AN IMPRESSIVE BUNCH OF LOSER Thesis Studio 01

LANDMARK OF FUTURE

- SATPAL SINGH NAGI (956943)

About Studio: “An Impressive Bunch of Loser” - a thesis design studio led by a passionate teacher of popular culture in architecture, Dr. Derham Groves. He has been associated with architecture teaching for more than 25 years and has published several research papers and books. His enthusiasm and passion for art & culture have let everyone develop their project to go beyond the architecture of the conventional manner. After the demolition of the Princess Bridge Tower, the city of Melbourne was in search of a “Landmark”. In quest of the symbol for the city, the Melbourne Landmark Competition was floated in 1979. With just an A1 sheet and 10 dollars entry, the competition received nearly 2000 entries from various painters, architects, sculptors, & designers. But in the end, there was no one winner. Thus, Derham has named this studio - as an impressive bunch of losers. Some ideas were radical, finished, unfinished, & some went on to be built elsewhere. Derham asked to pick any one or two proposals from the competition and develop into an architectural project. Using the existing, princess bridge site, we are at the task of developing a landmark for Melbourne. Furthermore, the studio started with a research of various Landmark entries archived in the Public Victoria Library, to the various tactical difficulties of site, brief & form associated with the landmarks. After nearly look at more than 25-30 itself, I selected one. Our Journey from developing radical ideas into the landmark of Melbourne is curated in this booklet.

TABLE OF CONTENT Hypothesis Architecture as a Print medium Art As Archtecture Statement of Need Melbourne Landmark entry 1979 Selected Landmark Entry Site Analysis Evolution of the form Brief & Programming Concept Design Sketch Design Final Design Landmark Souviniers

HYPOTHESIS

Castle in the Air, M.C. Esher

Charles Billich Artwork

Continous Monument SuperStudio

(Source: NGV)

(Source:billich)

(Source: Adolf Natalini)

What we draw? What we narrate? What we investigate?

Architecture is all about image - a vision illustrated to the audience. And, often architecture becomes just vision in the form of an image on paper. In the present world, where all architecture is computer generated and what we build in the computed world is taken into shape in the present and form to be the symbol of something new. Is it the symbol of the future? Or, the vision which can just be encapsulated in the piece of paper, art-form, painting, which didnâ&#x20AC;&#x2122;t really come into existence, is worth investigating as the symbol of future?

Arc de Triomphe, Paris (Source:Shutterstock)

Symbol of Deconstructivism, Guggenheim museum bilbao (Source:Heald David)

Landmarks are often a symbol of the past, present, or future. While some landmark has rich cultural value and becomes the symbol of the city, wherein the Arc de Triomphe, Paris it stands at the center of the city grid due to its aura. Whereas, some landmark is a symbol of innovation, which are eclectic to the city fabric but, still it’s a landmark itself due to the exhibition value. The thesis argues that are we inventing a new symbol or it just an innovation in the present era. Melbourne is a vast multicultural city, where we see the juxtaposition of the old and new architecture forming city’s skyline. The idea is to provide with a landmark of the future in the princess bridge site. A landmark which not a symbol of the new theory in modern architecture but a vision that the monument isn’t the ideal for just present but also future.

ARCHITECTURE IN A PRINT MEDIUM

In the era of an evolving world, architecture has observed a continuous transition, write from the old tectonics of linear geometries and detailed ornamentation to become more comprehensive and abstract, known as modernist architecture. Now what’s next?

In search of the avant grade, the typical vision of radical movement was a critique of the modernist movement. In the text of Beatriz Colomina, “Modern architecture becomes “modern” not simply by using glass, steel, or reinforced concrete, as is usually understood, but precisely by engaging with the new mechanical equipment of the print media1.” Although, while during the postmodernist time, architects were busy in shaping contemporary and modern architecture. But, there were few groups of architects such as Archigram, Superstudio, UFO, Ant-farm were investigating the future. The typical vision of the radical architecture, encapsulate ideas of being funky, fluid, anti-smooth and abstract while eliminating forces such form, context, gravity, politics, and budget in architecture2. Their approach was just juxtaposing of various images from the postcard, comics, and newspaper into a piece of architecture. The retro-futuristic ideology of using fiction and imagery characters provides a sense of ketch, but it breaks the formal architectural composition to become more of radical and disproportionate. But what in the end was left with a vision in the form of images, collages, and art form? As the pragmatic forces took over the visionary. Where in the words of Wolfgang Welsch, the functionalism and the force of practicality has become the approach to the present architecture3.

Colomina Beatriz, Privacy and Publicity:

Modern

Architecture

Mass

Media

(Cambridge, MA: The MIT Press, 1994), p. 73 2

Sparke Penny, Reyner Banham: Design

by Choice (New York, Rizzoli International Publication Inc, 1981), p. 64-65 3

Welsch Wolfgang, Unsere Postmordene

Moderne (Weinheim,1991) p.33

Walking City, Archigram (Source: Herron Ron)

Continous Monument SuperStudio (Source:A. Natalini)

Dolphin

Embassy:

Ant

Farm

(Source: Ant-Farm)

Ballon fur Zwei - Haus-Rucker-Co (Source: Haus-Rucker-Co)

ART AS AN ARCHITECTURE

Castle in the Air, M.C. Esher (Source: NGV)

In the roots of art history, many artists have expressed and narrated architectural experience in the paintings, drawings, or installation. While using their notion of drawings, the artist goes beyond their conventional approach to explore imagery and unreal architectural experience in their artwork. The drawings of Dutch artists, M.C Eshers have explored the concepts of patterns, reflection, illusion, and repetition into architecture. His artwork of the Castle in the air curates an architecture that is free from the boundaries of the earth, which reflect that some experience can be depicted only in drawings and with the conventional architectural tools.

Charles Billich Artwork (Source:billich)

Furthermore, many artists have the desire to curate the atmosphere of their city in the paintings. While some artist reflects the scenario of the present and the past cities, others focus on curating the future The artworks of Australian artist Charles bilinch narrates the futuristic cityscape of the metropolises cities of Australia, wherein were between the river and mountain, a skyline of the city with past, present, and

:Leon Batista Alberti - Guillaume’s map of Rome (Source; Mario Capro)

Often, what we see in architecture is just an image, with a series of well-composed images by the architect, to depict and narrate a story to the viewers. Art has always formed the genesis to transit into architecture. In Leon Alberti’s Descripto Urbis Rome, the art of the polar coordinated brings in life the map of the city of Rome4. Furthermore, paintings form a medium to explore various architectural invention which is lost in the present mode of architectural representation. In the present context, The Voice of space, 1931 paintings take shape into a built form in South Melbourne, depicts the tendency of the architect to bring in the narrative of the painting into life.

The

Voice

Space

1931 Orbis, ARM Architects

(Source: Magritte, René Magritte, René)

Capro Mario,

Perspective, Projections

and Design: Technologies of Architectural (Milton Park, Abingdon, Oxon: Routledge, 2008), 51

STATEMENT OF NEED

Spide Web (Source: Peter Witt)

Chaos of Network (Source: Jeremy Wood)

In the present urban fabric, architecture has led to the formation of a chaotic dense network with the city5. It is driven with the think boundary of pragmatic thinking and restricted in a specific grid or to the earth. Furthermore, paper architects were investigating to create a symbol of future which breaks free from the boundaries of this grid and dense free6. Often in the mean of drawing, art, & illustration, there are derived to an architecture which is quite unreal, imaginary or illusive but symbolizes of being something new. The thesis finishes the illustrations of the future, to create a symbol which breaks free from the network of architecture.

Wigley Mark, “Network Fever, “ Grey

Room

no.04

(Summer

2001):

94,

doi/10.1162/152638101750420825 6

Branzi, Andrea. “Notes on No-Stop City:

Archizoom

Associates

1969-72,”

Exit

Utopia: Architectural Provocations,(Munich: Prestal, 2005), Pg. 177- 184.

MELBOURNE LANDMARK ENRTY

The research on the Melbourne landmark Competition started with the ideology of the radical design movement of the 1960s-70s. In the entries of Warren chalk (Archigram) & Adolf Natilini (Superstudio), member of the groups investigating these ideas of the futuristic provided a contradictory proposal to the competition.

839 Warren Chalk, Peter Salter, Ingrid Morris, Peter Higson assisted by Barbie Campbell Cole, Andree Battersby, Malvern, Victoria and London, England “Wind Forest”

Plug-in City, Archigram.(Source: Warren Chalk)

Continous Monument SuperStudio (Source: Adolf Natalini)

3983 Charles Billich, VIC Spiral Sculpture Monument (Source: Public Library Victoria)

Charles Billich Artwork (Source:billich)

The notion to drive architecture into existence, is viewed in the entry of Charles billinch, where he painted a ramped sculpture below the railway track made with tradition arched feature. More comprehensive focus on creating architecture, which losses the vision which is reflected in his other artworks.

Fig 7: 476 Denton Corker Marshall Pty Ltd, Melbourne, Victoria The Great Wall and Hanging Gardens of Melbourne (Source: Public Library Victoria

1043 Leslaw Jerzy, The UK Melbourne 2001 (Source: Public Library Victoria)

Various entries of Denton Corker Marshal, Robert J Sperring, Leslaw Jerzy and many more had a more radical approach than the architects Warren chalk & Adolf Natilinni. While unpacking the entries, one of the abstraction from the research was that architects and designer went out of their comfort zone and provided a proposal contradictory their style of architecture.

SELECTED LANDMARK ENTRY

1843 Robert Sperring & Sydney Davidson, Sydney Davidson, St. Kilda, Victoria â&#x20AC;&#x153;Melbourne Galaxyâ&#x20AC;? (Source: Public Library Victoria)

Various Australia based artist provide their proposal in the form of painting reflects their desired fantasy of providing a landmark for the city. With the painting of the Melbourne galaxy by artist Robert J Sperring, I would like to raise the proposition of bringing painting coming to life. Robert Sperring is a Melbourne based local artist interpreted the city of future which was the main focus of the investigation of the paper architects of that era. The illustration depicts the formal character of the sci-fiction fantasy of 1970, an image of retro-futuristic.

Collins Street Circa 1890, Robert J Sperring (Source: Australia Art Sales Digest)

Collins Street, Robert J Sperring (Source: Australia Art Sales Digest)

The artist is currently nearly in his 90s, but his painting illustrated the city fabrics of the Melbourne in the 19th century7. Studied art at Swinburne Technical College, later working as an illustrator for Readers Book club, His works are vibrant images, stylised content sometimes touching on topical event. Although throughout his career, he remained in the dark. But his painting for the entry is quite notable as it has been exhibited in the Melbourne design week 2019 at the National Gallery of Victoria8.

“Robert J. Sperring (1929-.) Australia,” Australian

Art Auction Record, accessed on August 15, https:// www.artrecord.com/index.cfm/artist/10607-sperringrobert-j/ 8

“Melbourne’s green spaces: From sci-fi fantasy to

future reality,” Melbourne Design Week, accessed on August 8, https://www.ngv.vic.gov.au/program/ melbournes-green-spaces-from-sci-fi-fantasy-tofuture-reality/

NARRATIVE: The overall visual feeling envisioned is one of 9 the life burstings through the earth surface and Sperring, Robert & Davidson,Sydney. Melbourne Galaxy: Landmark Competition thrusting upwards free into space9. Drawings, 1979, Paper, Public Record Office Victoria.

1843 Robert Sperring & Sydney Davidson, Sydney Davidson, St. Kilda, Victoria â&#x20AC;&#x153;Melbourne Galaxyâ&#x20AC;? (Source: Public Library Victoria)

Site Context: Along with the overall artwork and narrative,the artist had provided various other architectural solutions, details and design elements. In terms of site context, the proposal was spread throughout the site with clusters of spheres and domes. Eight elevated spheres of variable heights, with one at the center, clearly reflect the representation of a galaxy. Furthermore, the larger dome is placed on the ground, which blends with the activities proposed on site. The whole site was proposed to be a park with various activities of play, garden, landscape features, which is meant to interact with the activities inside the spheres and domes. In terms of accessibility, entries are provided from Flinder Street and Batman Avenue, with a strong connectivity with the banks of Yarra.

1843 Robert Sperring & Sydney Davidson, Sydney Davidson, St. Kilda, Victoria “Melbourne Galaxy” (Source: Public Library Victoria)

Programme: In the context of the programming, the artists have juxtaposed various functions inside the domes and spheres. The lower level is proposed to interact with the city as a park or garden with the large domes designed to carter large / multipurpose events. While providing activities for large public gathering, he tends to blur the boundaries between the yarra and the city. The individual spheres were assign to various programs that were quite different from each other. The spheres at the bottoms are assigned program which are associated with the element of nature such as aquariums showcasing shark, living coral, & tropical fish along with a terrace garden for tropical birds, flora & fauna. Whereas, the top spheres, carters to become gallery & exhibition space for Australian art culture, along with a special focus on the culture of the aboriginal art. Furthermore, the spheres at the center were proposed to design as a casino, hotel, and restaurant. These spaces are more commercial spaces, which would make the landmark selfsufficient.

1843 Robert Sperring & Sydney Davidson, Sydney Davidson, St. Kilda, Victoria “Melbourne Galaxy” (Source: Public Library Victoria)

Layers & Surfaces: The proposal breaks free from the boundaries of the earth, with layers of four different activities, composed in one site. These four layers are the program on the top spheres, water pound garden, circulation layer and, finally the rail tracks. The circulation core conceals the rail track at the bottom, which allows people to transport to the activities at the top spheres. The main idea of creating an additional layer was to provide a clear and define surface for the water pound garden, and to maintain its connection with the river. Mechanims: The elements of water and mist play a vital role in forming the overall appearance of the landmark. All the spheres have been proposed with an outer ring that formulates the element of a waterfall. The waterfall provides it an immersive appearance.

Methodolgy: Furthermore, the method used to deconstruct the proposal:

The first step is to impose the painting into architecture, illustrate what elements of painting transit into architecture

Painting into Architecture

Execute the formal language & silhouette of the landmark. Silhoutte

While the proposal was developed in the 1980s, its brief doesnâ&#x20AC;&#x2122;t respond to the present context of Melbourne. There is a need to reconstruct the activities, which response to the present scenario and people

Implement architectural technology to execute to the overall appearance and the narrative of the artist.

De-construct brief

Narrative

SITE ANALYSIS

Site Location

Site: The site is the iconic princess bridge site, where currently Melbourne landmark Federation Square is located. The site has always been an important aspect to Melbourne, as it interacts with the cities skyline. In the 1950s, when the site consists of a small extension of Flinders station, the integrated classical details of St. Paul cathedral that formed the skyline of the city of Melbourne. Whereas, in the 1970s, it blocked by the two princess gate towers present on the site. Furthermore, it was demolished, and the Federation square took over the skyline in 2002.

Melbourne Skyline

C Site

Site Context:

A Site Context: The site is surrounded by various tourist attractions, exhibition centers, sports centers, restaurants, cafes, & gardens. Adjoining to the banks of Yarra, the site is surrounded by the royal botanical garden to the south , Fitzroy garden at the north, and Melbourne cricket ground to the east. Site Context

A. Shrine of Remembrance (Source: CIty of Melbourne)

B. Melbourne Cricket Ground (Source: Epicure)

C. Fitzroy Garden (Source: Author)

D. Yarra River (Source: Author)

Crown Hotel & Casino (Source: Crown Melbourne)

Site B C D Existing elements from the entry programme:

Site Context:

In terms of the selected entry, few programs are there in the present context of the site. Thus, instead of proposing a similar program, the landmark can collide with them, for example with the National Gallery Victoria & Ian potter Museum or incorporating the existing facilities such as cafe & restaurant along the Yarra River into the proposal. Site Context

A. National Gallery of Victoria (Source:NGV)

B. Activities along the yarra (Source: Simon Shiff)

C. Melbourne Aquarium (Source: Sea Life Melbourne)

D. Queen Victoria Night Market (Source:tothotornot)

Viewpoint to the site In terms of the micro aspect, the site lies in isolation along the Melbourne grid, with connections from Flinder, Russell & Exhibition Street. In the demolition of the princess bridge towers, the primary issue it faced was that it blocked the city skyline from St.kilda road. But, in my analysis, the present context os site has three buffer space to view the landmark. One from the north the St Kilda road, one from the south, Russell street and one from the East while entering the city from the rail route.

Buffer space from the Batman Avenue

Imposing the proposal on site

Extending the banks of yarra

Site Strategies The landmark is placed at the southeastern corner of the site, just next to the railway track, accessible from the Flinders Street and St. Kilda Road. With a proposed extension of the Yarra River, the design provides a clear connection with the banks of Yarra. All the existing Yarra activities will be incorporated into the site.

Acces to the site

VIsual Connection to the site A. Royal Exhibition Building B. Fitzroy Garden C. Melbourne Cricket Ground D. Shrine of Remembrance E. National Gallery of Victoria F. Eureka Skydeck H. Flagstaff Garden

Visual Corridor fro m MCG & Hoosier lane

Visual Corridor: Landmark is always associated with a visual connection to the site. Some have a viewpoint that is far away, whereas some landmarks are meant to be observed from a specific distance. Apart from the St. Kilda Road, the landmark can be seen from different tourists, sports, galleries & garden spaces such as Eureka Tower, Melbourne Cricket Ground, National Gallery of Victoria, Swanstone Street, Royal Exhibition Building, Hoosier lane. They form a visual corridor to the site.

Form Evolution

Potrait of Raymond Queneau (Source:mattymatt)

The typical vision of radical architecture ignores the constrain of politics, context, finance, gravity in architecture. Thus, it raises an argument that whether or not, in these futuristic visions abide the constraint or not. In a French writer gathering in the 1960s, Oulipo, an argument was raised about creativity and constrains10. And, to modernize the form of literature, whether or not to break free from the rules. Thus, in architecture, there are specific rules and configurations from moving one space to another, the form, context, gravity are all constrains. And, whether or not the architecture of the future should not abide by the constrain or demolish it.

Andrew Gallix, â&#x20AC;&#x153;Oulipo: freeing literature

by tightening its rules,â&#x20AC;&#x2122;â&#x20AC;&#x2122; The Guardian, published july 12, 2013, https://www. theguardian.com/books/booksblog/2013/ jul/12/oulipo-freeing-literature-tighteningrules

Gateway of Arch, Eero Saarinen (Source: US National Park Service)

In my opinion, it should follow the constrain but make it invisible. In the gateway of Arch which is renowned for its formal language. The arched form with the program of the observation deck at the top doesnâ&#x20AC;&#x2122;t abide by the constraint of having vertical transportation to the deck. Instead, it has an elevator going in the direction of the arch, thus hiding the constraint.

Inside the Gateway of Arch (Source: Modern Mechanix)

1843 Robert Sperring & Sydney Davidson, Sydney Davidson, St. Kilda, Victoria â&#x20AC;&#x153;Melbourne Galaxyâ&#x20AC;? (Source: Public Library Victoria)

Futhermore, the artist has composed the sphere, to achieve a desired silhouette. Eight spheres with one at the center form the overall composition of the image. With top at the center, and gradually decreasing the rest. It creates an organic curved form, with the center being prominent.

Existing from analysis

Skecth Design

The formal language follows a specific ruleset and guidelines, but it is not observed in the visual appearance or in the circulation of a landmark. It follows a rule set of taking a specific size of the sphere of 60 m dia and scaling it down by 8 m respectively. Two additional elements are added is an elongated sphere and a subtractive sphere. The idea is to have a full sphere that is indoor and subtractive is outdoor. The form maintain the artist compostion of the spheres and applies the ruleset on it. Some of the spheres are connected with a multi-directional elevator whereas some to a strong cirulation core at the bottom. The element of mist and water fountain from the sphere will bring in live the painting and the narrative of the artist.

Sphere Arrangement

Rule Set Application

Rule Set

Imposing Constrains

Conceptual Form

Brief & Programming

Still from Star War IV â&#x20AC;&#x201C;Holographic projection (Source: The Guardian) While we are talking about the era of the 1960s & 70s, an era of the radical movement, new vision, new thought, new developments. I would like to elaborate on the cinematic scene of that era. In the still of Star War IV, the notion of transporting from one space to another is represented. But in the present context, if we can transport to place we can digitally reproduce them. In the present world, through the tools of Instagram, snap chat & outage maps, we view images and clip off any event happening far away from us. Even, in the present program of Federation square, wherein the plaza is turned into space wherein any sporting event happening in Australia is projected on to a screen. Thus, people viewing them together transmit into the event and share their emotions just like they are viewing it in the actual arena.

Outdoor Cinema at Federation Sqaure

To further strengthen this argument about this, I would like to elaborate on the Glimpses of the U.S.A - a historical event of architectural history. The multiscreen projection of the domestic activities of America on the spherical dome is a symbol of knowledge and the power of connection of people view things together11. So, the main program is a multiscreen event space, which will project live Holographic imagery of animal, wildlife, flora/Fauna and, live events happening across Melbourne. As each & every month, Melbourne turns its way to host different events, the program will adapt to the altering nature of Melbourne. Furthermore, a space for an outdoor cinematic experience is provided to enhance the notion of connecting with the people. Gallery spaces for Ian potter & National gallery of victoria are provided along with the provision of the restaurant and cafes.

Glimpses of U.S.A , Charles & Ray Eames ( Source:Eames Office)

Beatriz Colomina ,

Perspective, The Eamesesâ&#x20AC;&#x2122;

Multimedia Architecture, Grey Room,No. 2 (MIT Press, 2001, 51

`Sketch design of the projected surface The holographic projection work on the principle of Albertiâ&#x20AC;&#x2122;s Window. Wherein, in a gallery space in New York, he displayed a window with a frame of the artwork. The reality of the image was as such, that people ignore that it was a window. The technology of augmented and virtual reality is based on this Albertis window12. Any clear reflection on a mirror or glass is a holographic projection. The design will use the projected surface and translucent screens to display imagery of live events.

Capro Mario,

The Alphabet and The

Algorithm (The MIT Press, Cambridge, Massachusetts, London, England,2011), 58.

Four Sides negative projection of a flat surface

Reflection of the negative on transparent screen

Windows, The New Yorker, 2001. (Source: Mario Capro)

Multipurpose Augmented Event Space

Skypark (Outdoor Cinema)

Flaura & Fauna Show

Theathre Space

Aqaurium Show

Division Of Programme

Public Multipurpose Augmented event space

Outdoor Cinema

Aquarium Show

Flaura and Fauna show

Private Administration

Information desk

Vertical Layering of programmes

Light House (Observation Deck

Cafe & Restaurants

Gallery Space for National Gallery Victoria

Gallery Space for Ian Potter Museum

Division Of Programme

Semi-Public Ian Potter Museum

Art Gallery (NGV)

Cafe & Restaurant

Observation deck

Public Multipurpose Augmented event space

Outdoor Cinema

Aquarium Show

Flaura and Fauna show

Private Administration

Information desk

Vertical Layering of programmes

Precedints:

Sky Park Marina Bay Sand (Source: Archinet)

Moonlight, Sydney (Source: Timeout)

Glimpses of U.S.A , Charles & Ray Eames ( Source:Eames Office)

Garden by the Bay, SIngapore (Source: Wilkinson Eyre Architects & Grant Associates)

Blur Building (Source:Diller scofidio + renfro)

Escher X Nendo, NGV (Source:Deenzee)

Conceptual Design

Landmark Render

Division of spaces

Swanston Street

Russell Street

Proposed Waterfront also will be used for night market

Swanston Street

Flinders Street

Eureka Skydeck

Fitzroy Garden

Landmark

Melbourne Crick

Extension of Yarra River

Shrine of Rememb St. Kilda RWoad

National Gallery Of Victoria

Conceptual design

Sketch Design

Proposed Waterfront also will be used for night market

Lower level Layout

Landmark

Extension of Yarra River

Entrty to the landmark

Swanston Street

Activities along Yarra

ACMI

Site View

The landmark is placed on the northeast corner of the site, layered with a surface of water that blends with the Yarra. A consistent contour is proposed that slide in to the lower podium level which is the main circulation foyer for the landmark. The site will an open waterfront, with provisions for existing restaurants and cafe along the Yarra as well as spaces alotted for activities such as night market.

The lower level foyer is the main circulation source to the top of the spheres. It consists of various services, administration and information centres. Lower Level Circulation Foyer

Entrance Foyer

Sitout Spaces

The entrance foyer is designed not only to provide a buffer to view the landmark but also to indulge events such as the night market.

The landscape feature is designed to act as a sit-out space and also to incorporate on street performance activities.

Light House (Observation Deck

Cafe & Restaurants

Gallery Space for National Gallery Victoria

Gallery Space for Ian Potter Museum Multipurpose Augmented Event Space

Skypark (Outdoor Cinema)

Flaura & Fauna Show

Theathre Space

Aqaurium Show

Division Of Programme

Semi-Public Ian Potter Museum

Art Gallery (NGV)

Cafe & Restaurant

Observation deck

Public Multipurpose Augmented event space

Outdoor Cinema

Aquarium Show

Flaura and Fauna show

Private Administration

Information desk

Vertical Layering of programmes

Multipurpose Holographic Event Space

Multipurpose Event Space The holographic projection will be at the center of the sphere. In the context of the materiality, the glass of the sphere will be opaque throughout the day and will become clear at night. Furthermore, this will maintain the ambient about light and exposure. Key Plan

A : Projector B: Reflective Surface C : Translucent screen D: Holographic projection

Sectional detail

The overall visual feeling envisioned is one of the life burstings through the earth surface and thrusting upwards free into space13.

Sperring, Robert & Davidson,Sydney.

Melbourne Galaxy: Landmark Competition Drawings, 1979, Paper, Public Record Office Victoria.

Internal View

Circulation core:

High Rise Lift core

Mist & Water Fountain Outllet

Passenger lift - high rise Passenger lift - Mid rise Diagonal elevator Service Lift

Mid ride core ( Detail at A)

Lower Level of the Mutiscreen event Space

ACCESBILITY & CIRCULATION Few of the sphere will be connected with the use of multidirectional lifts. This will further connect the programs of twosphere to avoid them being isolated

Upper Level of the Skypark``

Lower Level of the Skypark

Skypark: The Skypark is designed to program as an outdoor cinema with provisions of a rooftop bar, amphitheathre, water feature & green spaces.

Lower Level

Mid Level

Restaurant & Cafe:

Lower Level

The provision of cafe and restaurant is provide to connect both the gallery spaces. The space will have a configuration of rooftop garden with green & Sit out spaces

Exhibhit space