic portrait to a perforation image that can be used in an architectural element. As colours fade, facial features are highlighted by the size variation of perforation. Qiyu Tang | 900830
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01 Spatial Verbs - Blur
The Serpentine Gallery Pavilion by Sou Fujimoto is a cloudlike structure and is composed of a three-dimensional white steel grid and circles of transparent polycarbonate. The pavilion blurs the surroundings and creates an ambiguous atmosphere when it reflects the sunlight. Sol Lewitt also used lines to create his modern structures in the form of towers, pyramids and other geometries. My interest of lightness leads me to explore the relationship between voids and volumes. If the volumes are composed of liner elemnts and the void space created can express the weight but in a contradictory lightness. I choose white latticed pipe structure to form a semi-transparent architecture that fades in the sky. The size of pipes decrease from bottom to top. The structure is broken to allow people experience the interior space. The structure not only looks light, but also blurs the boundary between the built and natural environment. Qiyu Tang | 900830
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01 Spatial Verbs - Transparency
https://www.dodimoss.eu/en/portfolio/padiglione-italiano-expo-dubai-2020/
Proposal for Italy’s Expo 2020 Dubai Pavilion Dodi Moss 2019 As James Turrell way states, “The qualities of the space must be seen, and the architecture of the form must not be dominant.” After the exploration of lightness and ambiguity, the concept of invisible architecture draws my attention. The invisibility can be achieved by the transparency of the volume and optical camouflage. The Dubai pavilion uses a metal mesh structure and glass to create an atmosphere of light, contrasts and transparencies. Inspired by it, my design consists of a series of arched volume created primarily by the metal mesh structure. Exposing the structural elements leads to the transparency.
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01 Spatial Verbs - Illusion
The second way to make installations “disappear” into the landscape is using mirrors or screens. This iteration is a maze of mirrors and optical illusions. The reflective skin of mirrors reveals the surrounding environment and makes the maze elegantly blend into the site. The experience in a maze is always related to disoriention and novelty. The spiralling labyrinth may have self-illuminating system. Navigating this area of reflected and illuminated surfaces can be especially fun after dark.
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01 Spatial Verbs
- Positive and Negative
This iteration explores the postive and negative in relation to the human experience. Positive spaces tend to promote social interations or activities while negative spaces are ususally preferred for the movdment. In this design, the boundary between positive space and negative space is vague. The grid frame offers more opportunities of the experience. Positive space cand be partly enclosed and negative space can be turned to be positive by capping it.
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01 Spatial Verbs - Inversion
The technique of inversion is about carving out or breaking up from a whole to get several sections, creating voids and solids. When solids turn out to be voids, they will have different qualities and spatial experience in terms of positive and negative space.
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01 Spatial Verbs - Fragmentation
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Fragmentation, individualization and changeability can be seen in this iteration. The design comprises a sequence of inter-linked geodesic domes. The visual fragmentation make it looks like frozen soap bubbles. In the case of bubbles, they tend to minimise their surface area by clustering together. In the architecture, different spaces will merge to share common walls. The “bubbles” of this architecture draw upon deformations and variability. When the bubble bursts, the void space becomes the threshold zone, which is of openness, emergence and potentiality.
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01 Spatial Verbs - Weaving
This iteration explores the technique of weaving, which is one of the most widespread and traditional crafts in the world. Weaving has been employed to create baskets, furnitures and it can also be used in architectures to create enclosure. It is applied onto a disorderly woven surface. The varied tightness and densities of the weave can manipulate the amount of light enters the space, as well as the visibility through the surfaces. The ambient light and shadow can give a rich spatial experience.
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01 Spatial Verbs - Folding
In recent years, folding techniques are widely used by many architects to make 3D forms from 2D sheets. In other words, folding is the deformation of materials. I started with some manual folding, feeling the hinges and the faces of the paper. Opening a fold in a surface can create spaces. The first iteration is an example of rigid folding and its structures are consisted of plane polygonal elements. The fold design is based on triangle. The entryway, glazed floor -to-ceiling walls and the gabled roof make the building look like it is snapped into the place.
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The second iteration is done by curved folding. When the first iteration expresses more about the rigidity, this iteration highlights the fluidity. The undulating roof becomes a seating area when it touches the ground. The compound functions make the design practical and interesting.
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01 Spatial Verbs - Boolean
In mathematics, geometry deals with forms, shapes and the sizes of objects. Buildings are built of geometries and materials. As a designer, I use geometry as a compositional device to make a start. This iteration comprises sphere and trapezoid. These different-shaped volumes are stacked or subtracted to create a complex geometry and the booleaned interior with unique spatial experiences.
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02
In this task, I studied Samrat Yantra Observatory in Jaipur, India. It is the world’s
largest stone sundial and listed as World Heritage. It is designed with pure geometry and curves. In the inversion task, I looked at both geometries and the plan.
http://www.kamit.jp/02_unesco/24_jaipur/xjan_1eng.htm
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02 Inside Out Objects
- Model the Precedent Group Member (Skye, Sherry, Regina)
SAMRAT YANTRA OBSERVATORY JAIPUR, INDIA 1738
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02 Inside Out Objects - Inversion by space
Inverting the interior space to be exterior changes the monumental style to industrial style.
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02 Inside Out Objects - Inversion by Plan
The new plan is derived from mirroring the original plan and the space is enclosed by walls.
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03
For the site analysis, I had one site visit and did online research about the social housing, housing typologies and artistic atmosphere of Fitzroy, together with the history of Smith Street.
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03 Site Analysis - Social Housing
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03 Site Analysis - Social Housing
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From Slums To Commission Towers History
As far back as the 1850s, urban slums existed in Melbourne’s inner suburbs. By the 1930s, extensive areas of these suburbs were dominated by slum pockets. Slum dwellers lived in ramshackle housing, with leaky roofs and no bathrooms. Concerns about slums and the dwellers saw the development of a number of visions for improving urban conditions. In 1937, the Housing Investigation and Slum Abolition Board produced a report on the deplorable conditions of slums and recommended the rehousing of slum dwellers and reclamation of slum areas. This report led to the establishment of a Housing Commission. In order to improve existing housing conditions and to provide adequate housing for persons of limited means, the commission built flats to rehouse the slum dwellers.
Slums cleared, towers built
After World War Two, the Commission was keen to produce the largest number of house at the lowest cost. In an era when prefabrication was widely regarded as the most efficient construction method, the Commission continued its prewar development of precast concrete houses to achieve three goals — scale, efficiency and delivery. The most visible legacy of the Commission is the 47 or so high-rise apartment towers in inner Melbourne, using the pre-cast concrete panel technology. These high-rises have become somewhat iconic, and instantly recognizable image of the Melbourne ‘Housing Commission Tower Block’, illustrating the impact of slum clearance’. These towers vary between 20–30 storeys in height and come in a variety of plan forms; S, T, Y, I, L and C-shape. The most common is the S-shape. There are 4 S-shaped social housing towers near Atherton Reserve in Fitzroy. It was intended to be a modern, affordable, healthy inner-city community. However, many who live there still suffer the social disadvantages of poverty, unemployment and illness. 95 per cent of residents in these high-density towers rely on some form of social security or Centrelink payment.
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03 Site Analysis
- Fitzroy Art Space Tour
The Fitzroy Art Collective Wolfhound Gallery
Brunswick Street Gallery
Centre for Contemporary Photography Purpose Designed Premises Not-for-profit Organisation
The Galerie Fitzroy
PG Gallery
Sutton Gallery
Daine Singer
BSIDE Gallery
Daine Singer Former Pittard Electroplating Building to A Commercial Gallery
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Centre for Contempora Photograph
Sutton Projects
Lucas Gr Mura Kat Chadwick
THIS IS NO FANTASY Australian Print Workshop Inc. ACU Melbourne Gallery
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HONEY BONES Gallery
r ary hy
Backwoods Gallery
Arts Project Australia Gallery
Off the Kerb Gallery & Studios Arts Project Australia Gallery
Gallery Midlandia
Black Cat Gallery
Tacit Galleries
A Former Collingwood Technical School Site to A New Contemporary Art Space
Matt Adnate Mural
rogan al
The Design Files
Gertrude Glasshouse
James Makin Gallery
Gertrude Glasshouse
Fox Galleries Australian Galleries
Nicholas Thompson Gallery
A Former Glass Works Factory to Studio and Exhibition Programs Fitzroy Collingwood Site
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03 Site Analysis
- Smith Street Heritage Overlay Area Why is Smith Street important? Fitzroy (Melbourne’s first suburb), Smith Street (one of Melbourne’s oldest thoroughfares) 1837: Street founded and was developed as a route from Melbourne to Heidelberg. 1837-1865: Transition from a thoroughfare to a manufacturing and shopping centre. 1860s-70s: The periods of consolidation in Fitzroy’s commercial strips. 1880s: The Post Office, Foy and Gibson’s Collingwood Store, Cable tram. The retail population furthur expanded. 1900-70s: The expansion of Foy and Gibson’s, a tunnel was buily for lady shoppers. After 1970s: In decline and a lot of demolition, gentrification. Photograph of the Foy & Gibson’s Mens’ Store(135-143 Smith Street), c1970. Source: ‘Gibsonia’ Woollen and Hosiery Mills: “Two Miles of Mills’, State Library of Victoria Online Picture Collection, c1921?.
Photograph of the demolition in progress to make way for the Atherton Gardens Estate in Fitzroy in the early 1970s. Source: https://www.picturevictoria. vic.gov.au/site/yarra_melbourne/Fitzroy/6978.html
Smith Street Heritage Overlay Area is aesthetically and historically significant for: Being the City’s most important Victorian and Edwardian-era commercial strip; As the centre for large scale manufacturing and retail emporia; The expression of the early commercial development phases; The well-preserved late 19th and early 20th century commercial and retail buildings; The highly ornate and exuberant Italianate and Edwardian details on buildings. Contributory elements: Victorian-era and Edwardian-era shops and residences Photograph of the Shepherds Arms Hotel, Photograph of the street frontage (38 former facade(253-255 Smith Street). Smith Street). Source: https://vhd.heritagecouncil.vic. Source: Skye Tang gov.au/places/100649#statement-significance
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04 Started from five points, the statement is refined through the development of urban massing and research of art galleries.
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04 Design Statement -Draft
Fitzroy Art Project Space (FAPS) aims to transform the street corner site into a great creative and cultural destination of the Fitzroy Art Spaces Tour (FAST). It would provide the vastest space and a unique spatial experience with rich contents in the Fitzroy Arts Precinct. The FAST is an education program that offers an engaging pathway to explore four Fitzroy art galleries, ranging from the photography gallery to the commercial gallery and artist-run spaces. Located in a mostly pedestrian zone and the edge of the local art precinct, the FAPS will boost its appeal to visitors and foster the connection with the wider Melbourne Arts Precinct. The FAPS will be designed as an incubator and launching pad for local artists to support Fitzroy’s art industry. It will provide affordable studio spaces. Besides, it will function as a communication platform for artists and viewers. As Sol LeWitt puts it, “A work of art may be understood as a conductor from the artist’s mind to the viewer’s. But it may never reach the viewer, or it may never leave the artist’s mind.” The proposal will hold programs such as art workshops and free lectures to promote the interaction between artists and viewers. Furthermore, the design is inspired by Farshid Moussavi’s theories of function and style, examining the architectural style beyond an external appearance and exploring its multiple functions, including viewing exhibitions. The FAPS will assemble a repetition of formal elements to encourage people to react creatively in different functional areas. Rather than treating FAPS as an isolated architectural object from the art context, the building is conceived as an integral part of the permanent visual exhibition. As Le Corbusier said, “Light creates ambience and feel of a place, as well as the expression of a structure.” The introduction of natural and artificial light will be carefully considered and designed to protect and preserve the artwork. At the same time, it will also create a comfortable spatial experience, turning the whole exhibition area into a work of art.
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05 During the development of the urban massings, I studied many built and conceptual projects for inspirations. Then I generatesd some potential design variants and explored the ideas that would respond to the site context and design statement.
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05 Urban Massing - Embed
The design concept is to blur the difference between building and landscape by embeding the built form into the site. The shape of the building opens up a dialogue between architecture and landscape. The slope should call for landscape design and careful engineering. Qiyu Tang | 900830
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05 Urban Massing - Wave
All these designs are characterised by their undulating roofs, which extend in an overhang to shade the entrance and facades. The roof mimics the flow of water. The dynamic shape can distinguish the building from other rectangular boxes. Qiyu Tang | 900830
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05 Urban Massing - Stacking & Striking
In my design, I used arch as a basic element. T building block is enclosed by the striking facade. are set back to create terrace, which can be share
MEMORIES OF ARCHITECTURE FUMIO MATSUMOTO
This model integrates memories of multiple architecture structures into one single object, ranging from ancient Egypt to modern Japan. 35 famous buildings were stacked together in order from old to new, presenting the contrasts and similarities between disparate architectural styles.
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Through the repetition and stacking of the arch, the I really like the result of shadow test. The floor plates ed by two towers.
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05 Urban Massing - Stacking & Arch
Differed from the previous iteration, this model explored more compostions of arch. The creativity of this volume is subtraction. There are more grey spaces other than terrace. The arch not only forms the facade, but also acts as the division of the space.
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05 Urban Massing - Stacking
Three boxes are stacked together, facing different directions. The extended platform, rooftop garden and the foyer can enjoy sceneries which are unlike others.
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05 Urban Massing
- Stacking / Cut-out Cube
This design starts with a cube, then cut some pieces out. The cut-out makes the most of negative space and skylights, whether it’s through floor-to-ceiling windows or big atrium. Sometimes, the design will be refined by subtraction than by addition.
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05 Urban Massing - Spiral Stacking
The basic shape of the floor plate derived from the social housing towers. The floors are stacked spirally, creating cantiliver and terrace. The entrance is located at the intersection point of the “X“. The entryway gradually narrowes down to a compact space.
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05 Urban Massing - Stacking & Quotation
VITRAHAUS Herzog & de Meuron 2009 By extruding, stacking and pressing, these simply shaped houses become complex configurations in space, where outside and inside merge. I tried to model something similar
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05 Urban Massing - Terraced Stacking
These two iterations are terraced stacking form. Cubes are randomly are scattered randomly and stacked vertically. In order to open up space, some cubes were replaced by the curvy facade. The design looks like a melting iceberg. Qiyu Tang | 900830 45
05 Urban Massing - Stacking & Jenga
Sometimes, I will be inspired by stuff common in life, like jenga. The geometries all derived from the shape of social housing towers which are bulky. In this iteration, I make these blocks staggered but linked.
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05 Urban Massing - Massing 10 Scheme 1
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05 Urban Massing - Massing 10 Scheme 1
ios
ud t St Ar
et ark tM Ar
t jec Pro
Ga
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y rar po Tem
Gift
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05 Urban Massing - Massing 10 Scheme 2
Program Layout
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05 Urban Massing - Massing 6 Scheme 1
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05 Urban Massing - Two New Iterations
Art Market Art Studios
Kids Learning Space
Office
Project Space Gallery
Research Library
Digital Gallery
Temporary Gallery
Cafe
Basement
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06 In the mid-term review, I proposed two schemes. The inspiration of both design is found in the surrounding context, the victorian style buildings. I extracted the basic element, “arch“. The first scheme used arch as a formal articulation, referencing to local landmarks. The second scheme applied arch as a sustainable response, ultilising the features of structures to intergrate volumes of greenery.
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06 Mid-term Schemes
FIT
SM
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ZR
ST
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TRU GER
CO
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The Fitzroy Art Collective
Wolfhound Gallery HONEY BONES Gallery Brunswick Street Gallery
Centre for Contemporary Photography Purpose Designed Premises Not-for-profit Organisation
Arts Project Australia Gallery
Sutton Gallery
Daine Singer
BSIDE Gallery
Sutton Projects
Arts Project Australia Gallery
Gallery Midlandia
Black Cat Gallery
Tacit Galleries
A Former Collingwood Technical School Site to A New Contemporary Art Space
Matt Adnate Mural
Lucas Grogan Mural Kat Chadwick
THIS IS NO FANTASY Australian Print Workshop Inc. ACU Melbourne Gallery
Backwoods Gallery Off the Kerb Gallery & Studios
The Galerie Fitzroy
PG Gallery
Daine Singer Former Pittard Electroplating Building to A Commercial Gallery
Centre for Contemporary Photography
The Design Files
Gertrude Glasshouse
James Makin Gallery
Gertrude Glasshouse
Fox Galleries Australian Galleries
Nicholas Thompson Gallery
A Former Glass Works Factory to Studio and Exhibition Programs Fitzroy Collingwood Site 0
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25m
N
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Terrace House
Town Hall
Former Cable Tram Engine House
Former 69 Smith Gallery
Museum
Former Alcaston Gallery
Site N
Scheme 1
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Scheme 2
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06 Mid-term Schemes - Scheme 1
Design Development TYPICAL RESPONSE
SITE RESPONSE
STREET RESPONSE
SID MA EWA L IN RO K AD
PROGRAMME RESPONSE
CIRCULATION & LIGHT RESPONSE
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20m x 25m Maximising the Land
Extracting Formal Element
Echoing Traffic Flow
ARCADE
FILLET
Providing Multifunctions
Spiralling Upwards
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06 Mid-term Schemes Form Strategy 2. TYPES
3. REPETITION
rt
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nsw
A eet r t S
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ll Ga
1. CLASSICAL TYPOLOGY
4. VARIATION
5. DIFFERENTIATION
6. REPETITION & DIFFERENTIATION
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Circulation
Light
Entrances
Windows
Sizes
Invitation
Ceilings
Exploration
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06 Mid-term Schemes
Circulation & Function 1. Arcade 2. Foyer 3. Gift Shop 4. Cafe 5. Toilet 6. Loading Dock 7. Store and Assemble 8. Temporary Gallery 9. Digital Media Gallery 10. Utility 11. Research Library 12. Project Space Gallery 13. Staff Administration 14. Art Room 15. Kids Learning Space 16. Lounge 17. Event Space
Visitor Staff Administration
Toilet
Event Space
Staff Administration
Toilet
Project Space Gallery
Toilet
Cafe
Temporary Gallery
Smith S
t
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Loadin
Lounge
Kids Learning Space
Research Libra Toilet
Foyer
Arcade Toilet
Utility
Gertrude St
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ng Evac uation
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Art Room Art Room
ary Project Space Gallery
Gift Shop
Digital Media Gallery
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06 Mid-term Schemes Basement Floor Plan 5. Toilet 7. Store and Assemble 8. Temporary Gallery 9. Digital Media Gallery 10. Utility
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Ground Floor Plan
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1. Arcade 2. Foyer 3. Gift Shop 4. Cafe 5. Toilet 6. Loading Dock 7. Store and Assemble 8. Temporary Gallery 9. Digital Media Gallery 10. Utility 11. Research Library 12. Project Space Gallery 13. Staff Administration 14. Art Room 15. Kids Learning Space 16. Lounge 17. Event Space
Gertrude St
Main Entrance
Smith St
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Staff Entrance
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06 Mid-term Schemes First Floor Plan 5. Toilet 7. Store and Assemble 11. Research Library 12. Project Space Gallery
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Void
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Second Floor Plan 5. Toilet 7. Store and Assemble 13. Staff Administration 14. Art Room 15. Kids Learning Space
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Third Floor Plan 5. Toilet 7. Office Storage 13. Staff Administration 14. Art Room 16. Lounge 17. Event Space
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06 Mid-term Schemes RL 18.40
Section A
ROOF
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1. Arcade 4. Cafe 7. Store and Assemble 8. Temporary Gallery 10. Utility 12. Project Space Gallery 13. Staff Administration 15. Kids Learning Space 16. Lounge
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15 RL 9.60 LEVEL 2
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Section B 1. Arcade 2. Foyer 3. Gift Shop 7. Store and Assemble 8. Temporary Gallery 9. Digital Media Gallery 12. Project Space Gallery 14. Art Room 15. Kids Learning Space 16. Lounge
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06 Mid-term Schemes - Scheme 2
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06 Mid-term Schemes - Scheme 2
Basement Floor Plan 5. Toilet 7. Store and Assemble 9. Temporary Gallery 10. Digital Media Gallery 11. Utility
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Ground Floor Plan
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Smith St
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Main Entrance
1. Sculpture Garden 2. Foyer 3. Gift Shop A 4. Cafe 5. Toilet 6. Loading Dock 7. Store and Assemble 8. Staff Administration 9. Temporary Gallery 10. Digital Media Gallery 11. Utility 12. Project Space Gallery 13. Research Library 14. FAST Gallery 15. Kids Learning Space 16. Event Space
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First Floor Plan 1. Sculpture Garden 5. Toilet 7. Store and Assemble 8. Staff Administration 12. Project Space Gallery
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Second Floor Plan 1. Sculpture Garden 5. Toilet 7. Store and Assemble 12. Project Space Gallery 13. Research Library 14. FAST Gallery 15. Kids Learning Space
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06 Mid-term Schemes - Scheme 2
Section A 1. Sculpture Garden 2. Foyer 3. Gift Shop 8. Staff Administration 9. Temporary Gallery 10. Digital Media Gallery 12. Project Space Gallery 14. FAST Gallery 16. Event Space
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07 During the process of furthur developing the second scheme, I started to look at artworks done by architects, including products and sculptures. I also did research about some artists and their artworks, ranging from paintings to installations.
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07 Gallery Analysis - Artworks
Dan Rice famously claimed that ‘there are three forms of visual art: painting is art to look at, sculpture is art you walk around, and architecture is art you can walk through’. While painting is an art that expressed in a two-dimensional visual language, sculpture and architecture are both three-dimensional objects. Architecture attempts to play with spatial concepts and use form to express meanings and effects, but the extent of this experimentation is often limited by budgetary and engineering constraints. Sculpture is a medium with which formal and spatial tests can be performed to an aesthetic extent without architectural limitation. My design takes the idea of phenomenology, by treating architecture as a form of art, to start a dialogue between humans and space.
Taliesin 2 Floor Lamp Frank Lloyd Wright 1933
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Paperwork no.5 David Umemoto 2020
Arcades no.1 David Umemoto 2020
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07 Gallery Analysis - Artists
Spectrum V Ellsworth 1969
Pella Passage James Turrell 2005
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Untitled Ellsworth 1986
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07 Gallery Analysis - Two Precedents
Kimbell Art Museum Louis Kahn 1972
Museum of Modern Art Christian Kerez 2007
Vaulting, Axiality, Repetition, Symmetry, Natural Vaulting, Bi-direnctionality, Flexibility and Lighting Illumination Diversity “Light is the theme’. “The building as a landscape’. The lack of ornament and the hints of Roman The horizontality and monumentality of this archiarchitecture include the grand arches and vaults tecture gives impressions similar to the experience of suggested the deep influence of monuments and a natural landscape. The vaulted ceiling creates areas ancient ruins. with varing degrees of light, reflecting the dynamic urban surrounding.
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07 Gallery Analysis - Kimbell Art Museum
https://www.pondco.com/wp-content/uploads/2017/11/Kimbell-Art-Museum-Expansion-and-Renovation-01.jpg
The Kimbell Art Museum, located in Fort Worth, Texas, was designed by Louis Kahn in 1967. Kahn was influenced by the Romanesque architecture of the Renaissance. The building is composed of grand arches and vaults which integrated the golden section and proportions. The plan of the building is symmetric. The museum consists of three series of tunnel vaults. The two outer rows consist of six vaults and the middle row consists of four vaults. There is a courtyard garden in front of the middle row, leading to the main entrance of the building. This Museum is built for the private art collection of the Kimbell family. The basement includes a gallery, workshops, storage rooms, offices, technical rooms and toilets. At the rear of the basement level is a parking space. &%.'.-(/0+%(1.-'0203(4*)*-5
Programmed
Unprogrammed
Programmed
Unprogrammed
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The ground floor is separated into a lobby, a library, a bookshop, a kitchen, an auditorium and several art galleries.
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Light is the theme
This building is noted for its innovative use of natural light and subtle articulation of space and materials. The sunlight enters through the narrow plexiglass skylights along the top of the parallel barrel vaults. The light is diffused by wing-shaped pierced-aluminum reflectors that hang below, softening the contrast between the reflector and the cement vaulting and providing subtle luminosity for the works of art. While skylights admit natural light to illuminate the cycloidal concrete gallery ceiling, artificial lights along its length are used to light the space and artworks. In addition to light’s fundamental functional necessity and contribution to the look and the feel of space, it also serves to draw attention to the texture and reinforce the character of form. The arch and directional lights work together to draw visitors through the linear gallery.
https://issuu.com/jonp91/docs/kimbell_case_study/6?epik=dj0yJnU9cm5fNGp3ZXJ3NWMtTGo1ejZmWnMzdGVWYnFrN2VnTkkmcD0wJm49QmdIY3FNalQ3aHl1blcwN1cyTURYQSZ0PUFBQUFBR0dBdUlB
Structure
The most distinctive feature of this museum is the arched ceiling, which is the production of classical proportions, repetition, and variation. The vault’s shape is cycloid and the gently rising sides would give the impression of monumentality without overpowering the visitors. Meanwhile, this geometric form has advantages in structure. It can support its weight and withstand heavy pressure. What is more, Kahn introduced variations on those primary forms. The varied size of three courtyards generate a rhythmic and vivid visual effect. Credit: Louis Kahn
Materials
Strong and durable materials were chosen to make sure a structure will stand the test of time. The smooth and elegant texture is another criteria to achieve a sense of serenity. Travertine, concrete, white oak, metal, and glass were selected for complementing each other in tone and surface. This museum presents Kahn’s obsession on concrete. Concrete is a good choice for both aesthetic and structural considerations. The pearly gray surface over the head appears to glow, giving a sense of grandeur. Reinforced concrete is strong enough to support the structure’s weight, whether it is in the form of vaults, walls, or piers.
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08 Design Development -Form Development
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08 Design Development -Structure Grid and Floor Plan
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08 Design Development - Week 11 Floor Plans
Basement Floor Plan 9. Temporary Gallery 10. Research Library 11. Digital Media Gallery 12. Art Storage 13. Utility 14. Plant Room
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08 Design Development - Week 11 Floor Plans
First Floor Plan 5. Toilet 8. Office 15. Kids Learning Space 16. FAST Gallery 17. Art Workshop 18. Open-air Gallery 19. Staff Room
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08 Design Development -Ground Floor Arrangement VERSION1 Ground Floor Plan
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08 Design Development -Ground Floor Arrangement VERSION3 Ground Floor Plan
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08 Design Development -Final Form
Test Render
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09 The Art Tunnel. How to make the art experiences as immersive as entering a tunnel, literally surrounding visitors with an artist’s vision? How to encourage and strengthen the connection between viewers, artists and artworks?
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09 Final Review
Fitzroy Town Hall
Foy & Gibson Stores
Atherton Gardens Housing Estate
Sophia Terrace
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The Fitzroy Art Collective Wolfhound Gallery HONEY BONES Gallery Brunswick Street Gallery
Centre for Contemporary Photography Purpose Designed Premises Not-for-profit Organisation
Arts Project Australia Gallery
Sutton Gallery
Daine Singer
BSIDE Gallery
Sutton Projects
Arts Project Australia Gallery
Gallery Midlandia
Black Cat Gallery
Tacit Galleries
A Former Collingwood Technical School Site to A New Contemporary Art Space
Matt Adnate Mural
Lucas Grogan Mural
Kat Chadwick
THIS IS NO FANTASY Australian Print Workshop Inc. ACU Melbourne Gallery
Backwoods Gallery Off the Kerb Gallery & Studios
The Galerie Fitzroy
PG Gallery
Daine Singer Former Pittard Electroplating Building to A Commercial Gallery
Centre for Contemporary Photography
The Design Files
Gertrude Glasshouse
James Makin Gallery
Gertrude Glasshouse
Fox Galleries Australian Galleries
Nicholas Thompson Gallery
A Former Glass Works Factory to Studio and Exhibition Programs Fitzroy Collingwood Site 0
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09 Final Review
2.1 Horizontal Division
1. Extrude to Get A Volume
2.2 Structural Division
The Skylight: The sunlight enters through the
double-glazed skylights along the top of the parallel barrel vault. It is diffused by wing-shaped roof, providing subtle luminosity for the works of art.
The Continuous Vault Slab: The void space between the slab and the vault ceiling will be utilised for mechanical, electricial and plumbing facilities. Instead of using conventional ceiling-based air distribution, the underfloor air distribution system would be applied.
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3.1 Substract to Get Terrace and Double Height Court
4. Final Form
3.2 Furthur Substraction
Rainwater Collection: The shape of the roof
would help collect rainwater with the gentle slope and gutters installed in the roof valleys.
T AR NN
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The Art Tunnel: The interior space is like a series of interrelated tunnels. The arch and directional lights work together to draw visitors through the linear gallery space.
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09 Final Review
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Management Logic
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Back of House
Public Access
Staff Access 97
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Staff & Goods Visitor Evacuation
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8 Second Floor 7. Sculpture Garden 8. Light Space Gallery 18. Project Space Gallery
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09 Final Review
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Insulated Concrete Roof Double Glazed Skylight
Steel Column Steel Stud Wall
Steel Stud Wall
Outside
Cement Self-Leveling UFAD
Reinforced Continuous Vault Slab MEP Space
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