Specification: • • • • • • • • • • • • • •
Social space i.e.: indoo Kitchen prep & food sto Seating area/ benches art gallery. Greenery outside the b Disabled accessibility. Free 24hours parking. Multiple entrances/exits Free Wi-Fi and Public Washroom facilities inc bled Storge closets. souvenir stall/shop. Staff/ employee room. No smoking Signs. Adaptable space to ca events.
or café orage space. s around the exterior of the
building.
s into the building. USB Charging Stations. c Male, Female and Disa-
ater for other evening
Brief: My idea is to create an interactive Leisure & Entertainment place. In this project, I will create an art gallery that will employ technology to allow visitors and tourists to interact and participate with the gallery. After much deliberation, I’ve decided that I’d like to incorporate the visitors more in the project’s art, demonstrating their ability to be creative. This will be accomplished by incorporating parts that will allow them to physically touch and move objects in order to construct something. Visitors should be able to sit and socialise in the social rooms and seating sections of my design. In addition, I’d want to have a souvenir store in the interior of my project. To do so, I’ll undertake study on several interior layouts to see which one best suits my project concept. To acquire a better understanding of how to construct a design for my project, I need inspiration from other architects or structures that use “interactive” architecture in their design.
St Katherine’s Gate- London SE19 1UA
When visiting the gallery, visitors can park their cars in the dark grey area. Parking will be available for free for 24 hours. This allows visitors to spend longer time in the gallery without having to worry about parking expenses. The lighter area will be where I will construct my art gallery. The first entrance will be from the jubilee garden.
LOCATION
My Site My gallery will be located in an area of an already existing communal area. I chose this location because it is near a bus garage, making it easier for tourists to ride the bus to the bus garage stop and then to the gallery. This saves them from having to travel a considerable distance to the gallery. Because the gallery is next to Jubilee Gardens, my building will be in a place where visitors can relax and use the garden. Parking would be available on the side of the building, as well as a second entrance to the gallery. The main entrance is located in the centre of Jubilee Garden. To make things easier for tourists, there will be a third entry from the parking lot.
MOODBOARD This is a moodboard influenced by natural and organic elements. This aided me in determining the types of forms I wanted to create. The waveforms and nature in the moodboard inspired me the most
MOODBOARD This moodboard is inspired by movement and flow. This enabled me to visualise moving art in the form of waves and patterns. This inspired me to think about incorporating repeating patterns or waves into my design.
MOODBOARD This mood board is made up of photos that are related to the environment, juxtaposition, and contrast. This mood board allowed me to experiment with different forms that I may use in my final design. If I needed more inspiration, I refer to this mood board.
Visitors will notice a gradual alteration of the physical experience of the path as they descend the spiral staircase, focusing more on the art exhibition area.
Art Gallery project
The façade uses a huge section of glass curtain wall to decrease construction exposure and emphasise the floating impression of the steel structure.
When you walk into the square, you can observe the building’s dynamic curve. The initial multi-curved surface was refined during the design phase into a more efficient single-curved surface. The metal cladding stretches from the ground border to the roof, and the roof expands outwards before convergent inwards, with the ends pointing to the surrounding towers. It will not only house international exhibits of contemporary artists,
but it will also host other events and public service spaces such as galleries, art forums, art training, and exchanges. As the gallery’s inaugural exhibition, the Rebirth-Shanghai Contemporary Art Exhibition was organised. Despite its small size, the building displays a form of rebellion to the ordinary city, revolting against the expression of art space in traditional commercial structures, displaying unorthodox “design principles from concept to construction, and presenting the art of architectural tale.
Secondary research
Hongkun Art Gallery
Hongkun Art Gallery / penda interior upstairs Location: Beijing, China
A sequence of arches creates topsy-turvy openings and curvy doorways through the spaces of this art gallery in Beijing by design collective Penda. Vienna and Beijing firm Penda refurbished the Hongkun Art Gallery and Art Arcadion on the outskirts of the city, providing a new reception area where curved openings of different sizes guide visitors through to the existing exhibition rooms.
Penda interior
upstairs
Location: Beijing, China
The curves begin at the building’s entrance and continue around the space to create arches of different sizes and alternating orientations.
Aside from its aesthetic and pragmatic qualities, the arched system takes on figurative significance in the minds of its designers. “The arcs indicate mountains, and the counter-arcs represent valleys,” Sun observes.
Secondary research
Hongkun Art Gallery
A stairway on the right side of the box leads employees to an office space on the second floor. The solid center-cube contrasts with the drab concrete-plastered background by providing a warm, woody contrast.
The wooden cube can be viewed from every room in the building and includes round cutouts that allow guests to peer into the main lecture space. Visitors are immersed within the box in a landscape of wooden arches and circles that are mirrored on all sides and on the ceiling.
Penda interior
r Downstairs
Location: Beijing, China
Hongkun Art Gallery / penda interior downstairs Location: Beijing, China
The mirrored environment, inspired by Dali and Escher’s works, produces a warped reality and connects visitors to art in a direct and engaging way. Rather of simply staring at an artwork, people might interact with it in order to expand their imagination.
Inspired by artworks of Dali and Escher, the reflective landscape creates a skewed and distorted reality and connects visitor to art in a direct and interactive way. Rather than looking at an artwork, people can experience the artwork physically to widen their imagination. After ripping out the walls and beams, PeNDa embarked on an interiors scheme based on arches and, upside down, counter-arches. It defines all three levels: the main exhibition level, where rotating pieces from the collection are on view; offices above; and a basement offering a secondary exhibition venue and a tearoom. At the entry, PeNDa designed the information desk as if it were a sculpture, fronted by a counter-arch, and from there the multiple arches, differing in orientation, create a continuous gentle line also enclosing the cloakroom and the stairs.
Projector art gallery interiors - Digital art ideas Secondary research
These are some examples of research on concepts for the interior areas of my gallery. I want to show projection art in the sub ground layer of my art gallery, as well as curving walls so that people can move around and watch the art on the walls. This feature can also be added to the gallery’s upper level. During my research, I considered how the art works would be displayed in the gallery and how visitors would navigate throughout. Using curved walls would direct people to a specific region or location. My research into interior space has also led me to consider how I may use different ground levels to my advantage within the gallery, which would include creating areas where customers would have to use steps to travel farther into the gallery.
Secondary research on interior designs These are some more examples of interior study, this time focused on the concept of different sorts of walls and potential design characteristics. I’ve also included some photographs related to projection art. This notion first piqued my interest when I went to a Hauser & Wirth Somerset exhibition that featured projection art that used a visualiser to generate virtual splashes on the walls. With this in mind, I decided to conduct additional research and came up with the following results.
Research - Norman Foster + Partners The Khan Shatyr Entertainment Center by Norman Foster + Partners is a large translucent tent that houses an entertainment centre. There are a few leisure alternatives inside the massive Khan Shatyr complex, such as a park, a boating river, a minigolf course, a shopping centre, and even an indoor beach resort. Astana, Kazakhstan’s new capital, is located in an austere eastern region with an unfriendly climate that may produce temperatures of -35 degrees Celsius in winter and +35 degrees Celsius in summer.
The Khan Shatyr Entertainment Center is intended to provide the city with a variety of civic, cultural, and social amenities, all contained within a climatic envelope.
The tented structure of the building has enormous resonance in Kazakh history because the tent is a historic nomadic construction type - Khan Shatyr translates as “the Khan’s Tent.”
Secondary Research
Norman Foster + Partners
Khan Shatyr Entertainment
Center
Location: Nur-Sultan
I selected to conduct a research on this structure because of its one-of-a-kind
construction and I liked the shape and how the building lit up at night.
I regarded this building as a chance to model a comparable building or to use the shape of the building as a starting point in the future. The centre’s unique concept to provide a sheltered environment embracing an urban scale internal park, shopping and entertainment venue, was developed in response to the harsh climate of extreme weather in both winter and summer.
Kazakhstan
Guggenheim New York Museum
Museum in New York City, New York An internationally renowned art museum and one of the most significant architectural icons of the 20th century, the Guggenheim Museum in New York is at once a vital cultural centre, an educational institution, and the heart of an international network of museums.
In 1943, Frank Lloyd Wright was commissioned to design a building to house the Museum of Non-Objective Painting, which had been established by the Solomon R. Guggenheim Foundation in 1939. In a letter dated June 1, 1943
Frank Gehry
Guggenheim Museum Bilbao
When it opened in 1997, the Frank Gehry–designed Guggenheim Museum Bilbao—a spectacular structure made of titanium, glass, and limestone—was hailed as the most important building of its time.
The museum, which is located in the Basque city of Bilbao in northern Spain, showcases exhibitions planned by the Guggenheim Foundation and the Guggenheim Museum Bilbao
Museum in Bilbao, Spain
Primary Research
Serpentine gallery and Smiljan Radic’s Serpentine Pavilion 2014 (relocated). Serpentine Gallery is a free-entry art gallery in London that hosts world-renowned temporary exhibitions. Pavilions are located in the gardens of the main display at the gallery. The pavilions are frequently maintained and removed in order to exhibit other pavilions in their place. Some pavilions are dispersed to other places; purchased by exhibition owners, or relocated. Serpentine Pavilion, designed by Smiljan Radic in 2014, is one example. Hauser & Wirth Somerset, Bruton, relocated the pavilion.
Serpentine gallery
Smiljan Radic’s Serpentine Pavilion 2014
relocated
Interior Features
Design Model idea 1
The shape of this sneaker inspired me to create a building draught. I considered using the top part of the shoes, where the laces are, to link with the base of the shoe. I then considered utilising Fiber-Reinforced Concrete, Ethylene Tetrafluoroethylene (ETFE), or Polytetrafluoroethylene (PTFE) to create the base of the building.
interior layout
Interior feature details: I decided to incorporate some of what I research into my inspired design as a result of my research on interior. This is a box that would hold framed art. Users can exit by using the triangle-shaped exit or the circle spinning door. This is a concept for multiple ways to navigate the gallery; utilising walls.
Source image
Design idea
STAGE ONE: SEEING WHAT PARTS OF THE SHOE WOULD WORK AS A BUILDING FINDING OUT WHAT PARTS OF THE BUILDING WOULF BE WHAT AND THEIR FUNCTIONALITY IN THE DEVELOPING STAGES I USED THE CROSS SECTION FOR AN INDICATION ON WHERE I WANTED MY ENTRENCE FOR INDICATIONS OF A WINDOW, I ADDED FRAME WOK ON THE ROOF OF THE “SHOE” DESIGN
I THOUGHT ABOUT THE DESIGN OF THE ENTRENCE BUT I FEEL LIKE THIS COULD HAVE BEEN FURTHER ALTERED TO LOOK NICER.
Design Model idea 2 I began experimenting with paper to help in the creation of a final model. I began by crunching and twisting paper to see if I liked the shape I created. I was able to refine the idea and convert it into a building using this shape while maintaining the idea of organic forms in mind. After that, I began to consider alternative entrances into the building and where I could install windows. Because the original shape of the paper had a twist in the centre, the building also had a twist, therefore I tried to smoothen the twist motion of the design because the original model had jagged faces.
The final result comprised a window and two balconies with entrances beneath the balconies on the building’s sides, as well as lined patterns on the building for aesthetic purposes.
Design Model
I continued to exp with paper as a m material, but this wanted to concen on geometric sha collage of differen triangles was use create this design expanded on the by designing the with elements suc windows and entr
l idea 3
periment modelling time I ntrate apes. A nt size ed to n. I then e concept model ch as rances.
Development stages into sketch up and rendering.
Design Model idea 4 My mood board for movement and flow served as inspiration for the model. Using paper as my primary medium, I was able to make a wave. Curved windows were incorporated to my future development from my paper model because I thought they would match the theme of natural and organic better than flat windows. The paper model was made up of two different pieces that needed to be connected so that people could access to the opposite side without leaving the building. This is when I decided to build a bridge connecting the two structures. Because the buildings were so close together, I decided to make the bridge curved rather than straight.
Then I began to consider the interaction between the building and the people.
Regarding my secondary research on the art gallery project in China, I considered incorporating the concept of an underground gallery into this model
Technical elements If I were to expand on this concept, I would make the farthest building a café because the ground is more levelled than the closer building. However, I would not use this model as my final design because the interior of the model is not accessible for the Disabled, and my specification demands that the building is Disabled accessible.
I designed the buildings so that people could go underneath them, like an archway leading to the in-between spaces. I had assumed that the area in between the buildings would contain benches and tables/a picnic area.
Research
Design Model idea 5 The shape of an orchid flower and dresses from Iris Van Herpen inspired me. I used the shape of the flower to help me decide what concept I wanted for my structure. I then began think about exhibition’s interior, including a café on the first floor and where the art galleries will be.
First development draft I constructed a café across from one of the exhibitions and incorporated two tiny sections within the gallery as an outdoor garden space, which is open to all users.
Design Model idea 5
In the galleries’ interior, I began to consider where I wanted elements such as public and staff restrooms, storage, and ways to enter and exit spaces.
Rendered image
Idea 5 Design Process I was dissatisfied with the way the arts of my structure looked in my initial design, so I decided to add layers to the façade of my building. I developed a preliminary draught of an idea with the subject of layers using inspiration from Iris Van Herpen outfits.
I was also inspired to make this design by my research on the Solomon R. Guggenheim Museum.
I then considered how I could use the orchid flower as my inspiration, and I reasoned that the shape of the flower would be appropriate for my structure if viewed from a bird’s eye perspective.
MAIN FRAME:
GUN-PLACED CONCRETE( GUNITE) /GLASS FIBRE REINFORCED CONCRETE (GFRC)
WINDOWS/GLASS
Continuining Idea 5
TOP LEVEL THIRD LEVEL SECOND LEVEL GROUND LEVEL