Urban Gallery - Introduction to Urbanism

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AR 3223

Introduction to Urbanism

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Daily Urbanism

Vol. 01 Issue 001 27 october 2019 Max Teng Ying Shi A0192379N

Hansel Lim You An A0191192E

Expansion pavilion Gillman Barracks

Branding

Gillman Barracks is a contemporary arts cluster in Singapore that is home to international art galleries, restaurants and the NTU Centre for Contemporary Art (CCA) Singapore. Built in 1936, it was initially commissioned as a military centre and recently in September 2012, the area was relaunched as a contemporary art centre. The site is known for art related events, often collaborating with agencies like National Arts Council.

Museums often only show the completed art piece, excluding the process and rigor that goes behind. The intervention seeks to create an opportunity for the process to be showcased as a lead up to the completed works. Visitors are also encouraged to create their own art pieces in the studios.

Earth

Isonometry of Gillman Barracks In April 2015, partnering galleries did not renew their lease, citing that the arts enclave did not have the necessary human traffic to boost sales. These prompted the art gallery directors to source for methods that could possibly rejuvenate the site once more. The aim of the intervention was to foster cultural exchange and creation, generating discourse and research and showcasing innovative art. The process behind the creation of the final art piece is also showcased to the public, inspiring them as they too can create their own art pieces in the studios provided. The concept was to create an intervention and break out space that was inspired by the colonial architectural facade. By carefully extracting out various elements of the colonial facade and layering the pieces, the intervention created incidental spaces that houses exhibition areas, showcasing the process by the various artists, from early conception to the final product. This studios were conceived not only as mini exhibition spaces but also as working studios that encourage the visitors to create their own art pieces while getting inspiration from the artist’s process work.

The urban intervention is based on the creation of an immense environment of architectural elements built from wire mesh. The installation takes place in front of the museum, replicating the colonial building’s facade, creating elegant partitions and environments as one walks through the installation. Akin to a paper theatre, the installation is made up of layers, each capturing a certain aspect of the facade, projecting it outwards.

Flow

Lit from both above and below, the suspended wire domes, columns, and arches have a translucent ghost-like appearance, referencing the colonial architecture with modern day aesthetics to form a holographic appearance.

Incorporation

Front perspective of Gillman Barracks with intervention

Due to the transparent nature, the movements within the studio form an ephemeral facade, fleeting moments where nothing is really permanent. In addition, because of its layered nature, incidental spaces occur in between. These spaces are then transformed into temporary working spaces for both artists and locals to work their craft.

Teng Ying Shi Max Hansel Lim You An

Vol. 01 Issue 001 29 october 2019

EOTM

AR 3223

Introduction to Urbanism

A0192379N A0191192E

Faciliated by: Zdravko Trivic (Lecturer) + Liam Shu-Ling Rachel (TA)

Expansion pavilion Gillman Barracks Erasure: the removal of things… is taking things away, making space.

Origination: change initiated at a single point. In time or space - is a point in time where something new begins to happen,origination sets something into the realm of the other, it is the basis for reaction.

Transformation: continuous change from A to B… indicates a continuouschange between two states of an object or situation, a change with a beginningand an end.

Migration: things moving through… describes things moving from one point to another, things that leave and don’t return, of which sometimes traces remain.

E R A S U R E Lim Youarchitecture An | A0191192E The bold grand Hansel entry of this is Teng Ying ShiofMax A0192379N altered by the intervention the| overhead passenger canvas from the east west axis.

ORIGINATION Originated by the overhead shelter that maneuvers around the cluster of conserved colonial barracks which serves as a network.

TRANSFORMATION The shelter along the perimeter of the building serves as a form of transition in a vertical and horizontal form. It transport beings in the aisle, creating a contemporary and unforeseen yet familiar and spatial visualisation and experience.

M I G R A T I O N The migration of symmetry, rational order, and calm logic.

Location Plan Gillman Barracks is a contemporary arts cluster in Singapore that is home to international art galleries, restaurants and the NTU Centre for Contemporary Art (CCA) Singapore, which are all housed in conserved colonial barracks, it lies near to Alexandra Road Gillman Barracks (Singapore)

Erasure E R A

S U R E

Origination

Transformation

Migration

The bold grand entry of this architecture is altered by the intervention of the overhead passenger canvas from the east west axis.

ORIGINATION Originated by the overhead shelter that maneuvers around the cluster of conserved colonial barracks which serves as a network.

TRANSFORMATION The shelter along the perimeter of the building serves as a form of transition in a vertical and horizontal form. It transport beings in the aisle, creating a The bold grand entry of this contemporary and unforeseen yet familiar Originated by the overhead architecture altered by theand experience. and spatialisvisualisation shelter that maneuvers around

intervention of the overhead the cluster of conserved colonial M I Gcanvas R Afrom T the I O passenger eastN barracks which serves as a west The axis. migration of symmetry, rational network. order, and calm logic.

The shelter along the perimeter of the building serves as a form of transition in a vertical and horizontal form. It transport beings in the aisle, creating a contemporary and unforeseen yet familiar and spatial visualisation and experience.

The migration of symmetry, rational order, and calm logic.

That leads the users to a new perspective and orientation of experience.

Teng Ying Shi Max Hansel Lim You An

Vol. 01 Issue 001 29 october 2019

BEFI

AR 3223

Introduction to Urbanism

Branding:

Concept/idea of the Prototype.

Contains conditions of naming, marketing, identity creation, cultural production, creating values and communicating these values, imaginary conditions, narration and scripting.

Earth:

Spatial organisation of the Prototype. contains conditions of the land, waters, air, natural processes, ecological issues, biodiversity, land ownership, territory, spatial organisation.

Flow:

Dynamics of the Prototype. contains all exchange processes, e.g., exchange of money, traffic, displacement of people, goods, information, mobility, waste, sewage, the economy of the site.

A0192379N A0191192E

Faciliated by: Zdravko Trivic (Lecturer) + Liam Shu-Ling Rachel (TA)

Incorporation:

Management of the Prototype. contains political actions, institutions, community formation, stakeholders.

Isonometry of Gillman Barracks

Branding

Earth

Flow

Museums often only show the completed art piece, excluding the process and rigor that goes behind.

The intervention seeks to create an opportunity for the process to be showcased as a lead up to the completed works. Visitors are also encouraged to create their own art pieces in the studios.

The urban intervention is based on the creation of an immense environment of architectural elements built from wire mesh.

The installation takes place in front of the museum, replicating the colonial building’s facade, creating elegant partitions and environments as one walks through the installation. Akin to a paper theatre, the installation is made up of layers, each capturing a certain aspect of the facade, projecting it outwards.

Lit from both above and below, the suspended wire domes, columns, and arches have a translucent ghost-like appearance, referencing the colonial architecture with modern day aesthetics to form a holographic appearance.

Incorporation

Due to the transparent nature, the movements within the studio form an ephemeral facade, fleeting moments where nothing is really permanent. In addition, because of its layered nature, incidental spaces occur in between. These spaces are then transformed into temporary working spaces for both artists and locals to work their craft.

Teng Ying Shi Max Hansel Lim You An

Vol. 01 Issue 001 27 october 2019

AR 3223

Introduction to Urbanism

Precedent Study

A0192379N A0191192E

Faciliated by: Zdravko Trivic (Lecturer) + Liam Shu-Ling Rachel (TA)

Edoardo Tresoldi: The artist of the Absent Matter

Edoardo Tresoldi plays with the transparency of mesh and with industrial materials to transcend the time-space dimension and narrate a dialogue between Art and World, a visual summary which reveals itself in the fade-out of physical limitations.

Edoardo Tresoldi plays with the transparency of mesh and with industrial materials to transcend the time-space dimension and narrate a dialogue between Art and World, a visual summary which reveals itself in the fade-out of physical limitations. Mixing classical and modern language, he generates a third one, strongly contemporary.

Edoardo Tresoldi creates a ghostly courtyard in Abu Dhabi

Concept The language of transparency weaves the non-existent, transforms the denial of matter into a three-dimensional entity, and reveals the result of a void, therefore the abstraction of reality and its timeless visual identity.

His works speak about the fine line between freedom and captivity, and how man influences the environment he lives in.

Wire mesh’s broken rhythms generate never-ending sequences of architectural abstractions and amplified points of view, while the atmospheric factors contribute to an interpretation under different moods. A dynamic and iridescent space is outlined, in which it becomes possible to experience a pure, ethereal dimension, in continuous dialogue with the contemporary surroundings, understood as a blending of cultural, social and identity codes, whose acts become constituent parts of the artwork.

Edoardo Tresoldi – Incipit – Camerota, Italy, 2015

Tresoldi’s uncanny creations negotiate a fluid entente between the fiercely antagonistic concepts of reality, memory and fantasy; a timeless struggle whose denouement is ultimately left up to the viewer.

Edoardo Tresoldi – Thinkings – Oltre il Muro 2014, Sapri

Tresoldi skillfully represents human form through wellexecuted natural body language, beyond realistic facial expressions and meticulously placed creases in the clothing.

Transforming a mundane industrial material into delicately crafted three-dimensional figures, the artist manages to create artworks in which forms create volumes. Feelings serve as the real protagonists of the narrative – Edoardo develops a story or a character and concretizes them through the creation of the sculpture.

Edoardo Tresoldi builds ghostly arches in the desert at Coachella Festival

The Italian artist has built three classical, neo-Baroque structures, dubbed Etherea, in the stark desert landscape, framing the arid plains and mountain views. ‘Its transparent language filters and accommodates the strong natural dimension of the desert, a place characterised by an essential relationship between its elements, enriching it with fragmented vanishing points and augmented perspectives.’

Edoardo Tresoldi uses wire mesh to reconstruct ancient Roman church in Italy

Teng Ying Shi Max Hansel Lim You An

Vol. 01 Issue 001 27 october 2019

Branding

AR 3223

Introduction to Urbanism

A0192379N A0191192E

Faciliated by: Zdravko Trivic (Lecturer) + Liam Shu-Ling Rachel (TA)

Museums often only show the completed art piece, excluding the process and rigor that goes behind. The intervention seeks to create an opportunity for the process to be showcased as a lead up to the completed works. Visitors are also encouraged to create their own art pieces in the studios.

Front view of Gillman Barracks

Problem

Improvement

Museums are traditionally experienced monotony of just passively walking through exhibits. A lot of artwork and relics are showcased for visual experience with no engagment with other senses. Additionally, museums often only show the completed art piece, excluding the process and rigor that goes behind.

Studios includes spaces for art jamming where the visitors level up their art skills with the range of workshops. They could learn how to paint and make using different mediums that will be showcased in gillman barracks.

Innovation

Organisation

To create an interactive gallery, visitors are encouraged to participate in art jamming for them to remember the visit, and continue learning which reates a new way of experiencing art. The design studios are housed between the replicated wire-mesh facade creating elegant partitions and environments as one walks through.

These studios are organised and located in the forefront of Gillman Barracks Museum. This brings the audience’s attention to the front, with a renewed appreciation through the use of the installation with the art studios layered into the wire-mesh facade instalation. The movement of the people in the studio can be seen through the wire mesh, as though it is an everchanging facade.

Teng Ying Shi Max Hansel Lim You An

Vol. 01 Issue 001 27 october 2019

Earth

AR 3223

Introduction to Urbanism

Problem

Visitors were not using the main entrance as intended, therefore not much attention was paid to the symmetrical colonial architecture.

This issue created an opportunity for the intervention to be done in a way that was directive, curating the way visitors would approach and view the building.

Improvement

As the facade was to be made more prominent, the intervention sought to make use of its colonial facade, extracting elements and layering them. The urban intervention is based on the creation of an immense environment of architectural elements built from wire mesh. The replicated colonial building’s facade creates an elegant partitions and environments as one walks through the installation. These elements were stacked and layered, resulting in an installation that has depth and is best appreciated from the front.

A0192379N A0191192E

Faciliated by: Zdravko Trivic (Lecturer) + Liam Shu-Ling Rachel (TA)

Innovation

Organisation

Wire mesh proved to be a good material for the intervention to use due to its transparent nature. This allowed visitors to view both the installation as well as the beautiful colonial facade, dancing back and forth between the depths of their perception. The use of wire mesh helps to further accentuate the layered depth within the installation too as the individual pieces of mesh overlap to form the overall form. When dusk falls, the installation is lit from the top and bottom. This results in the suspended wire domes, columns, and arches having a translucent ghost-like appearance, referencing the colonial architecture with modern day aesthetics to form a holographic appearance.

Due to its layered nature, the intervention resulted in incidental spaces. These spaces were then turned into mini studio exhibition areas where artists can showcase their thought process.

These studio spaces are areas where visitors can also create their own interpretation of art while getting inspiration from the artist’s processes.

Teng Ying Shi Max Hansel Lim You An

Vol. 01 Issue 001 27 october 2019

Flow

AR 3223

Introduction to Urbanism

Introduction of new walkway

A0192379N A0191192E

Faciliated by: Zdravko Trivic (Lecturer) + Liam Shu-Ling Rachel (TA)

Series of Walkway

The hollow characteristic of wire mesh helps to recreate the silhouette of the walkways that were once on site, as a nod to the past. This transparent walkways have cut outs that are meant to raise the awareness of the visitors in relation to the colonial facade on the neighbouring buildings.

Walkway supported by a panel of wall, user’s vison ristrictod to the front and right.

Opening on the roof allows natural sunlight into the walkway and users gets to peep through what’s above them.

Diagram of new route for the introduction to new walkway

System

Connection

Public Space

The installation has a single system, comprising of a directed route of approach to the intervention. The walkway structure is made of wire mesh that have been bent or rolled, to create its shape. The hollow characteristic of wire mesh helps to recreate the silhouette of the walkways that were once on site, as a nod to the past.

This transparent walkways have cut outs that are meant to raise the awareness of the visitors in relation to the colonial facade on the neighbouring buildings.

Physically, the installation is linked to the existing walkways via the introduction of a new walkway.

This connection is done with the sole purpose of directing the visitor’s cone of view to the front of the building as this enables them to appreciate both the installation as well as the museum’s facade in the best manner.

Opening the existing structure to the public square to the passage of people, creating a ground floor that is totally public is the goals of the project. It will bring change to the spirit of the relationship between Gillman Barracks and the existing walkways.The formal presence of the Museum is no longer present by opening up the ground floor to the public. It’s a gesture of openness, accessibility, of sharing that creates a dialogue between the building and the street.

Walkway frames up an eye-leveled view while walking pass the surrounding black and white buildings on site

View restricted to the view ahead of users

Walkway supported by colums, increased visibility of site.

Teng Ying Shi Max Hansel Lim You An

Vol. 01 Issue 001 27 october 2019

AR 3223

Introduction to Urbanism

Incorporation

Management & Stakeholder Contains political actions, institutions, community formation, stakeholders.

Mixing classical and modern language, he generates a third one, strongly contemporary.

Exhibition and Studio Space

Management A collaboration with the National Arts Council that aims to promote the arts scene in Singapore will help to further develop the area, boosting human population and connectivity with the surrounding neighbourhoods.

Stakeholders Designated as the place to host artistic events, Gillman Barracks often works with the likes of Economic Development Board, JTC Corporation and the National Arts Council. Establish art galleries like Tomio Koyama Gallery and Sundaram Tangore Gallery often host exhibitions at the contemporary art centre for art fanatics to enjoy.

A0192379N A0191192E

Faciliated by: Zdravko Trivic (Lecturer) + Liam Shu-Ling Rachel (TA)

Teng Ying Shi Max Hansel Lim You An

Vol. 01 Issue 001 27 october 2019

AR 3223

Introduction to Urbanism

A0192379N A0191192E

Faciliated by: Zdravko Trivic (Lecturer) + Liam Shu-Ling Rachel (TA)

Iteration(s)

Plan

East Elevation

West Elevation Translucent Glass Walkway

West Section

Teng Ying Shi Max Hansel Lim You An

Vol. 01 Issue 001 27 october 2019

AR 3223

Narrative

Introduction to Urbanism

Isonometric view of the site

Gillman Barracks One thing that repeatedly appeared everywhere in the Gillman Barracks district was the sheltered walkways. Though it shelters pedestrians from the elements of nature, it inevitably altered the way one would perceive and appreciate the space and facade of the colonial architecture in the vicinity.

The covered nature of the walkway then creates a new spatial experience for the users, one that blocks off any view and light that was initially intended. The grand entrance of the Gillman Barrack museum has also been changed due to the addition of the walkways. Visitors hardly use its front porch as they would simply enter the building from the sheltered walkway at the side.

As this was something that was not favoured, the nearby walkways were erased so that a new urban intervention could take place.

An issue on site was that visitors were not using the main entrance as intended, therefore not much attention was paid to the symmetrical colonial architecture. This issue created an opportunity for the intervention to be done in a way that was directive, curating the way visitors would approach and view the building.

As the facade was to be made more prominent, the intervention sought to make use of its colonial facade, extracting elements and layering them.

The urban intervention is based on the creation of an immense environment of architectural elements built from wire mesh. The installation takes place in front of the museum, replicating the colonial building’s facade, creating elegant partitions and environments as one walks through the installation. Akin to a paper theatre, these elements were stacked and layered, resulting in an installation that has depth and is best appreciated from the front.

Wire mesh proved to be a good material for the intervention to use due to its transparent nature.

This allowed visitors to view both the installation as well as the beautiful colonial facade, dancing back and forth between the depths of their perception.

The use of wire mesh helps to further accentuate the layered depth within the installation too as the individual pieces of mesh overlap to form the overall form. When dusk falls, the installation is lit from the top and bottom. This results in the suspended wire domes, columns, and arches having a translucent ghost-like appearance, referencing the colonial architecture with modern day aesthetics to form a holographic appearance.

Due to its layered nature, the intervention resulted in incidental spaces. These spaces were then turned into mini studio exhibition areas where artists can showcase their thought process.

These studio spaces are areas where visitors can also create their own interpretation of art while getting inspiration from the artist’s processes.

The approach to the museum is curated to shape a new experience for visitors. Replicas of the old walkways are made with mesh, with controlled openings that shape what visitors can see easily. These cutouts are made in respect to the other colonial buildings in the vicinity. This slowly raises the visitor’s awareness of the other colonial facades. Due to the layered nature of the intervention, the walkway is specifically made to direct users to the front, where they can best view the facade as well as the installation.

A0192379N A0191192E

Faciliated by: Zdravko Trivic (Lecturer) + Liam Shu-Ling Rachel (TA)