COMPONENT 1
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
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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 Ground floor- gallery interior This gallery has four levels for the aforementioned layers. With spiral stairs, each layer leads to a new section of the gallery. The gallery has a front entrance and trees behind it to indicate that it is located in a park area.
T
Interior side elevation
Location: The jubilee garden
TOP LEVEL THIRD LEVEL SECOND LEVEL GROUND LEVEL
Under ground pro
I had planned to inco into the underground as a feature. My resea terior space design in the idea and aestheti
ojector art- gallery interior (visualisation)
orporate projector art portion of my gallery arch into existing innspired this, and I like ics of projection art.
I also liked the idea of an underground feature, which was influenced by my research into the Jin Chen Yi Fei Ming Art Gallery project and the penda interior downstairs.
Component 1 part 2
Introduction: For my component 1 part 2 project, I was given the task of changing the concept/certain aspects of my previous project to see how I could readjust to a different idea or problem solve with a different/similar idea. The concept for this project was: Following the successful completion
of other projects, architects are frequently asked to produce additional work for clients. My task is to design a new space related to part 1 of my component 1 project. The goal is to create a new building model that provides an alternative solution to a given scenario.
The design should incorporate some of the features of my previous design while being tailored to a different location. The scenarios to choose from were: 1)Complimentary Extension building- new building in addition to give more space & other activities 2) Redevelop the same structure to fit another site location 3) Create a new additional building to add other function
For this, I chose to redevelop the same structure to fit another site location because I believe that some changes should be made to my site to make it work. I intend to use the area in Greenwich, London, as my site location for Part 2. I used this area because it was more open and there weren’t many galleries in that area; there was only “the now” gallery, which didn’t have as much art as I had expected when I visited. I also chose this location because it is easily accessible by walking. The location is walking distance from the train station and close to the Emirates cable carts, which gallery visitors can use if they wish. Furthermore, there are numerous food courts nearby, as well as the O2 for visitors to visit. This would also be beneficial because The O2 is a well-known landmark in the United Kingdom; if visitors come here, they will be directed to this gallery.
Site analysis- North Greenwich
Art gallery site location
Total area: 21,276.29 m² (229,016.12 ft²) Total distance: 854.47 m (2,803.37 ft)
Site analysis- North Greenwich Nature For my site, I want to use solar panels as one of the ways to save energy and make the gallery more energy efficient. I did some research into possible ways to conserve/receive energy for this. In the summer/spring, I located the sun direction of my site and tried to determine where, if I were to put solar panels on my site, the best place to put them. I then researched wind direction so that I could possibly put a wind turbine on my site location. I also attempted to identify the contours of my site so that I could gain an understanding of how level my site is, which aids in achieving the desired look and feel for a building’s design. Additionally, these
contour lines depict the rise and fall of the land on the site and the different elevation above sea level. They also tell me about the land’s slope, and because my site is close to the River Thames, I believe knowing this piece of information is important.
Site Analysis
Greenwich Peninsula is fast becoming the capital’s most boldly modern landscape
There are over 17,000 new homes, 12,000 new jobs and 48 acres of open public space
2 New schools for 2,000 Peninsula pupils
Close to iconic landmarks near by, O2, Tower Bridge, The London Eye and other piers. (etc)
7 EMERGING NEIGHBOURHOODS OVER 150 ACRES
48 ACRES OF PUBLIC GREEN SPACE
Primary Site Analyisis I went to my site in Greenwich, London, to see how the area looked now and how big it is from a person's height. I was only able to view the site via satellite, so getting a rough idea of how the site looks from a person's perspective was difficult. During my investigation into what my new site looked like in person, I discovered that it was quite large. Furthermore, the satellite image showed a large area covered in rubble and dust; the area was empty, but due to
my visit, I was able to conclude that the site was now vacant for parking coaches/tour buses, which, in my opinion, did not require a lot of space for only a few buses. I then concluded that the space required to accommodate vehicles such as tour buses and coaches was far too large to be wasted. Next to my site was a triangular shaped area that I felt would be better suited for the coaches; relocating the coach/tour bus stop would help sustainably occupy the empty area.
Amenities around site: The British Museum
Royal Observatory Greenwich
The Big Ben
The London Eye
Building Exterior development & Analysis In the early stages, I conducted research in the surrounding area in order to find items that would inspire me to design my building. During my research, I discovered that the design of the O2 was inspired by the design of a big sky, a cosmos in which all events take place, with the radial lines and circles high and tensile roof structure. In addition, I discovered that the site was related to the Greenwich time zone, which led me to the royal observatory and the theme of space. With this knowledge, I conducted some research on the cosmos and space and discovered an image of the cosmos/space that I liked. I also looked at other existing peices that ispired me and that lead me to test and experiment with different forms.
Inspired image 1
1_ Diagram description- first idea (above veiw)
2_ Diagram description- Second idea
3_ Diagram description- Third idea
Inspired image 2
Building Exterior development & Analysis I expanded on all of my drawings and attempted to relate and combine them with my inspired research into Frank Lloyd Wright (the Solomon R. Guggenheim Museum) and Frank Gehry (Guggenheim Museum Bilbao) whilst keeping the idea of space and the sites history
I attempted a first-try model to see if the design looked good for the site, experimenting with various ways, features and angles to position my building.
Talk area Floor 4
Floor 3 Floor 2 Floor 1
Cafe Seating area
Features to take off Features to add
Building Interior Reasearch & Design For the interior, I considered how the gallery could be formatted to better fit the space. I considered how users would navigate the interior, so I created a moodboard of features that inspired me for the interior. I considered using spiral stairs with an elevator in the middle when designing the ground floor. This aids in disabled accessibility.
Plan Idea development Idea process for each floor including the o b s e r v e r t o r y.
Third floor
Second floor
Reference
Third floor
14873'-94" 3
Cad plan and Site structure 4
"
14878'-8"
6'-2 1 " 2
14
64 09 '-1
2
"1
SECOND FLOOR
1 2
3740'-8 "
'-541"
1
'-92
9099
THIRD FLOOR
11
R535
The subterranean projection art gallery, which I got from my component 1 part 1 project, will be on the third floor. Instead of creating an underground gallery, I created a section where the upstairs area is the projection art gallery. For the final floor, I added an observatory where people can participate in astronomy by using telescopes
R535'-5 1 "
I’ve decided to make the ground floor of the site the location where users can enter the gallery. The ground floor would include visitor toilets and a café, as well as a place for people to relax. The ground floor also houses the bridge entrance, from which people can exit to the outdoor seating area. I would include cultural arts on the second floor, and the section where the bridge would be would be a section for talks or lectures. The majority of the gallery will be on different levels, and I designed it so that all rooms are accessible to people with disabilities.
14
'-1
75
18
"
GROUND FLOOR
Around site research I did some research into existing communal outdoor spaces to get an idea of how I could improve my site for visitors. This is to provide them with a place to sit outside of the gallery. I liked the idea of circular flooring after looking at some inspirational images. Because my building is mostly circular shapes, I thought this would contrast and complement my model better. I experimented with various designs before settling on a single circle in the centre surrounded by a collage of other circles.
I added materials to get a sense of what would look best for my building.
Rendered site I rendered my completed site so I could see my model in a more realistic 3D view. This allowed me to identify the various angles and determine how my model would appear from a third perspective. I also added a visual representation of the model’s interior by including images of various types of art to create the atmosphere of an art gallery. On the site, I added a wind turbine to demonstrate my intention to use wind turbines to make the gallery more sustainable.
Interior visual design
Cafe
Floor 2
Cafe
Floor 3 Ground floor
Floor 3
Bridge
Interior elvevations These are the floor stairs area as well as 2 and 3 side and the Axonometric of top elevations. This the gallery. includes the lift/
lift space
Floor 2
Floor 3 lift space
Final model I changed the site for my final model to incorporate more natural elements. In addition to the lower seating area closer to the site, the overall site has a lot of seating areas where people can sit and relax. In the original site design, I intended to include a fountain in the centre, but I changed my mind because I felt it didn’t fit my site well, and the new addition of greenery in the centre where the triangle was better. I’ve also added a ramp near the lower seating area’s stairs to make it wheelchair accessible. I added more trees for aesthetic reasons and to add nature to the area. I’ve also placed existing structures around my site, such as crates near the emirates cable cart and the emirates cable cart. I also added the black area for car parking and to indicate where I wanted to put the new coach/ tour bus stop. This section also serves as a free parking area for all gallery visitors as well as tour/coach buses.
Evaluation of final model To summarise my model, I believe I have successfully designed an art gallery that is interactive for all visitors and wheelchair accessible. I took inspiration for the model from existing galleries that architects Frank Lloyd Wright and Frank Gehry helped to design/design and incorporated them into my design. I used these galleries because I discovered that international visitors were drawn to the gallery, and I wanted to create a site that has the same energy of bringing people together to look at cultural and interactive art; producing art in which users are the ones creating the art. This was also enhanced by Tate Modern’s cultural gallery, which became popular due to its cultural and unique ways of representing art in the gallery, and I wanted to create that while also making the gallery sustainable.