MSD Studio 36 Reflective Journal 2021 by Shin Qin Lim

REFLECTIVE JOURNAL NGV CONTEMPORARY SHIN QIN LIM 905494 LEVEL E STUDIO 36 NGV_C SEMESTER 1, 2021

CONTENT

1. Design Iterations

2. Gallery Analysis

3. Inside Out Objects

4. Urban Massing Investigation

82 100 122 175

Massing Iteration

The Site

Design Concept

Design Development

5. Mid Semester Review

6. Design Development

7. Final Review

8. Reflection

Fragmentation

01 DESIGN ITERATIONS

In the exercise, we explored and examined different design techniques into our designs. Precedent studies are also carried out to understand the meaning of techniques and provided inspiration while designing the 3d form. This exercise acts as a starting point to study the potential of different elements of the galleries, such as façade design, spatial organization, and circulation.

Journal

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In this iteration, I used the roof shape of Casa das Canos by Oscar Niemeyer as my starting point. In order to create the idea of fragmentation, I manipulated the shapes and levelled them into different heights. I then connected them with vertical columns to join the spaces together. I like how the structure ends up looking like a section without an exterior wall. I think this could inspire me of the interior circulation when I start to design the gallery. Studio 36 NGV_C

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Transparency

Positive and Negative

The precedent appears to be weightless and appears almost as a non-solid object. I started to play with the thin cylinder structures to create the idea of transparency. When looking at it from far, I found that it also expresses the notion of illusion, appearing differently from the structure.

Journal

Using the precedents to lead my exploration, I began with a cube as my starting point. It is interesting to see the two contrasting elements (solid and void) can create a sense of balance and rhythm to the structure.

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Folding

Super Graphics

I was strongly inspired by the precedent I found. I enjoyed the way it appears that the building is lifting through the landscape. However, I think this idea is more appropriate for a one or two-story building. For tall buildings, just like our gallery project with a minimum height of 45 meters, I think it would be difficult to create this seamless folding roof structure. Journal

Although the precedent uses digital screens to indicate the idea of super graphics, the iteration of positive and negative has inspired me to create the result. I utilised the negative space and organized it to pursue the super graphic. | 10

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Distortion

Illusion

In this iteration, I created a transparency iteration by using the layering idea. Different experiences are evoked when looking at the structure from different perspectives. Journal

Instead of playing with colours, I explored the technique with different sizes of shape. It is interesting to see how the structure tricks the viewer’s eye by alluding to the viewer to see an endless ally that gets smaller and further away. | 12

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Precedent Studies

Fragmentation

The roof is folded and manipulated to enable the structure to support itself, for example, the roof can be in shape of a dramatic undulation which allows the roof to stand from the ground.

Fragmentation is a technique used to manipulate the skin or surface of a structure. One example would be the use of non-rectilinear shapes, which appear to distort and dislocate building elements such as structure and envelope. NUAGE PROMENADE / RONAN & ERWAN BOUROULLEC / 2017 / UNITED STATE

BOSJES CHAPEL / Steyn Studio / 2016 / South Africa

Transparency

Illusion

“Transparency means a simultaneous perception of different spatial location. Space not only recedes but fluctuates in a continuous activity” (Rowe & Slutzky, 1982). Transparency is a method to open up closed spaces for air and light. However, this technique is not only for the visual transparency but also include spatial transparency. OPEN AIR MUSEUM / Edoardo Tresoldi / 2019/Italy

BOSJES CHAPEL / Steyn Studio / 2016 / South Africa

Positive and Negative

The illusion is a technique that will play tricks on our eyes. The special feature in the field of architecture is the use of optical illusions in order to make structures appear different from what they actually are. In ancient Greece, architects used this technique to create the impression of perfection. Architects see buildings as a whole — and keep the human eye as experiencing factor in their mind.

Distortion

The positive is the area where the subject is positioned. The negative refers to areas surrounding the subject. Or in another word, positive is the interior space whilst negative is the outdoor space. Interlinked the positive and negative space will create a sense of balance and rhythm to the structure.

Distortion, or perspective distortion, is a technique used when different scales of objects are placed in various distances to create unique perceptions. An important element of distortion is the use of converging lines. ARTE S / SPARK Architects / 2018 / Malaysia

TORONTO TREE TOWER / Penda Architects / Toronto Journal

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Gallery Analysis Gallery analysis was conducted to better understand how the system works both within and outside the gallery. I selected the National Gallery of Victoria International (NGV) for analysis as it is located beside the current project. Although NGV is not a contemporary gallery its surrounding context and culture are the same as my current project. Denver Art Museum by Studio Libeskind is my next analysis gallery. It is an expansion and addition to the existing museum which is very similar to my project, where I need to consider how to connect the current project to the existing NGV International physically (through promenade) and visually. The analysis is carried out based on the building form, organization of space, materiality, circulation and access, lighting type and diversity of the gallery. Building form: The form is mainly based on what the architect wants to express (design

concept) and meanwhile integrating with the surrounding context such as landscape, streetscape or local culture. Organization of space: Temporary exhibition spaces are normally located on the lower floor to attract people while the upper floors house the permanent contemporary art collection.

GALLERY ANALYSIS

Materiality: The choice of material expresses quality but with simplistic means. The material will bring out the building form but demonstrate some sense of design without looking too plain and simple. Circulation and access: The circulation core is mainly located at the centre of the building to allow visitors easy access from different directions. Lighting type: Instead of relying on artificial light, the gallery utilises natural lighting to create an attractive spot to gather people such as the entrance, circulation stairwell and atrium. The diffuse daylight not only creates the sense of welcoming and provides a soothing view but also highlights particular space to stand out the grandeur of the masterpiece. Diversity of gallery: The flexibility of the internal design adapts for different artwork to display, including the layout arrangement, wall and floor finishes, exhibition room size and the ceiling height. Apart from that, unlike traditional exhibitions, the exhibition space of the Denver Art Museum does not limit to the internal but across the building site.

Journal

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National Gallery of Victoria

Form

National Gallery of Victoria

Circulation and Access

|Ground Floor Plan|

Architecture Firm : Grounds Romberg Boyd Architect : Sir Roy Grounds & the Featherstons Year of Construction : 1959 • grand and forbidding in external form • sometimes confusing in the interior • unprecedented civic scale (the water wall, the stained-glass ceiling of the great hall) • building with clear geometrical structure • a regular prismatic volume pierced by three square courtyards • sitting on a podium that tames the site’s irregular shape and profile

|First Floor Plan|

|Second Floor Plan|

Organization of Space Exhibition Area

|Third Floor Plan| Legend:

Circulation

Exhibition Area

|Main Entrance from St. Kilda Road.|

Asian Temporary Exhibition

British & European Temporary Exhibition

Foyer

Federation Court

Entrance & Waterwall (St.Kilda Rd) Journal

|Vertical Circulation via escalators or ramps.|

Great Hall

As the circulation core is at the centre, functional programs are organized around it for easy access.

Grollo Equiset Garden | 18

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Yi JIe Lam (875783) | 19 Shin Qin Lim (905494)

National Gallery of Victoria

Diversity of Gallery |Marine MUtants from a Disposable World Series 2020|

|Misaki Kawai’s Moja Moja Life: Misaki Kawai for Kids 2020|

|Botanical Pavilion|

|Decorative Art Passage & Megafauna, Tabor Robak|

National Gallery of Victoria

|Quantum Memories 2020|

• central attractive spot located at the middle court • full height void to show the grandeur of the masterpiece

Journal

• standard white room to make the artwork stand • located at ground floor for easy accessibility • colourful, vibrant, up-beat music to out • cater for children and family • adaptable quality for different finishes (continuous wallpaper from wall to floor to align with the theme/vibes)

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• standard ceiling height individual artwork stan- • interactive exhibition that include both visual and sounds lighting varies along with the perdard room size to allow for formance • flexible exhibition type (eg. warm • timber finish to accommodate timber style sculpture

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Yi JIe Lam (875783) | 21 Shin Qin Lim (905494)

National Gallery of Victoria

Lighting Type

Skylight mainly occurs on the ground floor and where the circulation core is located to give a sense of welcoming. Exhibition spaces normally utilise artificial light to showcase artworks.

|Ground Floor Plan|

Natural Lighting |diffuse daylighting|

Artificial Lighting |to showcase artwork / artefacts|

Artificial Lighting |in built lighting|

Journal

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Yi JIe Lam (875783) | 23 Shin Qin Lim (905494)

Denver Art Museum

Form

Material

Architect : Studio Daniel Libeskind Location: Denver, United States Area: 146000 ft² Year of Construction : 2006 The Frederic C. Hamilton Building is an expansion and addition to the existing Denver Art Museum, designed by the Italian Architect Gio Ponti. The extension currently houses the Modern and Contemporary art collections as well as the collection of Oceanic and African Art. The museum consists of a series of interlocking rectangles. This is an aggressive form of geometric design, pure and irregular, glass and titanium, reflecting the peaks and rock crystal from the nearby mountains. A volume overhang crosses the street to link the structure of the Gio Ponti building by a bridge of steel and glass.

Journal

“The materials of the building closely relate to the existing context as well as innovative new materials which together will form spaces that connect local Denver tradition to the 21st Century.” For example, the structure of the building is steel and concrete while the siding is titanium and granite. These materials provide a dialectical relationship with the other elements of the context: monuments, public spaces, infrastructure.

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Denver Art Museum

Lighting Type

Circulation & Access

|Natural Lighting|

|Lower Ground Floor

|Ground Floor Plan|

|diffuse daylighting to provide additional lighting options for a variety of exhibition. |

|Artificial Lighting|

|First Floor Plan|

|Second Floor Plan|

|to showcase artwork / artefacts|

|Third Floor Plan|

Similar to the National Gallery of Victoria where the circulation core is located at the centre of the building.

In contrast with NGV International, diffuse daylighting is used in the exhibition space to provide additional lighting options for a variety of exhibitions. Journal

Legend:

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Denver Art Museum

Diversity of Gallery

|Auditorium|

• an auditorium for 280 people located on the lower level • provide full-scope theatre and audio-video systems for educational programs and the Museum’s vibrant film series

Journal

|Temporary Exhibition|

• standard white room to stand out the artwork • open plan allowing flexible changes to the meet the need of the exhibition

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|Digital Exhibition|

• interactive exhibition that includes both visual and sounds • lighting varies along with the performance

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|Non-Tradition Exhibition|

• the exhibition not limited to internal spaces but across the site

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INSIDE-OUT OBJECTS Comlongon Castle, Dumfries, Scotland (1500’s)

03 INSIDE-OUT OBJECTS

The exercise started by manipulating the inside out space of a traditional building into an object and expressed it into a formal exploration idea for architecture or a gallery. It explores the relationship between internal and external, emphasizing the building as a whole and also to the surrounding context. The concept brought out an idea of a space inside which you feel being outside Journal

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Cordelia | Yu 31 Shin Qin Lim

Iteration

|Plan|

Architect : Cuthbert of Cockpool Year of Construction : 15th century Comlongon Castle is a massive tower of five storeys and a garret within a corbelled-out parapet. Parts of the parapet are roofed-in to form small gabled chambers, and there is a caphouse crowning the main stair. The castle formerly had a courtyard and moat, but this was removed when the adjoining castellated mansion was built in the 19th century. A fire damaged the new part late that century and it was restored in 1901.

Journal

Cordelia Yu | 32 Shin Qin Lim

|Section|

This form demonstrates the process of assembly. From the Comlongon Castle floor plan, the existing inverted space consists of several uneven and random shapes surrounding the central space. I tried to provide a more symmetrical way of utilising the space and thus turned the random shapes into more coherent forms. I also tried to level the newly established form to retain the originality of multiple levels as presented in the chosen building. Studio 36 NGV_C

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Iteration

|Plan|

|Section|

This structure allows the flexibility to create a seamless flow between the outdoor and indoor; a courtyard or outdoor area can be opened in the middle – including nature into the gallery. It will also enable a lot of outdoor space for exhibitions to not only be held inside but outside of the gallery as well. From the section, spaces within the gallery is clearly defined to allow spaces with different themes. I also hope to blur out the levels to create stronger visual impact to the public.

This form also implicates connectivity, although not all the components are interconnected like the previous model, it makes use of pathways and tunnels to connect the different spaces within the structure. Different from a typical traditional layout, where rooms are clearly defined and not interconnected, this structure offers rooms that are connected with others and which adds on more flexibility. Journal

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Iteration

|Plan|

|Section|

|Section| This structure appears to be a combination of several buildings but in fact, they are all interconnected. Arches with different heights are used to create the illusion. Again, I like the way the internal exhibition space is raised above ground, to provide additional exhibition options.

Journal

This structure resembles a lifted terrain – like a dugged hole in the ground. From the middle point the user will gain a sense of being surrounded by a volcano, standing in the caldera. Again this design will feature a courtyard which gives the opportunity to include nature into the building.

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Iteration

04 URBAN MASSING |Plan|

|Section| In this one I combined stacked several forms together to create layers and also the archs in the second design. At a glance it resembles the scenic landscape of the Gamcheon Culture Villige in Busan, Korea. The idea was developed based on the rapid development of contemporary cities, where housings are to be built in competetitive areas, resulting in vertical sprawl. Journal

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1. Floor Level Stacking with Extrusions

2. Stacked and Wrapped + Punctuation

The structure is made of layers of interconnected cylinder tunnels. The plan of the layers is identical but slightly tilted at a different angle. The cylinder tunnel forms the major circulation for each floor. From the outside, it looks like multiple circles being stacked up. In this structure, I tried to mimic warrens of the wombat, which are typically underground but in this case placed above ground.

Journal

In this iteration, I stacked up thin layers so that when you look at the structure, it resembles a staked of paper board. I carved round shapes to create additional outdoor areas and entrances. In practice, this will be the façade of the building.

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3. Pure Forms Stacked

4. Punctuation Stacking

Shapes don’t have to stack up vertically but can be compiled horizontally as well. In this structure, I tried to bundle together capsule shapes to create a structure that doesn’t look like a typical building.

Journal

In this iteration, I tried to play with punctuation stacking. Every layer has a different unique form, resulting in different shapes of in-between spaces.

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5. Floor level Stacking Facetted Cube

6. Stacked and Wrapped + Punctuation

The structure is stacked with a similar scale of cubes. Each cube represents a diagram of functional relationship. The cantilevers also provide opportunities for daylight and additional interaction with the street.

Journal

I refined the previous iteration and filled the carved round space with glass. I stacked up thin layers of triangular sheets on the façade and used the carved round spaces to create intersections within the structure. On the ground level, large tunnels carve through three directions to create entrances for the visitors. The complex creates a sense of serenity while also achieving a level of playfulness.

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7. Punctuation Stacking

8. Floor Level Stacking with Scale Articula-

The overlapping cube blocks make up the facade of the gallery. The blocks are arranged across the building both vertically and horizontally, leaving in-between spaces for outdoor purposes such as planting and exterior exhibition.

Journal

In this iteration, I tried to play with floor level stacking with scale articulation. Curved edges are used to seamlessly combine the structure with the surrounding context. The rotating floor slab also creates cantilevers to allow an optimal amount of sunlight to enter the gallery.

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9. Stacked And Wrapped

10. Pure Forms Stacked

In this stacked and wrapped iteration, the skin of the structure is filled with pieces of cards curling outwards. In my opinion it looks like the building is being cut in half and people can see what is inside as if they have transparent eyes. Different patterns casted on these ‘cards’ can create visual variations for visitors.

Journal

This iteration is similar to the previous iteration. However, instead of blocks, cylinder volumes are used across the structure and to create a sense of overlapping and stacking effects. In practical, I’m thinking of using different materials for the cylinders such as concrete, timber, and glass.

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11. Punctuation Stacking

12. Spatial Stacking

In this iteration, the structure has been carved to create different shapes and rhythms on the exterior of each layer. Different sized waves will look like they are hovering over the façade, creating a static yet seemingly moveable pattern.

Journal

In response to the triangular site, the structure resembles playing cards stacked into a pyramid. The horizontal card which supports the pyramid acts as the floor slab of the structure. The support structure will cut through the floor slab and continue to the level below.

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13. Pure Objects Stacking + Floor Level Stacking

14. Punctuation Stacking

Journal

The structure has been carved and showed its interior skin to promote a sense of transparency, encouraging connection between the interior and exterior. The carved round shape provides an additional opportunity for the gallery for outdoor purposes.

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15. Sculptural Cube

Iteration 16

The container form addresses the notion of a contemporary art gallery as a piece of art. From the base, the triangular form is seamlessly rotating and changing to more dynamic and fluid round edges.

Journal

I refined the previous iteration with playing cards stacked into a pyramid. The horizontal card which supports the pyramid acts as the floor slab of the structure. The support structure will cut through the floor slab and continue to the level below.

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Iteration 17

Iteration 18

The thick linear elements look like they are hovering over the façade, create a static yet moveable pattern.

Journal

To align with my design concept of demonstration empathy to the world, I thought of the gesture of a pair of warm and nurturing hands placed together.

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Iteration 19

THE SITE

The center cylinder will become a void topped with transparent material to allow natural lighting. The vertical circulation (e.g. spiral staircase) can be fitted in the middle, allowing for transparency across different planes.

Journal

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SITE ANALYSIS LOCATION

BIRR

ARUN

YARR

A RI

VER

CITY ROA

GH ST

ST URT

The current site is bounded by Southbank Boulevard, Sturt Street and Kavanagh Street in the city of Melbourne.

KIL

RO A

and Kavanagh Street, including a 1660sqm area between the current NGV International and the

KAVANA ST POWER

The site, measuring approximately 4943sqm, is bounded by Southbank Boulevard, Sturt Street

new NGV Contemporary. To the East of the site will feature a new conjunction area between the NGV International and the new NGV Contemporary. This area will be lifted 8 meters to provide connection between NGV International’s Grollo Equiset Gardens and the new NGV Contemporary. There is also a substantial slope on the site which begins at the Southbank Boulevard, taking over the current Sturt Street, sloping up 8 metres to the conjunction area between two galleries. To the North and North West is comprised largely of residential apartment buildings and the Australian Ballet Centre. BIRR

To the South and South East, two and a half hectares of public space is made available comprising

ARUN

the ABC Southbank Centre, the Melbourne Recital Centre, and neighbourhood parks for the people

To the East of the site will feature a new conjunction area between the NGV International and the new NGV Contemporary. This area will be lifted 8 meters to provide the connection between NGV International’s Grollo Equiset Gardens and the new NGV Contemporary.

A RI

VER

CITY ROA

KAVANA

GH ST

T STUR

POWER

of Southbank. The site is currently surrounded with roads and bicycle lanes on all three sides, Sturt

YARR

KIL

Street however will be closed to public under the new project scheme. Public access will only be made available via Southbank Boulevard and Kavanagh Street. The proposed NGV Contemporary will allow collaboration between two exhibitions and offer a wide range of experiences whilst visiting the galleries. It is noted that the maximum preferred height of the NGV Contemporary will be under 60 metres to minimise overshadowing to surrounding public spaces.

ART PRECINCT

1 ABC SOUTHBANK

CENTRE

MELBOURNE RECITAL CENTRE

SOUTHBANK THEATRE

NGV INTERNATIONAL

AUSTRALIAN BALLET CENTRE

ARTS CENTRE MELBOURNE

7 HAMER HALL

BIRR

ARUN

YARR

A RI

VER

5 1 6

2 3

Journal

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It is surrounded by many other buildings that celebrate the arts, such as Melbourne recital centre, Southbank Theatre, NGV international and arts centre Melbourne.

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SITE ANALYSIS SICE ACCESS

BIRR

ARUN

YARR

A RI

VER

KAVANA

GH ST

T ST

STUR

LEGEND: PEDESTRAIN PATHWAYS BICYCLE LANES TRAM LINES TRAM STOP BUS STOP

The site is currently surrounded by roads and bicycle lanes on all three sides, Sturt Street, however, will be closed to the public under the new project scheme. Public access will only be made available via Southbank Boulevard and Kavanagh Street.

SUN DIAGRAM

DESIGN CONCEPT

BIRR

ARUN

YARR

VER

A RI

ER MM SU

R TE IN W

NORT

SOUT

Journal

It is noted that the maximum preferred height of the NGV Contemporary will be under 60 metres to minimise overshadowing to surrounding public spaces.

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5 POINTS FOR NGV_CONTEMPORARY

DESIGN STATEMENT (DRAFT) NGV_Contemporary

A contemporary art gallery is a piece of artwork. Therefore, without the boundary, exhibitions are no longer held only within the gallery but can be found the moment the visitor steps on the site. The gallery also no longer takes a queue-and-watch approach but will provide for entertaining and interactive feature between people and space. Visitors will flow seamlessly between indoor and outdoor areas, and respond to the new forms of digital interaction, ranging from exhibition to accessibility. To sustain the gallery, the use of passive design strategies will take advantage of the climate to maintain a comfortable temperature range.

WITHOUT BOUNDARY

SEAMLESS FLOW

Exhibitions are no longer held only within the gallery but can be found the moment the visitor steps on the site.

Between indoor and outdoor, promoting the inclusiveness of nature.

Week 3

Living in the Precarious Age

Week 4

The world we are living on is exposed to a lot of uncertainties, threats, dangers, and may seemingly appear as if it is about to collapse. Yet, human beings are known for our plasticity to adapt to the environment and to ‘fix’ things as they break apart. The further ideas are polarised from one another, such as the conflicts between cultures, political stances, and personal preferences, the more important it is for us to acknowledge and empathise the differences to create a better world. But where can we do this?

03 DIGITAL AWARENESS is to be prepared for any form of digital interaction, ranging from exhibition to accessibility.

SUSTAINABILITY

ENTERTAINMENT

The use of passive design strategies to take advantage of the climate to maintain a comfortable temperature range.

Contemporary art gallery no longer take a queue-and-watch approach but will provide for entertaining and interactive feature between people and space.

The NGV Contemporary is a place that acknowledges and encompasses the differences between various ideas, allowing artists to showcase their perspectives and allowing visitors to better understand the different perspectives in the precarious age today. By visiting the NGV-C, visitors will not only act as ‘the middle person’ to bring together different ideas but will also leave the gallery carrying better knowledge of what is happening in the world. The NGV-C aims to offer such a space not only to promote mutual understanding but also to remind human beings of our adaptability and empathetic skills to the precarious changes in our world today.

Acknowledge, Empathize and Inclusion

Week 6

In the article Overexposed City, the concept of technology advancement was identified as the cause to the disappearing boundaries between neighbourhood its surrounding geographic space. While cities are going through series of transformation and integration, some believe that the process has enabled our lives to become more satisfied whereas others argued for the reduced opportunities for interaction between people. The lack of interaction inevitably causes increased exposure to depolarising ideations, as people are often hiding behind their screens projecting their thoughts without actively listening to others. The further ideas are polarised from one another, such as the conflicts between cultures, political stances, and personal preferences, the more important it is for us to acknowledge and empathise the differences to create a better world. But where can we do this? The NGV Contemporary is a place that acknowledges and encompasses the differences between ideations, allowing artists to showcase their perspectives and allowing visitors to better understand the different perspectives in the precarious age today. By visiting the NGV-C, visitors act like judges bringing together different ideas while leaving the gallery with better knowledge of what is happening in the world. The NGV-C offers a space not only to promote mutual understanding but also to remind human beings of our adaptability and empathetic skills to the precarious changes in our world today. Journal

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DESIGN DEVELOPMENT

Out of so many iterations, I have decided to develop these two forms because they were most advocated based on students’ votes. It was also the preference of our subject tutor. Although my final selection was not solely based on other people’s preference, I think it also constitutes a substantial part as they represent the ‘general public’. I agree with them that the chosen 2 iterations are more ‘contemporary looking’ and which has the potential for further development. Personally, I was more inclined to choose the bottom left design, but after listening to the comments and comparing it to other precedent designs I felt like it wouldn’t have matched with the surrounding architectures.

Journal

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Scheme 1 Members Lounge

Permanent Collection

Research Library & Reading Room

Indigenous Gallery

Restaurant

Temporary Gallery

Foyer Digital Media Gallery

Plan

Journal

Elevations

Sections

For the exterior, I refined the form by adding one more stack layer on the top to emphasise the concept of swirl.

In terms of the internal spatial arrangement, I wanted the interior to follow the exterior curve idea, so I decided to bring it in the ramp as the circulation core. However, after talking with Anna, she advised that it is not impossible to have an atrium with a 60-meter height. I have to rethink the design but still maintain the ramp idea.

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PRECEDENT STUDY

PROCESS DIAGRAM I have been looking at some precedent to help my design. The way Tadao Ando incorporates a variety of circles from top to bottom, until the very details bring out the curves. Most importantly, the doublehelix staircase corresponds to the overlapping circles, emphasizing the concept of harmony. The process diagram demonstrates the functional programs for each floor. Lower floors are mainly for public functions such as gift shop, galleries and cafe. On the other hand, private events such as the member lounge and research library are planned to take place on the upper floors.

LEGEND:

Journal

PUBLIC

PRIVATE

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LEGEND:

PUBLIC

PRIVATE

He Art Museum / Tadao Ando / 2020/ China

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A point of learning is how Ando addresses the contradicting elements of ‘round’ and ‘shape’. He emphasized the visual contrast in the museum by creating a sense of conflict with spatial differences, which also gives more characteristics to the museum.

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SECTION

FLOOR PLANS

STAFF ADMINISTRATION

AG H

ROOFTOP TERRACE

ART STORAGE

LOADING DOCK

AUDITORIUM

GIFT SHOP PERMANENT GALLERY TEMPORARY GALLERY

INDIGENOUS GALLERY

TICKETS / CLOAKROOM

CAFE

TEMPORARY GALLERY

FOYER

DIGITAL GALLERY

SOUTHBANK BLVD GROUND FLOOR PLAN

AV AN

SECTION

STORAGE

KIDS LEARNING SPACE

CAFE

KITCHEN

TICKETS / CLOAKROOM

TEMPORARY GALLERY

ATRIUM / TEMPORARY SCULPTURE GALLERY

VOID

SOUTHBANK BLVD

FIRST FLOOR PLAN

SECTION

After consulting with the lecture, I need to change the location of the staff administration with the loading dock as there is no sunlight for the current location. The circular staircase has to do some calculation as the scale does not seem correct. I have to rethink the location of the goods lift as it looks quite awkward for the upper levels.

Feedback: Due to the practical issue, I then divided the ramp into two parts. The upper atrium will be featured with a skylight on top. Journal

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REFINED FLOOR PLANS RESTAURANT

ART STORAGE

STORAGE

PERMANENT GALLERY

DIGITAL MEDIA GALLERY

KITCHEN

LOADING DOCK

DIGITAL MEDIA GALLERY INDIGENOUS CONTEMPORARY GALLERY

STAFF ADMINISTRATION

AG H

DIGITAL MEDIA GALLERY

K AV

ART STORAGE

GIFT SHOP

BASEMENT FLOOR PLAN

TEMPORARY GALLERY

SECOND FLOOR PLAN

TEMPORARY GALLERY

STORAGE

RESEARCH LIBRARY

READING ROOM

PERMANENT GALLERY

STORAGE

SOUTHBANK BLVD

GROUND FLOOR PLAN

ARTIST STUDIO

PERMANENT GALLERY

VOID

MEMBERS LOUNGE

PERMANENT GALLERY

THIRD FLOOR PLAN

FOURTH FLOOR PLAN

CARGO KIDS LEARNING KITCHEN

CAFE

STORAGE

PERMANENT GALLERY

TICKETS

ROOFTOP TERRACE

TEMPORARY GALLERY VOID

VOID

ATRIUM / TEMPORARY SCULPTURE

VOID

SOUTHBANK BLVD

AUDITORIUM

FIRST FLOOR PLAN

Feedback: In order to emphasise the idea of curves, I should incorporate a more round shape to smoother the corner. Journal FIFTH FLOOR PLAN

ROOF PLAN

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Scheme 2

Digital Media Members Gallery Lounge

Research Library & Reading Room Permanent Collection Indigenous Gallery Permanent Indigenous Gallery Collection Temporary Gallery

Restaurant

Temporary Gallery Gift Foyer Shop

Cafe Foyer Gift Shop

Digital Media Gallery Staff Admin

Plan

Elevations

Sections

For scheme 2, the exterior form is refined to make it more solid and grand. The interior of the building is planning to bring in the idea of folding. Journal

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PRECEDENT STUDY

PROCESS DIAGRAM

A similar idea with the previous scheme, public space mostly occurs on the lower part while private space is placed on the upper floors. Royal Ontario Museum / Studio Daniel Libeskind / 2007/ CAMADA

LEGEND: LEGEND: PUBLIC

Journal

PRIVATE PUBLIC

PRIVATE

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Royal Ontario Museum reminisces the five crystals interlocking with each other. I should learn from Daniel Libeskind how he designed the building with no right angles and only one vertical wall in the structure. The way he organised the space also allowed the entire ground level unifies into a seamless space with clarity of circulation and transparency.

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SECTION

FLOOR PLANS

STAFF ADMINISTRATION

AG H

LOADING DOCK

ART STORAGE

TEMPORARY GALLERY

GIFT SHOP

AUDITORIUM TEMPORARY GALLERY

PERMANENT GALLERY

TEMPORARY GALLERY

FOYER

SOUTHBANK BLVD

DIGITAL MEDIA GALLERY

GROUND FLOOR PLAN

SECTION

CAFE STORAGE

KIDS LEARNING SPACE

TICKETS / CLOAKROOM TEMPORARY GALLERY

VOID

ATRIUM / TEMPORARY SCULPTURE GALLERY

SOUTHBANK BLVD

FIRST FLOOR PLAN

After looking at the precedent, I attempted to create a very clear circulation on the right to allow easy access to different spaces. I would also add a skylight on top to create a sense of welcoming. Journal

In order to follow the form, the interior arrangement is divided with the right angle. After consulting with the lecture, I should create a separate corridor for staff members to access the goods lift instead of getting through the storage on the ground floor. Back of house system has a lot to do with how the artworks are transferred from the loading dock to upper floors should be considered. Similar to the previous scheme, staff administration requires more sunlight, therefore the current location should be reconsidered. I should also try to rotate the goods lift, attaching to the wall to avoid awkward levels on the upper floors.

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REFINED FLOOR PLANS

LOADING DOCK

STAFF ADMINISTRATION

AG H

ART STORAGE

PERMANENT GALLERY

STORAGE

GIFT SHOP

STORAGE

TEMPORARY GALLERY

INDIGENOUS CONTEMPORARY GALLERY

TEMPORARY GALLERY

RESTAURANT PERMANENT GALLERY

DIGITAL MEDIA GALLERY DIGITAL MEDIA GALLERY

SOUTHBANK BLVD

VOID

GROUND FLOOR PLAN

SECOND FLOOR PLAN

AV AN

ARTIST STUDIO STORAGE

STORAGE

BASEMENT FLOOR PLAN

PERMANENT GALLERY

CAFE

KIDS LEARNING SPACE

TICKETS / CLOAKROOM TEMPORARY GALLERY

AUDITORIUM

PERMANENT GALLERY

VOID

THIRD FLOOR PLAN

ATRIUM / TEMPORARY SCULPTURE GALLERY

FOURTH FLOOR PLAN

SOUTHBANK BLVD

FIFTH FLOOR PLAN

FIRST FLOOR PLAN

Feedback: I should incorporate more Back of House programs on the ground floor. The entry location for the promenade should be redesigned to create a more open and welcoming foyer for the visitors who come from the NGV_International. Journal

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05 MID SEMESTER REVIEW

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Scheme 1

LEGEND:

PUBLIC

LEGEND:

PRIVATE

Research Question: PUBLIC

How can the NGV Contemporary respond to the diminishing face-to-face interactions in the precarious age to-

PRIVATE

day and promote more quality interactions and active listening in our population?

Design Statement: In the article Overexposed City, the concept of technology advancement was identified as the cause of the disappearing boundaries between neighbourhood its surrounding geographic space (Paul Virillio, 1997). While cities are going through series of transformation and integration, the lack of interaction inevitably causes increased exposure to depolarising ideations (e.g., cultural conflicts, political stances), as people are often hiding behind their screens projecting their thoughts without actively listening to and interacting with others. The NGV Contemporary is a place that acknowledges and encompasses the differences between ideations,

FORM FINDING

allowing artists to showcase their perspectives and allowing visitors to better understand the different perspectives in the precarious age today. As the new hub of contemporary art and culture, the NGV-C serves as the centre of the cultural swirl capturing the most up-to-date contemporary beliefs and knowledge. The architecture takes the form of a tornado swirl bringing together different culture and knowledge. The NGV-C offers a space not only to provide a better understanding of the world through art but a space for reflection by actively listening to the art pieces and participating through interacting with others. Internally, the 3-levels-high atrium takes the form of the eye of a tornado. While the centre of a tornado is often calm and quiet, it provides the opportunity for contemplation and interactions. This is achieved via the design of the continuous floor with the

EXTRUDE

LAYER

ROTATE

TILT & SWIRL

levels of ramps overlooking the open atrium for the interaction of people on different levels. The ramp around the atrium offers a static point, where visitors have the chance to digest and bring together different ideas, discuss with others, and then leave the gallery with better knowledge of what is happening in the world. Features

As the new hub of contemporary art and culture, the scheme one form serves as the centre of the cultural swirl capturing

along the ramp such as the use of material, lighting and furniture are used to enhance interactions. By seam-

the most up-to-date contemporary beliefs and knowledge. I created a base form according to the site boundary to maxi-

lessly travelling up and down the gallery, the visitor carries with them their understanding and reflection upon

mise the internal space, created layers to cater for different programs. I then rotated each layer to maximise natural light

entering and leaving the gallery.

and view. And at the end, tilted and swirled the levels to create variations.

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On the ground floor, it prioritized public space for people to gather, interact and experience the building. The level includes strong and open temporary exhibitions viewable from the entrance, design store and other back of house programs such as administration, loading dock and storage. Once the visitor enters the building, the 3 level heights atrium located at the entrance will draw their attention.

STAFF ENTRY

3 1

1 2

ENTRY

LEGEND

1 TEMPORARY GALLERY 2 FOYER 3 CLOAKROOM 4 DESIGN STORE 5 CARGO LIFT 6 OFFICES 7 LOADING DOCK 8 STORAGE 9 WORKSHOP

Journal

SOUTHBANK BLVD GROUND FLOOR PLAN

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SCHEME 1 The temporary exhibition space will continue to the first-floor level. This level also provides space for kids learning centre and right beside it is a café. As this level had a large balcony, the cafe could use the promenade for outdoor dining purpose. Visitors will travel seamlessly up and down the gallery through the ramp and carry with them their understanding and reflection upon entering and leaving the

gallery.

OUTDOOR DINING AREA

6 4

3 ENTRY

VOID

LEGEND

1 TEMPORARY GALLERY 2 ATRIUM / TEMPORARY SCULPTURE GALLERY 3 CLOAKROOM 4 KIDS LEARNING CENTRE 5 KITCHEN 6 CARGO LIFT 7 CAFE

Journal

SOUTHBANK BLVD FIRST FLOOR PLAN

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INTERIOR PERSPECTIVE - CONCEPTUAL IDEA

SECTION

This drawing highlights the design of the continuous floor with the levels of ramps overlooking the open atrium for the interaction of people on different levels. The ramp around the atrium offers a static point, where visitors have the chance to digest and bring together different ideas, discuss with others, and then leave the gallery with better knowledge of what is happening in the world.

A skylit atrium in the centre of the building allows natural lighting to penetrate all levels of the building. The centre of the atrium also provides an opportunity for sculpture galleries. Features along the ramp such as the use of material, lighting and furniture will be used to enhance interactions.

SECTION

The programs are allocated around the atrium, allowing visitors to travel seamlessly up and down to explore the gallery. The rooftop terrace and the ramp are mainly intended to be a space of reflection for the visitors and providing a break from the exhibitions. Journal

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Scheme 2

LEGEND:

Research Question: PUBLIC

How can the NGV Contemporary respond to the diminishing face-to-face interactions in the precarious age to-

PRIVATE

day and promote more quality interactions and active listening in our population? LEGEND:

Design Statement:

PUBLIC

PRIVATE

In the article Overexposed City, the concept of technology advancement was identified as the cause of the disappearing boundaries between neighbourhood its surrounding geographic space (Paul Virillio, 1997). While cities are going through series of transformation and integration, the lack of interaction inevitably causes increased exposure to depolarising ideations (e.g., cultural conflicts, political stances), as people are often hiding behind their screens projecting their thoughts without actively listening to and interacting with others. The NGV Contemporary is a place that acknowledges and encompasses the differences between perspectives, allowing artists to showcase their ideas and allowing visitors to better understand the different perspectives in the precarious age today. As the new hub of contemporary art and culture, the geometric form of folding in and out is applied in the architecture – bridging the perspectives of the outside world into the centre of the build-

FORM FINDING

ing. Visitors absorb the information that is being folded into the building and leaves the building carrying their understanding. From the interior perspective, the walls appear to be collapsing towards the middle, enhancing the concept of folding. The multi-storey atrium starts the journey of unfolding the information. As the visitor steps into the gallery, they can witness the multiple levels of the gallery and see the distinct levels at a glance. Visitors are encouraged to travel through each level to unfold the perspectives of different artists.

EXTRUDE

LEVEL

SUBTRACT

FOLD

In Scheme 2, the geometric form of folding in and out is applied in the architecture. I extruded based on the site boundary to maximise the internal space, levelled to cater for different programs and externally to create a gradual incline from ground level. I then rotated and subtracted the form to maximise natural light and view. And at the end, fold in and out to create variations and angles to transform the building into an art sculpture

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Like the other scheme, I wanted to keep the ground floor largely public, with a strong and open temporary exhibition viewable from the entrance. This would draw people in who may be only interested in going to the café, restaurant or design store.

STAFF ENTRY

6 8

1 4

LEGEND

1 TEMPORARY GALLERY 2 FOYER 3 CLOAKROOM 4 DESIGN STORE 5 CARGO LIFT 6 OFFICES 7 LOADING DOCK 8 WORKSHOP 9 STORAGE

ENTRY

SOUTHBANK BLVD

GROUND FLOOR PLAN

\ Journal

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The promenade level largely houses exhibition for temporary and permanent. It also includes a café and a kid leaning centre. The programs are clearly defined but allow flexibility according to the user needs.

ENTRY

7 5

8 4

1 VOID

LEGEND

1 TEMPORARY GALLERY 2 ATRIUM / TEMPORARY SCULPTURE GALLERY 3 CAFE 4 PERMANENT GALLERY 5 CARGO LIFT 6 CLOAKROOM 7 FOYER 8

Journal

SOUTHBANK BLVD FIRST FLOOR PLAN

KIDS LEARNING CENTRE

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SECTIONS

INTERIOR PERSPECTIVE - CONCEPTUAL IDEA

SECTION

From the section, the interlocking spatial volumes of the walls create an illusion of the walls collapsing towards the middle, enhancing the concept of folding. The multi-storey atrium starts the journey of unfolding the information. The use of zic zac staircase controls the vertical circulation and also corresponds to the form of folding in.

SECTION

The entire level is unified into a seamless space with clarity of circulation and transparency. The atrium also has access to the skylight to allow natural lighting to penetrate through the building.

This drawing highlights the interaction between the concept of folding with the visitors and also the artworks.

As the visitor steps into the gallery, they can witness the multiple levels of the gallery and see the distinct levels at a glance. Visitors are encouraged to travel through each level to unfold the perspectives of different artists. The building also provides space for a rooftop terrace. Journal

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06 DESIGN DEVELOPMENT Mid Sem Reflection In the feedback I received from the mid-semester crit, I have chosen Scheme 2 even though most of the voices preferred Scheme 1. It was to my understanding that Scheme 2 presents itself as more contemporary. The first scheme, which shows the influence of Frank Lloyd Wright’s concept, was already determined as contemporary early in 1939 and I did not want to create something similar. I wanted to create something more contemporary and thus chose Scheme 2. Additionally, ，Scheme 2 also fits into my original idea of creating a building using elements of organic architecture - a carved rock.

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FORM REFINED

SPATIAL ARRANGEMENT PUBLIC SPACE FOYER CAFÉ RESTAURANT DESIGN STORE MEMBER LOUNGE RESEARCH + READING KIDS LEARNING CENTRE GALLERY SPACE TEMPORARY GALLERY INDIGENOUS GALLERY DIGITAL MEDIA GALLERY PERMANENT GALLERY BACK OF HOUSE OFFICE STORAGE ART ARCHIVE LOADING DOCK CRATING / UNPACKING

PERMANENT RESEARCH

PERMANENT PERMANENT

INDIGENOUS

DIGITAL MEDIA

TEMPORARY

FOYER

MEMBER LOUNGE NT RESTAURA

YER

E FO F A C G RNIN A LOADING DOCK E L RE OFFICE KIDS O T S U NPACKING N STORAGE ART ARCHIV DESIG E MEC HANIC AL ROOM

I started to carve the building form to emphasise the sharp points, staggers and folds to express the rawness of the structure.

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FLOOR PLAN DEVELOPMENT

ST STORAGE

CARGO LIFT

K AV

CARGO LIFT

ARTIST STUDIO

DESIGN STORE

LOADING DOCK

STORAGE

WORKSHOP

STAFF

F AF Y ST TR EN

AG H

LOADING DOCK

STAFF

F AF Y ST TR EN

DESIGN STORE

PERMANENT GALLERY

WORKSHOP

ARTIST STUDIO

TEMPORARY GALLERY TICKETING

TEMPORARY GALLERY

FOYER

DOUBLE HEIGHT GALLERY

SOUTHBANK BLVD

GROUND FLOOR PLAN

FOYER

AV A

N AG

FOYER

CARGO LIFT PUBLIC EXHIBITION

PUBLIC EXHIBITION

CAFE

PERMANENT EXHIBITION

TEMPORARY EXHIBITION

PERMANENT EXHIBITION

TEMPORARY EXHIBITION

SCULPTURE GALLERY

SOUTHBANK BLVD

FIRST FLOOR PLAN

These are my first iterations of floor plans. My logic behind this was to create a clear pathway for visitors and separate the BOH program from the public. Although the idea was good, I have lack considered of bringing the building form into the floor plans. The plans and my form are illustrated in different ideas. The walls need to follow the form. I think I arranged it this way because I keep thinking to design the wall based on the column grid to hide the columns. Journal

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BACK OF HOUSE LOGIC DELIVERY

DEVELOPMENT

DOCUMENTATION

DISPLAY

VOID

OFFICE

DUMPSTER

LOADING DOCK

MEMBERS LOUNGE

DOCK STAGING

COLLECTION DISPLAYS KIDS LEARNING CENTRE

CRATING/ UNPACKING

PERMANENT EXHIBITION

INDIGENOUS CONTEMPORARY EXHIBITION

ART STORAGE

GOODS LIFT

SCULTURAL DISPLAYS

GOODS LIFT

CONSERVATION

CRATING/ UNPACKING

ART STORAGE

PHOTOGRAPHY

SECOND FLOOR PLAN

ART ARCHIVE

In this later attempt, I made changes to the wall to make it looks like a rock shape to follow the form. However, this time I create a lot of columns as I think it is impossible to hide the columns based on the wall. I should change the column grid angle to make it suitable for my walls. These plans are more on track in achieving the rock feel, however, there needs to be more logic on them, for example, the internal circulation (how people enter the space and how they leave). 7

6 9

10 8

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GOODS LIFT CRATING/UNPACKING ART ARCHIVE CONSERVATION MECHANICAL ROOM ELECTRICAL ROOM GENERATOR PHOTOGRAPHY OFFICE ART STORAGE

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BASEMENT FLOOR PLAN

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ST H K AV AN AG

5 12

F AF Y ST TR EN

AG H

SOUTHBANK BLVD

K AV

4 2

LEGEND

FOYER TICKETING TEMPORARY EXHIBITION DESIGN STORE ARTIST STUDIO WORKSHOP CRATING/UNPACKING STORAGE GOODS LIFT OFFICE DOCK STAGING LOADING DOCK DUMPSTER MECHANICAL ROOM

LEGEND 1 2 3 4 5 6

SOUTHBANK BLVD

PERMANENT EXHIBITION PERMANENT EXHIBITION INDIGENOUS EXHIBITION ART PASSAGE GOODS LIFT STORAGE

SECOND FLOOR PLAN GROUND FLOOR PLAN

On the upper levels, I am closer to achieving my concept however I lack consideration to the foyer’s impression. I should not place the escalator facing the entrance as this interrupts the visitor’s first impression of the building - I want the visitors to be able to look at the art pieces in the first instance.

1 2 3 4 5 6 7 8 9 10 11 12 13

SOUTHBANK BLVD

AV AN

5 9

10 8

1 2 3 4 5 6 7 8 9 10

FOYER TICKETING GOODS LIFT CAFÉ KITCHEN OUTDOOR CAFE TEMPORARY EXHIBITION TEMPORARY EXHIBITION TEMPORARY EXHIBITION FOR KIDS KIDS LEARNING CENTRE

SOUTHBANK BLVD

FIRST FLOOR PLAN

In this iteration, the angled column grid caused a lot of difficulty in designing the basement floor. I tried to follow the ground level’s angled wall to the basement but it seems not so successful as most of the columns could not hide within the wall. Journal

SECTION

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ST AG H AN K AV

STAFF ENTRY

NGV I ART DOCK

AG H

SOUTHBANK BLVD

K AV

4 2

FOYER TICKETING TEMPORARY EXHIBITION DESIGN STORE ARTIST STUDIO WORKSHOP CRATING/UNPACKING STORAGE GOODS LIFT OFFICE DOCK STAGING LOADING DOCK DUMPSTER MECHANICAL ROOM

SOUTHBANK BLVD

GROUND FLOOR PLAN

1 2 3 4 5 6 7 8 9 10 11 12 13 14

SOUTHBANK BLVD

AV AN AG

5 9

10 8

To further introduce the concept of organic rock structure into the architecture, the atrium within the gallery acts as the main cave connecting and intersecting different sections of the gallery. Visitors will also feel the urge to look upwards and feel the immense scale of the gallery. Through the semi-translucent windows on the façade of the gallery and top of the atrium, sunlight is diffused and shines gently into the cave allowing soft and warm illumination.

Journal

LEGEND 1 2 3 4 5 6 7 8 9

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FOYER TICKETING GOODS LIFT CAFÉ KITCHEN OUTDOOR CAFE MAIN TICKETED EXHIBITION TEMPORARY EXHIBITION TEMPORARY EXHIBITION FOR KIDS KIDS LEARNING CENTRE

Studio 36 NGV_C

SOUTHBANK BLVD

FIRST FLOOR PLAN

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1 3

LEGEND 1 2 3 4 5 6 7 8 9 10

LEGEND 1 2 3 4 5 6

INDIGENOUS EXHIBITION MAIN TICKETED EXHIBITION INDIGENOUS EXHIBITION ART PASSAGE GOODS LIFT STORAGE

GOODS LIFT CRATING/UNPACKING ART ARCHIVE CONSERVATION MECHANICAL ROOM ELECTRICAL ROOM GENERATOR PHOTOGRAPHY OFFICE ART STORAGE

BASEMENT FLOOR PLAN

SECOND FLOOR PLAN

13 14

11 12

STAFF ENTRY

NGV I ART DOCK

SOUTHBANK BLVD

3 2 4

LEGEND

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

LEGEND 1 2 3 4 5 6

PERMANENT EXHIBITION ART PASSAGE DIGITAL MEDIA EXHIBITION SCULPTURAL DISPLAY GOODS LIFT STORAGE

THIRD FLOOR PLAN

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FOYER TICKETING CLOAK ROOM TEMPORARY EXHIBITION TEMPORARY EXHIBITION DESIGN STORE WORKSHOP CRATING/UNPACKING STORAGE GOODS LIFT OFFICE DOCK STAGING LOADING DOCK WASTE RECYLCLING MECHANICAL ROOM

Studio 36 NGV_C

SCALE BAR 1:500 0

SOUTHBANK BLVD

GROUND FLOOR PLAN

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FLOOR PLAN

AN AG

Week 11

ENT

SOUTHBANK BLVD

AG H

10 11 9

SCALE BAR 1:500

LEGEND 1 2 3 4 5 6 7 8 9 10 11

FOYER TICKETING CLOAKROOM GOODS LIFT CAFÉ KITCHEN OUTDOOR CAFE MAIN TICKETED EXHIBITION TEMPORARY EXHIBITION TEMPORARY EXHIBITION FOR KIDS KIDS LEARNING CENTRE

LEGEND 1 2 3 4 5 6 7

SOUTHBANK BLVD

PERMANENT EXHIBITION ART PASSAGE RESTAURANT OUTDOOR DINING SCULPTURAL DISPLAY GOODS LIFT KITCHEN

THIRD FLOOR PLAN

FIRST FLOOR PLAN

FLOOR PLAN

Week 11

4 5

1 1

LEGEND 1 2 3 4 5 6

INDIGENOUS EXHIBITION MAIN TICKETED EXHIBITION GOODS LIFT INDIGENOUS EXHIBITION ART PASSAGE DIGITAL MEDIA EXHIBITION

SCALE BAR 1:500 0

SCALE BAR 1:500 50

100

LEGEND 1 2 3 4 5 6

PERMANENT EXHIBITION SCULPTURAL DISPLAY PERMANENT EXHIBITION GOODS LIFT MEMBER LOUNGE KITCHEN

SECOND FLOOR PLAN

Journal

FOURTH FLOOR PLAN

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PRECEDENT STUDY: MATERIAL

SCALE BAR 1:500 LEGEND 1 2 3 4 5

PEMANENT EXHIBITION ART PASSAGE RESEARCH LIBRARY PRINT ROOM GOODS LIFT

100

FIFTH FLOOR PLAN

I kept developing my drafting skill by bringing the folded surfaces into my plans. I have also made some changes to the entry location to solve the problem of creating a sense of welcoming in the foyer. However, the BOH system on the upper floors should be more refined. For example, the toilet should not share the same hallway as the goods lift.

Starhill Gallery / Spark Architects/ 2011/ MALAYSIA

The stone and glass facade in the Starhill Gallery presents itself as a solid piece, integrating heavy stone and weightless glass to create a sense of harmony and balance.

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PRECEDENT STUDY: STRUCTURAL SYSTEM

DETAILED SECTION

TIMBER FLOORING BACKFILLED WITH GROUT ANCHOR BOLTS BRACKET HORIZONTAL RAIL ALUMINIUM L SECTION PROFILE NATURAL STONE LIGHT WEIGHT PANEL NOT COMBUSTIBLE THERMAL INSULATION

• lightweight steel, stone and glass façade

SUSPENSION CLIP

In terms of the building facade, I decided to use lightweight stone panels and glass panels for the building’s facade. The building can be described as a structure of organically interlocking rock-like forms, therefore, natural bluestone can best express the rawness of the structure. With the addition of glass on the cracky parts, the structure not only provides transparency between the interior and exterior but also signifies simplicity and pureness.

FLOOR SLAB

DETAILED SECTION

EDGE BEAM BAND BEAM ACOUSTIC INSULATION GLASS MULLION DOUBLE GLAZED, LOW E GLASS PANEL 10mm PLASTERBOARD CEILING PANELS

TIMBER FLOORING BACKFILLED WITH GROUT ANCHOR BOLTS BRACKET ALUMINIUM L SECTION PROFILE NATURAL STONE LIGHT WEIGHT PANEL

24000 LEVEL 3 PERMANENT EXHIBITION

NOT COMBUSTIBLE THERMAL INSULATION

After the consultations with Shaw, a building supported with columns, edge beams and band beams was the way to go. The facade panels will attach and support those main structures. The floors are reinforced concrete slab, cladding with timber. In order to hide all the wires from the ceiling, Rondo Key-Lock suspended ceiling is proposed. Insulation will also be installed on the ceiling for acoustic purposes.

SUSPENSION CLIP

18000 LEVEL 2

In terms of sustainability, natural bluestone is proposed as it causes a significantly lower environmental impact in their production, installation, and use than other ceramics, laminates, and hardwood materials. Double glazed, the low e glass panel can also improve sustainability because it effectively reduces the transfer of heat, keeping the interior cooler in summer and warmer in winter for reduced energy usage.

DIGITAL MEDIA EXHIBITION

FLOOR SLAB EDGE BEAM BAND BEAM ACOUSTIC INSULATION 10mm PLASTERBOARD CEILING PANELS DOUBLE GLAZED, LOW E GLASS PANEL

These two drawings demonstrate the structural configuration of the building. I think I should render the drawing to better illustrate the material of the building and the structural system.

GLASS MULLION

0 GROUND FLOOR FOYER

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FACADE MATERIAL

Experimenting with different colours of material to best illustrate my design idea. I have decided to go with the lighter colour as the building appears to be more weightless and pure. Darker colour, in particular, compared to the surrounding contrast, will result in an impression of being more sturdy and heavy, which wasn’t what I wanted.

Journal

Kept experimenting with different colours of material to best illustrate my design idea.

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Research Question: How might the NGV Contemporary help people explore and understand the concept of contemporary in our modern world today? Design Statement: In the book “Anti-Object”, Kengo Kuma (2008) argues against the mindset of objectifying architecture as it prevents people from establishing a healthy relationship with the external world. Indeed, it is not uncommon to see that contemporary architecture, under the trend of advanced technology, has become progressively objectified and introverted with attention placed more within the architecture itself instead of the harmony between the architecture and its’ surrounding context (Virilio, 1997; Kuma, 2008). Kuma (2008) further proposed that instead of including too many high-technology features, it is also not only desirable but possible to have an alternative form of architecture, one that should be seen as a medium promoting harmony between human habitation and the natural world.

“The ideal of an organic architecture… is a sentient, rational building that would owe its ‘style’ to the integrity with which it was individually fashioned to serve its particular purpose - a ‘thinking’ as well as ’feeling’ process.”

FINAL DESIGN

- Frank Lloyd Wright

The NGV Contemporary (NGV_C) is de-objectified as a building so that it’s not solely a technology-informed object that exhibits art pieces but which takes the role to help visitors understanding the meaning of the term ‘contemporary’. It is believed that visitors can best experience the impact of contemporary art by comparing and contrasting the relationship between the contemporary and the relative past. The ‘past’ is defined as ‘things’ we have lost and is referred to nature in the NGV_C. Instead of only ‘thinking’ about contemporary art whilst situated in the urban jungle and modern present, visitors will get a chance to ‘feel’ and ‘appreciate’ contemporary art whilst immersed in a symbiotic structured architecture relative to nature and harmony. All-in-all, the use of elements within organic architecture can be regarded as a reminder to the visitors that harmony exists between human activity and the natural world. As the new hub of contemporary art and culture located in the Melbourne Art Precinct, the NGV_C is hammered into the North West of the Grollo Equiset Garden naturally, extending the natural terrain originating from the Birrarung (Yarra River). In general, the NGV_C serves as an example of how human activity and nature can be harmonised in a relationship – not necessarily in conflict. The overall gallery design will emphasize the rawness of the structure itself in order to provide a cross-reference point to all the contemporary ideas presented within the gallery. Physically, the NGV_C can be described as a structure of organically interlocking rock-like forms. The internal planning will also focus on creating a cave-like experience for the gallery visitors. By visiting the new NGV-C, visitors not only participate in a natural journey but more importantly develop an in-depth impression of the term contemporary by contrasting contemporary artwork to the rawness organic structure itself.

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DESIGN ITERATIONS

FOLDING

TRANSPARENCY

DISTORTION

Journal

FRAGMENTATION

POSITIVE AND NEGATIVE

ILLUSION

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MASSING / STACKING

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100

200

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LOCALITY PLAN

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BIR

RAR

SITE ANALYSIS

/ YA

RRA

RIV

T ES W

T GH I NL U S

UNG

R TE IN W

ER MM SU

NOR

BIR

RAR

SOU

UNG

/ YA

RRA

RIV

N TIO A T OR P NS A R

LEGEND:

BIR

RAR

UNG

PEDESTRAIN PATHWAYS

/ YA

RRA

BUS STOP

SOU TH THE BANK ATR E

RE ME CI LB TA O L UR CE N N E TR E

RE NT NE CE UR TS BO AR EL M

Studio 36 NGV_C

AN ALI TRE N STR AU ET CE L BAL

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L V NG IONA AT ERN

TRAM LINES TRAM STOP

INT

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CT IN C E PR

N BA H E UT TR O S N C CE

BICYCLE LANES

RIV

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NGV_CONTEMPORARY

PRECEDENT

The new NGV Contemporary (NGV_C) is de-objectified as a building so that it’s not solely an object to exhibit art pieces but which takes the role of introducing the meaning of contemporary art. It is believed that visitors can best experience the impact of contemporary art by comparing and contrasting the relationship between the contemporary and the relative past. Instead of only ‘thinking’ about contemporary art whilst situated in the urban jungle and modern present, visitors get a chance to ‘feel’ and ‘appreciate’ contemporary art whilst immersed in a symbiotic structured architecture relative to nature and harmony. All-in-all, the use of elements within organic architecture can be regarded as a reminder to the visitors that harmony exists between human activity and the natural world. As the new hub of contemporary art and culture located in the Melbourne Art Precinct, the NGV_C is hammered into the North West of the Grollo Equiset Garden naturally, extending the natural terrain originating from the Birrarung (Yarra River). Indeed, the NGV_C serves as an example of how human activity and nature can be harmonised in a relationship – not necessarily in conflict. Instead of objectifying the architecture as a building, this organic structure fits seamlessly into Melbourne’s suburban-natural terrain; while maintaining and reinforcing the idea of building an art precinct landmark for Melbourne. The NGV_C is expected to provide a generous and holistic gallery experience that encompasses hospitality, retail, learning, participation, social interaction, and relaxation.

Several architects have explored the idea of exploiting organic architecture in urban cities. Likewise, the Kadokawa Culture Museum in Japan, the use of multiple contrasting dualities in materials and building forms allowed the organic structure to fit into the urban city whilst also fitting into the natural world (Kuma, 2020). It illustrates the concept of contemporary by having visitors contrasting the dimension of time and natural space with the new ideas within the gallery.

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PROCESS DIAGRAM

EXTRUDE

4 Journal

LEVEL

SUBTRACT | 136

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ROTATE

CARVE | 137

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VIEW FROM SOUTHBANK BOULEVARD

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VIEW FROM KAVANANGH STREET

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VIEW FROM PROMENADE (NGV INTERNATIONAL)

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VIEW FROM PROMENADE (ART CENTRE)

BLUESTONE TILE FLOORING BACKFILLED WITH GROUT ANCHOR BOLTS BRACKET HORIZONTAL RAIL ALUMINIUM L SECTION PROFILE NATURAL BLUESTONE LIGHT WEIGHT PANEL NOT COMBUSTIBLE THERMAL INSULATION SUSPENSION CLIP

FLOOR SLAB EDGE BEAM BAND BEAM ACOUSTIC INSULATION GLASS MULLION DOUBLE GLAZED, LOW E GLASS PANEL 10mm PLASTERBOARD CEILING PANELS

SCALE BAR 1:50 1

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DETAILED SECTION

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SPATIAL ARRANGEMENT GALLERY SPACE TEMPORARY GALLERY DIGITAL MEDIA GALLERY PERMANENT GALLERY PUBLIC SPACE FOYER CAFÉ RESTAURANT DESIGN STORE MEMBER LOUNGE RESEARCH + READING KIDS LEARNING CENTRE BACK OF HOUSE OFFICE STORAGE ART ARCHIVE LOADING DOCK CRATING / UNPACKING

TEMPORARY RESEARCH

PERMANENT PERMANENT

KIDS LEARNING

DIGITAL M

EDIA

TEMPORARY

TEMPORARY Journal

FOYER | 148

E G N U O L R E B MEM

T N A R U A REST

R E Y O F CAFE N G I OFFICE DES E TS OR

LOADING DOCK UNPACKING S T ART ARCHIV ORAGE E MEC HANICAL RO

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12 NGV I ART DOCK

STAFF ENTRY

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LEGEND

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GROUND FLOOR PLAN SOUTHBANK BLVD

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FOYER TICKETING CLOAK ROOM TEMPORARY EXHIBITION TEMPORARY EXHIBITION DESIGN STORE WORKSHOP CRATING/UNPACKING STORAGE GOODS LIFT OFFICE DOCK STAGING | 151 LOADING DOCK WASTE RECYLCLING MECHANICAL ROOM

ENTRY

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LEGEND

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FIRST FLOOR PLAN

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FOYER TICKETING CLOAKROOM GOODS LIFT CAFÉ OUTDOOR DINING MAIN TICKETED EXHIBITION | 153 TEMPORARY EXHIBITION TEMPORARY EXHIBITION FOR KIDS DESIGN STORE

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SECOND FLOOR PLAN

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DIGITAL MEDIA EXHIBITION MAIN TICKETED EXHIBITION GOODS LIFT | 155 STORAGE DIGITAL MEDIA EXHIBITION ART PASSAGE

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LEGEND

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THIRD FLOOR PLAN

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PERMANENT EXHIBITION ART PASSAGE RESTAURANT OUTDOOR DINING | 157 SCULPTURAL DISPLAY GOODS LIFT STORAGE KITCHEN

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FOURTH FLOOR PLAN

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PERMANENT EXHIBITION KIDS LEARNING CENTRE | 159 RESEARCH LIBRARY GOODS LIFT MEMBER LOUNGE

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FIFTH FLOOR PLAN

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TEMPORARY EXHIBITION | 161 ART PASSAGE TEMPORARY EXHIBITION GOODS LIFT

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LEGEND

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BASEMENT FLOOR PLAN

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GOODS LIFT ART ARCHIVE CONSERVATION MECHANICAL ROOM ELECTRICAL ROOM GENERATOR PHOTOGRAPHY ART STORAGE | 163

SCALE BAR 1:500 0

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SECTION A

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SCALE BAR 1:500 0

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SECTION B

100 | 166

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INTERIOR PERSPECTIVE (FOYER)

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INTERIOR PERSPECTIVE (ATRIUM)

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INTERIOR PERSPECTIVE (ATRIUM)

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INTERIOR PERSPECTIVE (EXHIBITION SPACE)

NGV_CONTEMPORARY

The overall gallery design emphasizes the rawness of the structure itself in order to provide a cross-reference point to all the contemporary ideas presented within the gallery. Physically, the NGV_C can be described as a structure of organically interlocking rock-like forms. The exterior of the new NGV-C exploits elements of natural carving and erosion like sharp points, staggers, indents, and folds to emphasize the rawness of the structure. This organic structure brings visitors a prepositional spatial, dimensional, and sunlight experience they would not have experienced elsewhere. Material-wise, Melbourne’s bluestone is weaved seamlessly into the façade of the structure, creating a plain but rugged and organic impression. The angular surfaces not only creates the effect of a massive rock but also forms cracky parts on some sides of the façade. Internally, the walls within the NGV_C appear to be collapsing inwards, enhancing the concept of a cave-like experience. The walls are not only the boundaries of different functions, but also reformed to provide a calm and cave-like environment. Following the circulation into the atrium, visitors are provided opportunities for contemplation and chance of interactions. To further introduce the concept of organic rock structure into the architecture, the atrium within the gallery acts as the main cave connecting and intersecting different sections of the gallery. Visitors will also feel the urge to look upwards and feel the immense scale of the gallery. Through the semi-translucent windows on the façade of the gallery and top of the atrium, sunlight is diffused and shines gently into the cave allowing soft and warm illumination. In terms of the exhibition areas, the plain and dim surrounding also serves the purpose of upbringing the showpieces. By visiting the new NGV-C, visitors not only participate in a natural journey but also, more importantly, develop a more in-depth impression of the term contemporary by contrasting contemporary artwork to the rawness organic structure itself.

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NGV_CONTEMPORARY

08 REFLECTION The nature of this studio (designing an art gallery) is quite different to those I’ve come in contact with in the past. To be honest galleries and museums were not part of my lifestyle until I came to Melbourne. Thus I was not too sure what I was hoping to achieve when I first started this project. I have to admit that I have done a substantial amount of research to understand art galleries. Initially, I did not spend a lot of time thinking about the importance of the term contemporary, I only focused on the aesthetic design and what sort of programs are ‘wanted’. I gradually developed a better idea of how a contemporary design can be vital in design, as it helps visitors to learn and understand the term of contemporary while visiting the contemporary arts. In conclusion, it’s been a pleasure to work on a project to promote art and culture in the contemporary world. While the world relies heavily on developing advanced technology to indicate contemporary, I believe it is more important to create contemporary architecture that can be seen as a medium promoting harmony between human habitation and the natural world.

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STUDIO

REFERENCE Kuma, K. (2008). Anti-Object : the dissolution and disintegration of architecture. Architectural Association. Wright, F. L. (1975). In the Cause of Architecture: Essays by Frank Lloyd Wright (1st ed.).

Architectural Record.

Virilio, P. (2004). The Overexposed City. In REDHEAD S. (Ed.), The Paul Virilio Reader (pp. 83

100). Edinburgh: Edinburgh University Press. Retrieved June 9, 2021, from

http://www.jstor.org/stable/10.3366/j.ctvxcrc17.11

I would like to take this opportunity to thank Anna for organising the studio. I would like to use the following section to express what the studio had given me and what I deeply appreciate from the studio. First of all, I think the presence of Assessment One (iteration and massing model) is a good opening to the studio as it inspired me to develop some good design concept and form. I would not have been able to design the NGV Contemporary if I were not guided to think about what the contemporary art gallery was like for myself. Drawing on personal experience, although not the only way, is a fun and meaningful way to develop contemporary forms. Teaching and feedback sessions in the studio have been particularly different, not only because of the online learning component but also the way my lecturer interacted with us. In fact, I felt like the lecture and classmates were closer to me because I could contact them online ( e.g Facebook group) instead of merely meeting twice a week. I also found it very useful for the class voting system. It sometimes gave me more power in making a decision on what I should go next instead of deciding on my own. Overall, the online teaching mode provided a flexible learning mode (e.g. online classes) and overall workload balance (e.g. decreasing the time needed to travel to campus).

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