Stan Tianruo Li
NGV_C COMTEMPORARY Architecture Design Journal
Melbourne School of Design
MSD Design journal series
Melbourne School of Design Master of Architecture Studio 36 led by Anna Nervegna Project by Stan Tianruo Li SN 1200853
National Gallery Victoria
of
Contemporary in the realm of sense, behaviour and theory of architecture
Semester 1 MSD.UNIMELB.EDU.AU
CONTENTS
01 02 03 04 05 06 07 08 09 10
MANIFESTO STATEMENT ANALYSIS PRECEDENTS PROJECT OVERVIEW PLANS SECTIONS RESEARCH ITERATION
(P. 07) (P. 11) (P. 21) (P. 29) (P. 43) (P. 63) (P. 67) (P. 77) (P. 85) (P. 107)
01 DESIGN MANIFESTO, NGV_CONTEMPORARY, MSD
01 DESIGN MANIFESTO, NGV_CONTEMPORARY, MSD
01 MANIFESTO
This contemporary gallery is to explore
O1 Gallery a place f between artists and visitors, and among people in different background.
O2 Contemporary G visitor as a piece/ par as galleries are built for people.
O3 Contemporary G the distinction betwe
Electronic media undermine the essence and aura not only of the original, but of the very na
O4 Contemporary G media of propaganda
Electronic media is the energetic gesture of propaganda in the rea
01 DESIGN MANIFESTO, NGV_CONTEMPORARY, MSD
for communication.
Galleries recognised rt of the artwork.
Galleries can blur een reality and art.
ature of reality.
Galleries is the a
alm of art.
02 DESIGN STATEMENT, NGV_CONTEMPORARY, MSD
P. 10
02 DESIGN STATEMENT, NGV_CONTEMPORARY, MSD
02 STATEMENT P. 11
02 DESIGN STATEMENT, NGV_CONTEMPORARY, MSD
Gallery a place for communication. P. 12
02 DESIGN STATEMENT, NGV_CONTEMPORARY, MSD
Misunderstandings among people with different background, nationality and race intensify the confliction which arise during the era of Post-pandemic under the background of global economy decline. We need a more straightforward, more efficient way to communicate in order to erase such confliction. Sport stimulates people’s savage and combative instinct, while politics cares more about self-interest. These are not efficient to communicate. Art, with its inherent property of being communication, seems to be more effective for people to convey what they feel, and allow people to comprehend the ideas patiently instead of being intrigued by language. Art gallery plays such role as a platform for communication. In the media of art, manifesto can be demonstrated clearly and understood comprehensively. It’s a place for communication, not just between artists and visitors, but among people in different background. The most impressive moment of Solomon R. Guggenheim museum is that the central atrium can be viewed by people in any position of the gallery space. The atrium, consequently, is the largest space for artwork to be seen and speak to be listen. It reveals the political function of the atrium as a stage for manifesto, propaganda etc.
P. 13
02 DESIGN STATEMENT, NGV_CONTEMPORARY, MSD
Contemporary Galleries recognised visitor as a piece/ part of the artwork
P. 14
02 DESIGN STATEMENT, NGV_CONTEMPORARY, MSD
k.
The way how people watch or interact with the artworks could be recognised as part of the art. Some artists might be interested to see people watching and interacting with their projects and to inspect what they feel and react with. Galleries can not only provide spaces for people to watch artworks, but also spaces for people being watched, in the manner of glance, inspection or even voyeurism. It is programmatically that artists can get feedback of how people feel about their project. Meanwhile the way people watch other visitors can make them recognise that visitors can be part of the art.
P. 15
02 DESIGN STATEMENT, NGV_CONTEMPORARY, MSD
Contemporary Galleries can blur the distinction between reality and art.
P. 16
02 DESIGN STATEMENT, NGV_CONTEMPORARY, MSD
In the film Deconstructing Harry by Woody Allen, Harry puts the delirious thing happen around him into his novels. However his personal life is a mess, as viewed by his stories, all which have some element of autobiography, either directly or as an allegory to issues in his life. Harry tries to deconstruct his real life and himself into the fictional characters, and their influence on his real life. That cause the blur of real life and fictional life in terms of reality and art. The artwork Pilgrims by Robert Rauchenberg demonstrates colour can stretch out of the 2D canvas and to the 3D chairs, which reveals how artwork can jump over 2 or 3 dimensions to disturb the reality and specific environment. Gallery can even intensify such blur with the help of electronic media. People come to gallery to interact with arts. Consequently architecture can blur visitor’s cognition of the difference between reality and art. Even the blur causes the serious condition, visitors can simply walk out of the gallery and back to the real world.
P. 17
02 DESIGN STATEMENT, NGV_CONTEMPORARY, MSD
Contemporary Galleries is media of propaganda
P. 18
02 DESIGN STATEMENT, NGV_CONTEMPORARY, MSD
Gallery is a place to celebrates the ideas and manifestos in the form of arts. The gallery itself can be recognized as a piece of artwork: a sculpture or an installation, as media of propaganda. Particularly contemporary gallery can be a platform for voice which care for the uncertainty of the future. Marshall McLuhan argues that the society was changed in terms of the development of media. Electronic evolution give birth to the media of radio and its progressive transmission of signal that give rise to the information age when screen and microphone is the primary media that allows viewpoints to spread worldwide. This statement seeks to find out the potential of adapting the whole architectural as a media to spread manifesto, which is associated to the form of contemporary media, in the gesture of form, space etc.
P. 19
03 SITE ANALYSIS, NGV_CONTEMPORARY, MSD
P. 20
03 SITE ANALYSIS, NGV_CONTEMPORARY, MSD
03 ANALYSIS P. 21
03 SITE ANALYSIS, NGV_CONTEMPORARY, MSD
LOCALITY PLAN
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03 SITE ANALYSIS, NGV_CONTEMPORARY, MSD
100M
505M
1000M
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0
100
200
500
1000M
03 SITE ANALYSIS, NGV_CONTEMPORARY, MSD
10
9
8
7
1
2
4
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6
3
5
0
20
40
100
160M
03 SITE ANALYSIS, NGV_CONTEMPORARY, MSD
1. NGV INTERNATIONAL
2. NGV INTERNATIONAL
designed by Sir Roy Grounds, opened in 1968, and was redeveloped by Mario Bellini before reopening in 2003
designed by Sir Roy Grounds, opened in 1968, and was redeveloped by Mario Bellini before reopening in 2003
3. MTC SOUTHBANK THEATRE
4. MELBOURNE RECITAL CENTRE
5.VCA Performing Arts
6. IAN POTTER SOUTHBANK CENTRE
designed by ARM Architecture in 2009. MTC is Australia’s oldest professional theatre company, yet the Southbank Theatre is its first permanent performance home and headquarters.
designed by ARM Architecture in 2009. The Melbourne Recital Centre has revolutionised classical music in its city. It has the acoustic and architectural qualities of the great oldworld concert halls but on a smaller, chamber-music scale.
designed by Edmond & Corrigan in 2009. The Performing Arts building on Dodds St delivers world-class acoustics, advances in design and theatre technology and a newly-expanded space for teaching musical theatre.
7. AUSTRALIAN BALLET HOUSE
Australian Ballet House opens. It is home to the Australian Ballet and Australian Ballet School which open in 1988. Both are world leaders in performance and education.
9. HAMMER HALL
design by Roy Grounds in 1982, is a 2,466 seat concert hall, the largest venue in the Arts Centre complex, used for orchestra and contemporary music performances. It was opened in 1982 and was later renamed Hamer Hall in honour of Sir Rupert Hamer.
designed by John Wardle architects in 2015-19. The new home of the Melbourne Conservatorium of Music celebrates the activities of music rehearsal and practice – a green room for Melbourne’s arts precinct.
8. ART CENTRE MELBOURNE
design by Roy Ground in 1984 and renovated by Arts Centre Melbourne theatres building opens. Under the city’s landmark spire you’ll find the State Theatre, Playhouse, Fairfax Studio, Australian Music Vault, and a host of other exhibition and performance spaces
10. IAN POTTER CENTRE
design by Lab Architecture Studio in 2002. The Ian Potter Centre: NGV Australia is the world’s first major gallery dedicated exclusively to Australian art. It is a spectacular showcase comprising over 20 galleries housed within a landmark architectural complex.
P. 25
03 SITE ANALYSIS, NGV_CONTEMPORARY, MSD
1
3
P. 26
1 Car Access
Driveway for vehicle and trunk access
2 Pedestrain
Pathway for visitor to access throuth southbank BLVD or Promenade
3 Tram Lines
Accessible through tram on Southbank BLVD
4 Car Access
Driveway for vehicle and trunk access
03 SITE ANALYSIS, NGV_CONTEMPORARY, MSD
2
4
Located in Southbank, the Melbourne Arts Precinct is within the creative and cultural destination. As the new coming project, the design of the gallery should reflect and echo the context of monumentality and vitality. Meanwhile the flexibility of transpor-
tation and the position give rise to the decision that the entry areas should activate the connection between the promenade and the boulevard, and the gallery is a intersection place to activate such flexibility.
P. 27
04 PRECEDENTS, NGV_CONTEMPORARY, MSD
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04 PRECEDENTS, NGV_CONTEMPORARY, MSD
04 PRECEDENTS P. 29
04 PRECEDENTS, NGV_CONTEMPORARY, MSD
1
Media is one of the major issues in contemporary as electronic evolution allow information to spread in multiway. This project begins with Marshall McLuhan’s idea of media is the message, directing on how contemporary media can affect contemporary life in the form of information interchange and communication. Mechanism is another phenomenon among modern world. To reflect the statement of contemporary gallery is the media of propaganda, the method of stacking is applied to introduce multimedia for spreading ideas.
P. 30
2
04 PRECEDENTS, NGV_CONTEMPORARY, MSD
3 P. 31
1. Woody Allen, Annie Hall, 1977 2. Marshall McLauhan, Understanding Media: the Extension of Man, 1964 3. Diller + Scofidio, Master/ Slave, 1999
04 PRECEDENTS, NGV_CONTEMPORARY, MSD
1
2
3
P. 32
Nam June Paik is the first artist to use TV and video. The form of television is associated and mixture with the robots to make synthesizer and broadcasted live events. Stacking media installation was them popular around the world as contemporary media devices (primary recognised as monitor and microphone system). This gives rise to the question: can architecture reflect on such idea of providing huge media devices for propaganda. Paik’s stacking instru-
ment especially the cello composed by TVs stacking vertically. This is a paradigm in terms of architecture. Spatial diversity is critical for gallery design, where artworks are in different scale and the ceiling high should be varied to adapt such different scales. Stacking is a way to address the diversity as the volumes for stacking can be varied. Internally the volumes provides flexible space for containing arts and externally it glorify the gesture of stacking media.
04 PRECEDENTS, NGV_CONTEMPORARY, MSD
4
P. 33
1. Cildo Meireles, Babel, 2001 2. Nam June Paik, Untitled, 1993 3. Nam June Paik, “Father” and “Mother” robots, 1986, Bakelite Robot, 2002, “Li Tai Po”, 1987 4. Nam June Paik, TV cello, 2000
04 PRECEDENTS, NGV_CONTEMPORARY, MSD
1
Many artists like to exhibit their artwork in simple boxes space. So, the gallery space is recommended to remains simple and flexible which reminiscent the floor plan of New Museum by SANAA. Volumes in different levels are rotated in different angle not only to adapt or avoid sunlight of different period but also to get rid of singular stacking gesture.
P. 34
04 PRECEDENTS, NGV_CONTEMPORARY, MSD
2
2
1. SANAA, New Museum, New York, USA, 2003 2. OMA, New Museum, New York, USA, Compotition 3. OMA, Diagram of New Museum Compotition
P. 35
04 PRECEDENTS, NGV_CONTEMPORARY, MSD
1
P. 36
People have different experience when they walk on the staircase because what they see and feel is changing when they move forward either up or down. The changing of experience can be intensified when the environment around them is unsual. Both OMA and Suh introduce different experience during the time on staircase (including escalator) which seems totransfer visitors to another environment. Experience is diversed when people conceived the art. The moment when they walk on the staircase can blur the cognition of art and reality.
04 PRECEDENTS, NGV_CONTEMPORARY, MSD
2
P. 37
1. OMA, Il Fondaco dei Tedeschi, Venice, Italy, 20092016 2. Do-Ho Suh, Staircase-III, 2010
04 PRECEDENTS, NGV_CONTEMPORARY, MSD
P. 38
1
04 PRECEDENTS, NGV_CONTEMPORARY, MSD
The geology of the Melbourne give rise to the unique urban fabric in the city. The intersection of Hoddle Grid and suburban grid generates interesting space as transition between two condition, which can be read as the outcome of the Hoddle grid rotation. This grid intersection was continued in the Melbourne Art Precinct where arts and
cultural facilities are oriented on different position. (For example, the Art centre Melbourne was oriented true north to fit suburban grid but NGV international is with Hoddle Grid to align St Kilda Road.) As a last project among the art precinct, NGV_C can mediate such intersection condition.
1. Briony Ewing, In Conversation, Major Project 2020
P. 39
04 PRECEDENTS, NGV_CONTEMPORARY, MSD
Phillip Pavilion by Iannis Xenakis and Le Corbusier
P MAXXI by Zaha Hadid
MoMA Renovation and Expansion by Diller Scofidio + Renfro
D NGV Australia by LAB Architecture Studio
P. 40
04 PRECEDENTS, NGV_CONTEMPORARY, MSD
Temporary Gallery
Permanent Gallery Permanent Gallery
Digital Gallery P. 41
05 PROJECT, NGV_CONTEMPORARY, MSD
PR P. 42
05 PROJECT, NGV_CONTEMPORARY, MSD
05 ROJECT DESIGN P. 43
05 PROJECT, NGV_CONTEMPORARY, MSD
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05 PROJECT, NGV_CONTEMPORARY, MSD
Floor level stacking
Gallery should recognise the visitor as part of the artwork because the way they watching or interact with artwork is also a behaviour of art. The compress which allows gallery volume to insert into others. It generates different levels so the visitor can see each other in different dimensions.
P. 45
05 PROJECT, NGV_CONTEMPORARY, MSD
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05 PROJECT, NGV_CONTEMPORARY, MSD
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05 PROJECT, NGV_CONTEMPORARY, MSD
1
2
P. 48
05 PROJECT, NGV_CONTEMPORARY, MSD
3
4
1 Programme
Gallery and other programmes are defined in volumes
2 Stack
Volumes are stacked vertically on site
3 Insert
volumes are inserted to allow voyeurism.
4 Rotate
Volumes rotates to echo context and provide pamoramic view
P. 49
STACKING/ FLOOR LEVEL STACKING
Stacking This project develops the idea of stacking. When stacking goes further the volumes will intersect with each other. The overlapping space can be read as one volume insert into the other. This place allows inspection and voyeurism in terms of scale. This gesture investigates the idea of gallery should recognise visitors are part of the art. Consequently the intersection space allows visitors to watch other visitors watching the art.
05 PROJECT, NGV_CONTEMPORARY, MSD
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05 PROJECT, NGV_CONTEMPORARY, MSD
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05 PROJECT, NGV_CONTEMPORARY, MSD
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05 PROJECT, NGV_CONTEMPORARY, MSD
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05 PROJECT, NGV_CONTEMPORARY, MSD
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05 PROJECT, NGV_CONTEMPORARY, MSD
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05 PROJECT, NGV_CONTEMPORARY, MSD
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05 PROJECT, NGV_CONTEMPORARY, MSD
1
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05 PROJECT, NGV_CONTEMPORARY, MSD
2
1 Escalator
The escalator skip over the member’s lounge level to provide long experience
2 Stairs
The staircase is enclosed by translusant glass panel that allow visitors to take a glance on the gallery.
P. 61
06 OVERVIEW, NGV_CONTEMPORARY, MSD
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06 OVERVIEW, NGV_CONTEMPORARY, MSD
06 OVERVIEW P. 63
06 OVERVIEW, NGV_CONTEMPORARY, MSD
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06 OVERVIEW, NGV_CONTEMPORARY, MSD
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07 PLANS, NGV_CONTEMPORARY, MSD
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07 PLANS, NGV_CONTEMPORARY, MSD
07 PLANS P. 67
KA VA N
AG
H
ST
07 PLANS, NGV_CONTEMPORARY, MSD
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SOUTHBANK BLV
VD
07 PLANS, NGV_CONTEMPORARY, MSD
1. SOUTHBANK BLVD ENTRY 2. FOYER 3. KAVANAGH ST STAFF ENTRY 4. SCUPTURE 1. SOUTHBANK BLVD ENTRY 5. KIDS LEARNING SPACE 2. FOYER 6. CAFE 3. KAVANAGH ST ENTRY 7. ARCHIVE 4. SCUPTURE 8. LOADING DOCK 5. KIDS LEARNING SPACE 9. RECEIVING 6. CAFE 10. STORAGE 7. ARCHIVE 11. MECHANICAL ROOM 8. LOADING DOCK 9. RECEIVING 10. STORAGE 11. MECHANICAL ROOM
PROMENADE LEVEL
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KA VA N
AG
H
ST
07 PLANS, NGV_CONTEMPORARY, MSD
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SOUTHBANK BLV
VD
07 PLANS, NGV_CONTEMPORARY, MSD
1. 2. 3. 4. 5. 6. 7.
PROMENADE ENTRY FOYER RECEPTION TICKET CENTRE COAT ROOM KITCHEN RESTAURANT
PROMENADE LEVEL
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KA VA N
AG
H
ST
07 PLANS, NGV_CONTEMPORARY, MSD
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SOUTHBANK BLV
VD
07 PLANS, NGV_CONTEMPORARY, MSD
1. 2. 3. 4.
TEMPORARY GALLERY NGV DESIGN STORE ARTIST STUDIO STUFF ADMINISTRATION
LEVEL 3 SHOP/ GALLERY
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KA VA N
AG
H
ST
07 PLANS, NGV_CONTEMPORARY, MSD
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SOUTHBANK BLV
VD
07 PLANS, NGV_CONTEMPORARY, MSD
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LEVEL 5 PERMANENT
08 SECTIONS, NGV_CONTEMPORARY, MSD
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08 SECTIONS, NGV_CONTEMPORARY, MSD
08 SECTIONS P. 77
08 SECTIONS, NGV_CONTEMPORARY, MSD
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08 SECTIONS, NGV_CONTEMPORARY, MSD
1. FOYER 2. CAFE 3. SCUPTURE 4. KIDS LEARNING SPACE 5. RESTAURANT 6. RESEARCH 7. TEMPORARY GALLERY 8. DESIGN STORE 9. TEMPORARY GALLERY 10. TEMPORARY GALLERY 11. PERMANENT GALLERY 12. MEMBER LOUNGE 13. DIGITAL GALLERY
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LONG SECTION
08 SECTIONS, NGV_CONTEMPORARY, MSD
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08 SECTIONS, NGV_CONTEMPORARY, MSD
1. 2. 3. 4. 5. 6. 7. 8. 9.
SOUTHBANK BLVD ENTRY STORAGE PROMENADE ENTRY DESIGN SHOP GALLERY ENTRY TEMPORARY GALLERY PERMANENT GALLERY MEMBERS LOUNGE DIGITAL GALLERY
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SECTION
08 SECTIONS, NGV_CONTEMPORARY, MSD
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08 SECTIONS, NGV_CONTEMPORARY, MSD
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09 GALLERY RESEARCH, NGV_CONTEMPORARY, MSD
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09 RESEARCH P. 85
09 GALLERY RESEARCH, NGV_CONTEMPORARY, MSD
GDMoA Guangdong Museum of Art Guangzhou, China
FORM The form is generated by vertical stacking by diagonal volumes, which provides geometric expression for elevations and sections. Upper volumes are inserted into 2 metres to generate second volume of intersections. The interior intersection was defined by void and connected by staircase.
ORGANISATION OF SPACES The gallery diversity was represented through the distortion of space which is interlinked by the staircase. Space heigh become flexible interms of void.
P. 86
09 GALLERY RESEARCH, NGV_CONTEMPORARY, MSD
FORM DERIVED FROM THE STACKING OF VOLUMES
PLANS REVEALS THE QUALITIES OF SPATIAL DIVERSITY.
P. 87
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GDMoA Guangdong Museum of Art Guangzhou, China
LIGHTING TECHNIQUE This gallery is naturally lit with glazed ceilling. The introduction of courtyard and light well and courtyard aloow indirected sunlight as natural light to luminate the space.
STORIES & LEVEL This gallery is a three storey block building that occupies the island. The staircase plays an important part of the curation of space as they not only interlink with the exhibition hall but also inherently as scupture adapting the interior context.
P. 88
09 GALLERY RESEARCH, NGV_CONTEMPORARY, MSD
P. 89
09 GALLERY RESEARCH, NGV_CONTEMPORARY, MSD
HE Museum Tadao Ando Shunde, China
PROGRAMME
P. 90
09 GALLERY RESEARCH, NGV_CONTEMPORARY, MSD
1 Gallery
2 Cafe
3 Office
4 Lobby
5 Lounge
6 VIP Room
The gallery dominate the main external volumn of the building to adapt the natural sunlight.
The cafe is set in the ground floor by the pool. The outside porch allows visitors to see the reflected view on the surface of water.
A bridge above the pool ling between the lobby and the entrance
Private spaces are arranged ondurground outside the gallery volume. Natural light come trough the gap of the ground plane
The lounge are the cellular where sunlight was blocked. They provide closed space for video/ acoustic exhibition.
Set on the top level to allow natural sunlight get trough. Visitors can overlook the garden and the city in a highview position.
7 Storage
Similar to the office which are set underground to restore the upper space for the gallery
1
6 1
5 1
5 2
3
4
7
SECTION AS TRIBUTE TO FRANK LLOYD WRIGHT
P. 91
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HE Museum Tadao Ando Shunde, China
FORM The Solomon R. Guggenheim Museum is famous of the continuous spiralling ramp presenting the visitors with a quarter mile of art. Frank Lloyd Wright’s idea is that the spiral ramp is the exhibition space and circulation at the same time. The problem is that visitors are not able to walk freely through different levels or take a breakout of watching the artworks. For example, when people at the middle of the ramp wants to go to the toilet, they have to give up the trip and walk back to the entry. In this gallery, Ando resolved the problem of flexibility, as he divide the ramp into separated programme. Gallery space become ring space stacking on the site. The spiral ramps go around the central dome. Visitors can now access different levels freely through the double spiral staircases.
ACCESSING Between the exhibition hall and the spiral staircase there is an intermedia corridor that connects the fix entry of the staircase and provides different entrance for the exhibition spaces. Visitors can access to the corridor from any part of the exhibition hall and then walk into the staircase. Servant spaces such as toilet can now insert in the intermediate space so that visitors don’t have to give up their trip for toilet. P. 92
09 GALLERY RESEARCH, NGV_CONTEMPORARY, MSD
Gallery Corridor Staircase
GUGGENHEIM MUSEUM BY FRANK LLOYD WRIGHT
COMPARISON BETWEEN PLAN OF HEM AND GUGGENHEIM MUSEUM
P. 93
09 GALLERY RESEARCH, NGV_CONTEMPORARY, MSD
HE Museum Tadao Ando Shunde, China
LIGHTING The gallery space adapted the touch on ground window to accept natural sunlight. To avoid directed sunlight, the front volume is north facing. (North hemisphere) Consequently the gallery windows are heading north to gain indirect sunlight. To soften the sunlight, Ando also applied the brise soleil on the outer facade. Sunlight is filtrated through these aluminium fins to cast rhythmic shadows. The brise soleil themself become the rhythm to balance the horizontal gesture of the volume. Visitors can access to the corridor from any part of the exhibition hall and then walk into the staircase. Servant spaces such as toilet can now insert in the intermediate space so that visitors don’t have to give up their trip for toilet. The dome was illuminated by the sky well. The sunlight penetrates through the glass to intensify the monumentality effect of the concrete texture, which reminiscent the Pantheon in Rome. The gallery also applied cutting light to illuminate the artwork. This light creates an illusion that the artworks can glow by themselves.
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09 GALLERY RESEARCH, NGV_CONTEMPORARY, MSD
Directed Sunlight
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HE Museum Tadao Ando Shunde, China
HANGING The cirlular wall cause the propble of paintings are hard to hand on the curve wall. Ando’s idea is to get rid of the curve wall to hang artworks. Consequently the wall are all illuminated to intruduce natural light and artwork are hanging on installed wall on the walkway.
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09 GALLERY RESEARCH, NGV_CONTEMPORARY, MSD
HE Museum Tadao Ando Shunde, China
LEVELS The gallery adapts the same heigh for all levels of exhibition space hence there’s no diversity of heigh in this gallery inside. However, the extra-high lobby, the central dome and the external garden provide open spaces for large-scale artworks.
FLEXIBILITY The main idea of the gallery is how architecture curates’ space for exhibition and their relevant programmes. The spiral staircase becomes the first hierarchy of the elements which coordinate spaces in different levels.
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Musee d’Orsay Gae Aulenti Paris, France
Gae Aulenti P. 100
1 Rue de la Légion d’Honneur, 75007 Paris France 1980-86
09 GALLERY RESEARCH, NGV_CONTEMPORARY, MSD
1 Scupture Hall
2 Seine Terrace
3 Lille Terrace
4 Gallery
5 Storage
6 Seine Gallery
The hall occupy the main volume of the structure. Gian glass roof intriduce natural light for the display of scuptures.
Secondary gallery on the tower of the the outcome of the invension space.
Second level terrace of the hall on the north side of the main hall to Seine river.
Underground to restore the upper space for the gallery.
Second level terrace of the hall on the south side of the main hall to Rue de Lille.
underground level gallery on the north side of the museum to Seine River.
7 Lille Gallery
underground level gallery on the south side of the museum to Rue de Lille.
4
4 2
3 1
5
6
The reconstruction of the museum imposed rules on the program, leading to the recognition of different typological units, but at the same time allowing the invention of the other types of spaces, like the towers, buildings within the building.
7
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Musee d’Orsay Gae Aulenti Paris, France
No reference was ever made to methodologies concerning different methods of reuse; but instead attention was focused on an analytical and articulated observation of the two existing bodies: the form and typology of Laloux’s station building and museological program for the collections and their layout by Michel Laclotte.
P. 102
The awareness that the study of lighting and the control of natural light define architecture of a museum/ gallery led to analysis of the various spaces that the museological itinerary would create, isolating them and articulating the different possibilities for lighting engineer, defined by the common denominator of “indirect light.“
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The museological programme, the detailed analysis of the works, their groupings and logical rhythms resulted in a set of rules that meant that the reconstruction of the museum itinerary as a whole was the sum of the typologies specific ti the tradition of the various museums: rooms, galleries, and passageways, transfigured by the different formulations imposed by their setting in Laloux’s building. P. 104
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Major volume was maintain as scuptures are exhibited in the open hall. The ramp is the main entry that curating the other types of spaces like the towers and the gallery upstairs.
P. 105
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10 ITERATION P. 107
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possitive/ negative
Possitive/ Negative P. 108
Boolean Operation The church can be recognised as a single dome structure. This technique introduce a negative dome which is overturn and protruded from the original structure. This technique is to introduce natural light into the dome. At the same time the reversed dome insert to create an open space which is habitable.
10 PREVIOUS ITERATIONS, NGV_CONTEMPORARY, MSD
The plan and section reveals the spatial relationship between the possitive and negative spaces. Bridges might be applied to connect these spaces to intensify the flexibility of space.
Axo Section / Axo Plan Artic view 2021
Interior View P. 109
self reflection The idea was inspired by the dome structure from renaissance architecture. To make the dome stand free, ancient architects introduced a double vault structure to generate an outter shed for exterior and an inner dome for the interior. The negative space also reminiscent the habitable cone columns from Phaenon Science centre designed by Zaha Hadid.
10 PREVIOUS ITERATIONS, NGV_CONTEMPORARY, MSD
folding
Folding P. 110
Ribben Fructure This operation is to enclose more dynamic spaces and break the homogeneous open plan and generic exhibition hall. The fructure of threshold also provides spaces for different heigh to adapt the artworks of different scale.
10 PREVIOUS ITERATIONS, NGV_CONTEMPORARY, MSD
Open plan exhibition allows different exhibitions to be mounted simultaneously but the spaces are homogeneous in character. The folding introduces a vibrant gesture to enclose space adapting different programme.
Top View Artic 2021
Interior View P. 111
self reflection The idea inspired by the concept of mobius strip, and contineous surface connect into a closed circle. Deffered from the NGV National which adapted the strip for spatial intersection, the surface here is to enclose space. Restricted by the gravity, the variation of curvature of the surface becomes fragmented and fracturated to define architecture spaces.
10 PREVIOUS ITERATIONS, NGV_CONTEMPORARY, MSD
fragmentation
Fragmentation P. 112
Fragment To challenge the tradictional lighting applied in house volume. The house form was breaked and deconstructed into a fragmented form which allows natural light to filtrate through the gaps between the fragments. It creates interesting light effects that intensify the interior geometry.
10 PREVIOUS ITERATIONS, NGV_CONTEMPORARY, MSD
The
shed was generated fragmented texture.
by
the
Top Artic view 2021
Section View P. 113
self reflection This enclosure takes a look at the Louis Vuitton Foundation by Frank Gehry, a stacking structure protected by fragmented and transparent glass shed. The shed soften the solidity of the galleries and creates a more dynamic form.
10 PREVIOUS ITERATIONS, NGV_CONTEMPORARY, MSD
possitive/ negative
P. 114
10 PREVIOUS ITERATIONS, NGV_CONTEMPORARY, MSD
P. 115
10 PREVIOUS ITERATIONS, NGV_CONTEMPORARY, MSD
vertical
P. 116
10 PREVIOUS ITERATIONS, NGV_CONTEMPORARY, MSD
P. 117
10 PREVIOUS ITERATIONS, NGV_CONTEMPORARY, MSD
STACKING/ FLOOR LEVEL STACKING P. 118
Stacking This project develops the idea of stacking. When stacking goes further the volumes will intersect with each other. The overlapping space can be read as one volume insert into the other. This place allows inspection and voyeurism in terms of scale. This gesture investigates the idea of gallery should recognise visitors are part of the art. Consequently the intersection space allows visitors to watch other visitors watching the art.
10 PREVIOUS ITERATIONS, NGV_CONTEMPORARY, MSD
STACKING/ PURE FORMS STACKED
Stacking This project investigate the idea of how gallery can blur the distinction between reality and art. Traditional gallery can be read as exhibition spaces are curated, arranged or designed with the language of architecture. Circulation is the most general element to address with spaces. The distinction between exhibition and circulation reveals that people often drown in the scene of art when they are in the exhibition space watching art while in reality when they are walk on circulations. What if the distinction of exhibition and circulation are blurred when two spaces are intertwined or intersected?
P. 119
10 PREVIOUS ITERATIONS, NGV_CONTEMPORARY, MSD
Digital Gallery Restaurant
Permanent Gallery
Permanent Gallery Temporary Gallery Office
P. 120
Design Store Temporary Research Kids Learning Space Members Louge
Foyer
Entry
Cafe
Loading Dock
10 PREVIOUS ITERATIONS, NGV_CONTEMPORARY, MSD
Restaurant Office
Digital Permanent
Studio
Digital
Permanent
Digital
Permanent Temporary Digital Temporary Temporary Design Store Kids Learning Space
Research Storage
Members Louge
Foyer
P. 121