M_Studio36_XiyanM_Reflective Journal

Reflective Journal

Table of content

The University of Melbourne Melbourne School of Design (MSD) Master of Architecture Semester 2, 2022 C level

tutor_Anna Nervegna student_Xiyan Mao

verbs

Blur

v. to make things unclear or less distinct, hardly see _visual blurry effect _linear froms _order & chaos _gradient _access/not

such form could implement to the building to blur its boundries to the site or blur its visual appearance

it can also create spaces which allow differen level of accessibility

Precedent:

1. Gerhard Richter, Ella (903-1) 2007 Oil on canvas

I looked at Gerhard Richter’s painting to see how he produces visually blurry effect. Most of his artworks are showing a clear direction of stroke horizontally, which I believe could be the key to create blur.

2. Vincent Leroy, scaffolding public instal lation, 2020

In Vincent’s work, he applied thin lines/ tubes constructing a structure which makes the surrounding context showing blur while looking through the installation

Fold

n. bend, a piece of transformed cloth or drape

1. to make a continuous roof & wall

2. physically connected space

3. create visually barrier

4. visually divide space zones horizontally (plan) and vertically (section)

Jump cut

a process of cutting an object in a non-chronological order and/ or reorder it

1. abstract form

2. create semi-open space

3. division of program and make them stand out beyond the fa cade

Illusion

n. a wrong or misinterpreted of sensory of an object, deceptive appearance

the experiment test with the visual expression of a flat surface

_visually appeal, shift perspective _ try to involve a directional/ dynamic feeling, even though the surface doesn’t change

_ potential for different scale of openings- light condition

Precedent:

1. Mark’s House by TwoIsland, Michigan

In their design, the building was design with flat surface, but image become distorted and experssing an illusion of movement of the pattern while visitor looking up.

Distortion

n. an act which makes the object out of its original state

by distoring a surface: 1. create shelter

2. visual barrier

3. divide space for programs

4. potential seating 5. create illusion

by distoring the form: 1.promote a view

2. create open space

3. light penetration

Precedent:

1. Workman, Oil Painting, Richard Fremont

In his painting, he has left the body of the man with original state, but changes the man’s face by curvy stroke, lines, which makes it lossing its original quality.

2. The Dancing House, Frank Gehry, 1992 The building was distorted to looks like it is anti-physics, and highly contrasted to the surrounding buildings.

Transparency

1. the experimentation tries to explore different level of transpar ency both visually and physically, varies level of transparency could be achieved with different height and size of openings

2. overlapping of transparent planes and create a/ several core spaces

Anamorphic

adj. a distorted image which might be viewed correctly from particular point of perspective

1.viewing an anamorphic object or

2. being part of the anamorphic

Order & Disorder

are we finding“order in disorder“ or

are we finding “disorder in order“

the experiment discover how dif ferent objects, numbers of objects of a set could change its order, even though the objects become more chaos, but they are still follow a basic flow/ shape, so that they seems like disordered, but they actually follows certain rules, wth control

Fragmentation

n. a process of breaking things

1. break the shape

2. vertically: different level of each fragments

3. horizontally: seperate the break part create in-between space

Reflection

The task experiments with different spatial verbs which helps to create diverse forms and spaces. those techniques are mostly action based, which requires fragements of forms integrate, or extract to each other. others are sensory based, which mostly aims to change the normal perception of an object and make the built form appears in a way that people will not imagined, which attracts people.

By testing those techniques, different spacial config uration could be created with different appearance, some have potential for varies lighting condition, some provides a changes of privacy level of space, some en courages people move around, and some let people to stay and interact.

Question & Problems

1. Sometimes I dont’ understand the terms, but it was always helpful to keep research, which I realize during this process that not only architecture could be a reference, but the artwork, and how the author address their work to certain ways could be inspirational as well as a technique.

2. There are several verbs and techniques in my mind seems intersecting to each other. For example, trans parency and blur, in my exploration, blur could be one technique to show a level of transparency.

3. To realize some spatial verbs, the consideration of materiality is a must. For example, to make a transpar ent built form, it is better to consider material with a de gree of translucent property, glass, polycarbonate etc.

4. During the process I found that I was usually difficult to generate forms, and sometimes difficult to start, per haps more research and accumulation of architecture/ artwork is necessary in the future.

Overall, this process of thinking is new for me, which encourages me to think and generate design/forms with other perspective, and I believe it will be useful for me as well in my future career.

Reading: Mari, Di Anthony and Yoo Nora. Operative Design: A Catologue of Spatial Verbs. Publish: BISPublisher. ISBN: 978-90-6369-289-6

precedent study

*team work by Hui Bi and Xiyan Mao

He Art Museum (HEM)

Location: Guangdong China

Area: 16,000 sqm (site), 8,000 sqm (exhibition)

Architect: Tadao Ando Architect & Associates

Year: 2020

Key words: gateway for arts, Lingnan culture, ma terial honesty, natural element, harmony

“earth”

“earth”

_in Chinese philosophy, the earth is rectangular _by embeding the only rectangle shape to the main body, HEM creates confliction between spaces & experience, this special space is mainly functioned as special exhibition hall, with some lobby area

_in Chinese philosophy, the earth is rectangular _by embeding the only rectangle shape to the main body, HEM creates confliction between spaces & experience, this special space is mainly functioned as special exhibition hall, with some lobby area

“sky” _ in Chinese philosophy, the sky is round

“earth”

_in Chinese philosophy, the earth is rectangular _by embeding the only rectangle shape to the main body, HEM creates confliction between spaces & experience, this special space is mainly functioned as special exhibition hall, with some lobby area

“moon”

_the garden in crescent shape surrounds the “sky”

“moon”

“sky” _ in Chinese philosophy, the sky is round _the main body of the HEM is designed with several circle overlapping and expanding on top of each other, creating layers of space which hosting majority of the gallerys, at the same time blurring the boundary of the building to achieve a sense of harmony to surrounding

_the main body of the HEM is designed with several circle overlapping and expanding on top of each other, creating layers of space which hosting majority of the gallerys, at the same time blurring the boundary of the building to achieve a sense of harmony to surrounding “star”

“sky” _ in Chinese philosophy, the sky is round

_ several walls are designed externally, blurring the boundary spaces, and together with the crescent water garden, providing a transition between the “outside” world and the “inside” world, which guides occupants to the gallery

“moon”

_the garden in crescent shape surrounds the “sky”

_the garden in crescent shape surrounds the “sky” _ several walls are designed externally, blurring the boundary spaces, and together with the crescent water garden, providing a transition between the “outside” world and the “inside” world, which guides occupants to the gallery

_ several walls are designed externally, blurring the boundary spaces, and together with the crescent water garden, providing a transition between the “outside” world and the “inside” world, which guides occupants to the gallery

_the main body of the HEM is designed with several circle overlapping and expanding on top of each other, creating layers of space which hosting majority of the gallerys, at the same time blurring the boundary of the building to achieve a sense of harmony to surrounding “star”

_the overlapping circles creates a central space which allow intersection and interaction between various spaces, in which an atrium with double-helix staircases is designed with a cone at the top allowing natural daylight access, giving a sense of temple

“star” _the overlapping circles creates a central space which allow intersection and interac tion between various spaces, in which an atrium with dou ble-helix staircases is designed with a cone at the top allow ing natural daylight access, giving a sense of temple

_the overlapping circles creates a central space which allow intersection and interaction between various spaces, in which an atrium with double-helix staircases is designed with a cone at the top allowing natural daylight access, giving a sense of temple

1: 1000 @ A4

1: 1000 @

building core

_3 lifts + 2 egress stairs + 1 public stairs

_sufficient space for general vertical transportation

service core

_no requirement for natural lights and view

_set at the back of the building, hidden from the main entrance

_service for public, disability & emer gency height

_HEM have single height exhibition space and double height

_suitable for varies scales of exhibition

external garden

_sculptures or projects which do not have strict requirement for lighting could be exhibited at the crescent garden

_attraction to visitors

entrances

_multiple entrances from different directions

_the design of underground plan can help divide the space

_specific spaces could be rent out hile not in use, at the same time isolated from the main gallery building

lights & environment

_main gallery building is a block, designed with circular open plan with full glazing en closed the space

-the gallery floors are all relatively bright with natural lights which can create good light condition and environment to exhibit projects such as sculptures or other materials which do not have lighting requirement

(a)

flexibility _open plan can give maximum flexibility to the use of the space. _the location of the columns distrib uted radially towards the external facade, naturally divide the space for potential temporary wall installa tion

_(b) an open plan wihch allow visitor freely move cross _(c) potential space division ac cording to the column position and number of entrances

(b)

(c)

Reflection

The task mainly analyzed the design logic of an art gallery, both in terms of how the building itself connect and respond to the local cultural context, but also how the internal space is designed to be contemporary , flexible use for different scale & media of exhibition, and how the internal space being designed to encour age circulation and flow of the visitors.

From the reading, I learnt how an exhibition space should be designed, its logic, and the main focuses in the design of an exhibition. As well as how space re quirement has shifted from modern to comtemporary, from exhibition collection to temporary needs of space. The Contemporary Gallery, overall, especially for today, should be more flexible as contemporary artworks be came more diverse.

Question & Problem:

1. The scale of the building, the precedent building was designed in a large scale

2. The process of concept seeking, Kuma was applying the cultural language of Lingnan in his design. In my project, it might be helpful to look at the site, history etc. for inspiration.

3. In the plan I could see that the gallery space was largely defined by the structural systems ie. the colums. A consideration of the structure in the design is also necessary, and possibly making it a design language.

4. The gallery spaces are quite open to natural light, the technique to stop that light during exhibition should be studied.

Reading: Moussavi, Farshid. Chapter “Viewing Exhibitions 19922012”

La Tourette monastery, 1953

The negative space for Le corbusier’s La Tourette monastery looks similar to the building’s original state, and it seems to promote that in contrast to the Basilica, the external expression of the building reflects the space and program.

The negative spaces, which are created under, around or inside the site boundary demonstrated in (d), promotes that the space is more open in terms of the central courtyard and connected to the site surrounding, both horizontally and vertically.

The Le corbusier’s La Tourette mon astery applied simple rectanlinear geometries such as square or rectan gle to form space horizontally. But it also has several irregular curved shapes designed vertically, visually seperated from the building body as the skylight or transportation.

The design forms like a “village“ where functional spaces are con nected by a rectangular path. The path also makes a journey corss the “village“.

La Tourette Chapel, 1953

The negative space for Le corbusier’s La Tourette Chapel looks similar to the building’s original state, and it seems to promote that in contrast to the Basilica, the external expression of the building reflects the internal negative space and program.

The space are designed in varies heights, with irrigular shape side strip windows and skylights adding unique lighting quality to the negative space, providing different senses and experiences.

_this model is intended to create a vertical village as a potential gallery

_the strip vertical columns provides different lighting condition as peo ple walk through both on ground or along the corridor

_visually blur the appearance of the building from different direction

_some disorder were applied to the array, allowing the strips with differ ent scale and height to be func tioned as potential skylight to the internal space

_an vertical open space is designed to serve the community small & tem porary programs

_the model is aiming to explore inter lock forms by distorting the tubes

_the form become more “fluid“ and create different spatial condition as it was distorted to different directions

_potential of ground open space & spatial connection

_volumes with sharp edges are embeded to the main body of the building and visually conflict to the curve shapes

_large continous distorted spaces could held larger scale exhibitions, small fragments of spaces have potential to host small events & viewspot to certain direction

gallery

lobby

gallery

lobby lobby /shop

/ shop

_this experienment is based on the basic negative elements from the Conisbrough Castle.

_the model explores the idea of an amorphic which express varies visual expression when people view from different spots

_there is a potential for large con tinous of space and also small fragments of space to host different scales of programs

Basilica of San Vitale Ravenna, Italy, 550

The Basilica of San Vitale Ravenna is relatively ancient in contrast to the Chapel, and its negative space appears differently with its external expression.

The negative spaces are mainly constructed with round arches, and the overall space is symmetrical.

_the model explores fragmentation of the negative spaces

_by relocating, overlaying and rotat ing those fragments, there are multi ple courtyards created and creates a small community village on ground

_views are promoted towards the courtyards from each built forms,

_the programs of the gallery could be isolated, which have a potential to be rent out and held different exhibition at the same time

Reflection

The task first explore the negative spaces based on two precedent models, one is ancient and the other is modern/contemporary. it is clearly see that the internal space has greater connectivity to the external ex pression for contemporary model, and consice spatial connection. the ancient is opposite where the appear ance is massive, but have varies negative space hiden behind its appearance.

The task then tries to reform new built forms with spatial verbs, my tests is mainly about the idea of village for both horizontal and vertical. here different spatial connection and interactioin has been created. the new built form does not related to which elements that it is using, whether the elements are from the ancient building or contemporary building can produce differ ent outcome. the key point is to reduce its massive & blocky appearance, and create smooth contemporary appearace with breathable spacial quality by reform & rearranging the elements.

Problems

1. Several test models still feeling like the past, the cake/ pyramid form giving a sense of classic built form. 2. A consideration of internal space, logic and their connection with consideration of program is necessary in this stage, which some failure tests are lack of consid eration on that.

Reading

Lucarelli, Fosco. “Luigi Moretti’s Structures and Se quences of Spaces (1952)”. Dec. 2018. URL: https:// socks-studio.com/2018/12/09/luigi-morettis-struc tures-and-sequences-of-spaces/.

Overall, it was a great excerises which firstly allow me to discover the core differences between ancient and modern architecture. Secondly, allow me to shift per spectives to form, spatial sequences, relationship as a complete journey. Thirdly, to feel the power of volume and void.

urban massing

Type: figure ground

Techniques: stacking with articu lation/ negative/ embed /blur / transparency

_the model aims to create an exter nal courtyard which surrounded by the galleries

_several gallery special blocks are embeded in the columns and the column could provide visual bluring effect

_gallery operates with glazing facade and columns could make varies lighting effect to the internal space

_outside the small blocks could become semi-external terrace for community

Type: tabula rasa

Techniques: stacking with scale/ rotation/ boolean/

_by stacking floors and articulate prameter of each floor, there will be more possible external terrace con structed vertically _by scaling up the shape as it stacks upwards, the building has blur the boundaries on each side and create hierarchy _small booleans happens to intro duce different shapes of light to the internal space

Type:

Techniques:

Type: building as diagram of functions

Techniques: distortion / embed / _the form has distorted to achieve ground connection & sky community space

skylights at different edge of each floor, light to dark as visitor moves towards center

from small fragment of spaces to large gallery space as visitor moves up

experimenting with idea of speed & tension to opposite directions

explore rhythm of space with ex perimenting on the size & shape of openings, different interior lighting condition, and street view

visual transparency of arts at street level, shifting perspectives of artworks, move ment & appearance change with time

record the time when the ball hit the volume and it cracks, cracks will make the ground space more open compare to the top private gallery spaces

test with interwoven of shape & views towards Mount Dandenong

test with interwoven of shape & views towards Mount Dandenong

expand the journey around the gal lery, different experience & suitable for different type& size art works

internal vertical journey, open atrium, huge conflict between interior and exterior in terms of lighting condition, light penetration to South neighbour hoods

bubbles, curved walls, skylights

Reflection

It is a process of try out and making mistakes. at this stage, when considering “urban“ and “massing“, it is important to take a note about the context and the scale of the massing, which i didn’t really realize at the begining of the task. therefore, i have got several stack ing which looks cool but not be able to functioned as a proper gallery space.

the later 11 tests have more focuses on the scale, and especially the scale of specific internal space. the gal lery has restrict demands for its exhibition distances and generous of space, so it is significant to consider the exhibition space while doing the massing.

at this stage, i started my preliminary research about “time“, which will shown later as my design statement. in several of the massing, i have tested the concept of time as well in its built form, some tries the openings and rhythm of space, some tries to express a moment which time is frozed, and some tries to respond the past...

Problem

Reasons for failure massings:

1. internal section looks classical and traditional, where as outside looks contemporary

2. Quality of internal space are not fully considered 3. Scale of certain massing are not working

4. Massing are static, blocky, heavy which does not look contemporary

Massing development

Scheme 3

Foyer + cloak + research library ~100m2

GF

Toliets ~40m2 Sta entrance ~20m2

open terrace, sculptural garden ~130m2

cafe & shop ~90m2

digital gallery ~100m2

BOH & goods lift on both side ~80m2

Project gallery ~310m2

*scale of the space needs to be considered connection between spaces at upper floors

GF

Artist Studio ~90m2

kids activi ty/corridor shop ~45m2

possibily some small scale sculp ture here ~50m2

Foyer + cloak + research library ~100m2

Storage, BOH, loading dock ~75m2

Toliets ~40m2

Cafe ~55m2

Sta o ces ~143m2

Temporary Gallery ~70m2

Temporary Gallery (double height) ~120m2

Project Gallery ~150m2

Digital Gallery ~100m2

Project Gallery ~130m2

cut & rotate the top fragments to reduce its original heavy, massive visual expression

section seems too static, change to N/S section

Reflection

Each scheme have potential to be an art gallery, some are silent, calm, and some are radical in their appear ance on site. each massing have its potential to create internal negative space which talks to each other and to its positive through walls, openings and flow.

the main issue and focuses is to allocate the core and circulation to make sure the building meets access needs of all kinds, and this might be a key point specifi cally to the art gallery, which is for the public.

During this process I mainly discovering their potential as an gallery space. With the restriction of brief, pro gram and area schedule, I further tested whether the massing are works or suitable to meet the brief. They all seems to work with the help of underground basement space.

Problem

1. The scale of entrances, void need be reconsidered for several schemes, which might slightly change the built form as well

2. The selection of section cut should reflect the built form, and avoiding the car-park like, which in this case the section will not be attractive and interesting to be shown as part of the scheme.

Project preliminary research

“Traditionally, architecture was placebound, linked to a condition of experience. Today, mediated environments challenge the givens of classical time, the time of experience”

Today, people go to exhibitions not only to see the artwork but also to immerse them selves in this temporal experience, in the feeling of time brought by the artworks, in the flow of time, in the expansion of the present, or in the interstices of the past and the future. The design of the Art project space in Fitzroy will explore the relationship between time and the art gallery itself, the interior space and the past and future of the site.

1. Art gallery is a container of time

We can see each artwork as a record of the situation/time of the work, a record of the point in time when the work was completed, or a period during which the work was creat ed. Some record the time of a previous age. Some record the time of the contemporary. A contemporary art gallery should be a place where these different times are allowed to coexist and collide.

2. Art Gallery as an intersection of past and future

“We cannot change the past; we can have regrets, remorse, memories. The future instead is uncertainty, desire, anxiety, open space, destiny, perhaps. We can live toward it, shape it, because it does not yet exist.” (Rovelli, “The Order of Time”, p12)

The art gallery itself, as a contemporary object, should extend its presence. Through de signing & constructing the art gallery, an impact on the future of the site should be estab lished, which helps shape the uncertainty of the future. The response to the memory of the past will also be explored and established through materiality, artistic elements, built forms and so on.

3. Human’s notion of time & internal space of an art gallery

”Movement is a function of time” (Kuma, “Anti Object”, p147)

Space can bring two attributes to the concept of time. One is what Rovelli calls ‘proper time’, which can be measured by a specific “clock”, a sun or moon. The other is ‘relative time’, based on people, environments and movement. This also complies with Heideg ger’s philosophical theory that the existence of time is defined by the actions of people. The design will explore two concepts through various spaces created by light & shadow, movement, and fluid rhythm.

Word count: 286 (not include quotes & references)

Readings: Carlo Rovelli, “The Order of Time”

Martin Heidegger, “Being and Time”

Peter Eisenman, “Unfolding Events” Kengo Kuma, “Anti Objects”

for design statement

Reflection

from preliminary ideas of time since massing stage, i have developed it futher in my design statement. from rough sketches and brainstorming of how time could be expressed in a building, to reading several books from different perspectives (physical & philosophical), i tried to find the meaning and value of time for both human and architecture, especially the contemporary art gallery.

The reading Unfolding Events makes me think about why we still need gallery existence in today’s mediated world. I got part of my answer after I watched a film at cinema, when I sudden realize that how time passed during the time in cinema. Then I fould that I am really want that immersive experience while watching a film even I am able to access digital media of that film on line. I was also trying to ask my parents about why they would like to go to gallery. And the answer is that they want to spend time. Which in this case, I would believe that how time spend in the gallery should be focused in my project, how time and experience influence the space, and how my visitors could feel in my space.

Reading

Carlo Rovelli, “The Order of Time”, Publish: Penguin Books (2018 (english edition)), ISBN9780241292525.

Martin Heidegger, “Being and Time”, Translated by Jiaying Chen, Publisher: Joint publishing (2014), ISBN 9787108050960.

Peter Eisenman, “Unfolding Events”, Incorporations (1992), edited by Jonathan Crary and Sanford Kwinter, ISBN 0942299299.

Kengo Kuma, “Architecture Words 2: Anti Objects”, AA Publications (2013), Translated by Hiroshi Watanabe, ISBN 9781907896347.

Mid Semester Schemes

0.5km Atherton Reserve

0.7kmFitzroygarden0.3kmVictoragreenstrip

1.5kmYarra

live service club/workshop

tram

tra c

path

1

Foyer + research library ~120m2

gift shop ~30m2

sculpture garden ~80m2

Loading dock public stair

Ground Floor

Gertrude Street 0 1 3 5 m

sculpture garden ~80m2

cafe ~50m2

Smith Street

Digital Gallery ~ 90m2

Gertrude Street

public stair

Project Gallery ~ 310m2

Smith Street

Temporary Gallery (double height) ~160m2

Smith Street

N

external perspective_view

perspective_view from Gertrude Street

perspective_project art gallery

2

Gertrude Street

Semi external sculpture garden ~80m2

Cafe ~60m2

Temporary Gallery (semi- double

Street

internal perspective_temporary

perspective_temporary gallery

Smith & Gertrude St. intersection

media

Nicholson, Waa facade Cook, Kulama, 2015

the historic time

“clock“ records the time

Design

hand sketches discover preliminary spatial system

hand sketches discover vertical circulation & scale

hand sketches discover language of internal space

hand sketches discover material & structure concepts

exploration of materiality temporary gallery

external view with preliminary idea of material

for the office space at top

Reflection

In this stage, I have decided the scheme to be devel oped based on Mid-semester Feedback. Things such as: design language, spatial arrangement, prelimaray material and texture selection,connection to the site as been further considered.

The major challenge for me is to create and reflect a language of a contemporary building from my plans and internal spatial arrangement.

During the process, I have tried to find a simple pattern for my design, which in the end is diagonal lines. In my design, those lines could form up internal space for different programs. They could also respond to the external form. Finally, they are able to respond to the history and fabric of melbourne and the significance of Yarra in both past and today.

Problems:

1. Professional knowledges about art gallery need to be further studied, such as the need of lighting for internal space.

2. Draft the Plan, the plans are looking unresolved

3. The external openings are not reflecting the lan guage of the building form.

Further Workouts: Spatial quality in Section, refine material and facade ideas,

Design development stage 2

S t r eet

S t r eet

experimentation of indoor atmosphere with Vray render Cafe (top) Project art space (bottom)

Reflection

In these two weeks, I kept developing my plans with more detail and rational spatial quality. Supported by a professional engineer as my consultant, I started to take the structure in my consideration as well at this stage. certain changes have been taken with the location of the columns, structural systems.

Spaces started to change as columns designed. But there will be more possibility of flexible spaces that could be adjusted in the future, while the gallery in use because of the columns’ location. For example, tem porary walls could be installed between columns for different exhibition and possibility of circulation. This kind of flexibility has been studied while I did the precedent analysis.

Then I did test with renderings to see how the internal space looks and feels, finding the best way to deliver and promote my design visually.

Problem:

1. Some furniture in my plan does not really follow the language of my built form, I should consider the internal partition as well in same design language. So that the building design could be a “total work of art“

2. The persepctives selected are not successful to show the quality of space

3. Lens when setting up perspective should be adjusted to show better view

4. Professional knowledge about how exhibition space works, the height of artwork, lighting equipment, storage systems etc. needs more research to make my design work.

Design Development Stage 3

S t r eet

S t r eet

S t r eet

S t r eet

S t r eet

Reflection

This is nearly the end of my design process. I finalized my drawing style for plans and sections, the arrange ment of the space, furniture, systems in art gallery. And I would also like to add the movement path in my plan to refer to my design statement.

Problem:

1. The quality of rendered image doesn’t reflect the quality of my design, the material scale doesn’t look right and the digital gallery should be fuether consid ered in terms of its artwork display

2. The angle of perspective for Temporary gallery should be adjusted to show better outcome

3. Glass needs frames

4. More depth for sections

5. Digital Gallery seems conflict with chaos colors, may be simplier

Further Workout:

1. Study rendering techniques, do post processing with photoshop, adjust the color and level of details in the image

2. Do Model more carefully with deail 3. Look at references and have a taste of color & ren der effect

Final Project

Fitzroy Contemporary (FCGA)

year_2022 design_Xiyan area_approx. 4 Floors + 2 program_art

The gallery aims to discover contemporary art forms, site’s human notions of time during

Contemporary Art Gallery (FCGA) year_2022 Oct. design_Xiyan Mao area_approx. 2700 m2 Basement program_art gallery

the idea of time in terms of site’s past present & future, and during experiencing of the space.

Design Statement

“Traditionally, architecture was placebound, linked to a condition of experience. Today, mediated environments challenge the givens of classical time, the time of experience”

Today, people go to exhibitions not only to see the artwork but also to immerse themselves in this temporal experience, in the feeling of time brought by the artworks, in the flow of time, in the expansion of the present, or in the interstices of the past and the future. The design of the Art project space in Fitzroy will explore the relationship between time and the art gallery itself, the interior space and the past and future of the site.

Peter Eisenman, “Unfolding Events”, Incorporations (1992), edited by Jonathan Crary and Sanford Kwinter, ISBN 0942299299.

Lor Dethal, “How to Start an Art Gallery - Between Passion and Business”, Gallery in Focus, Oct. 2017.

1. Art gallery is a container of time

We can see each artwork as a record of the situation/time of the work, a record of the point in time when the work was completed, or a pe riod during which the work was created. Some record the time of a previous age. Some record the time of the contemporary. A contemporary art gallery should be a place where these differ ent times are allowed to coexist and collide.

Rinus artist

Wolfgang cm. Courtesy

Van de Velde, Two years, ten hours a day, (…), 2021. Charcoal on canvas, frame – 180 x 180 cm. Courtesy Tim Van Laere Gallery.

Wolfgang Tillmans, Fragile Waves, 2016. Inkjet print on paper, clips – 138 × 207 Courtesy Regen Projects, Los Angeles.

Laurent Philippe, Artists of Tanztheater Wuppertal in Pina Bausch’s Vollmond, Performace.

Sven Anderson & Gerard Byrne, A Visibility Matrix, Multiscreen video projection, The Douglas Hyde Gallery.

2. Art Gallery as an intersection of past and future

“We cannot change the past; we can have re grets, remorse, memories. The future instead is uncertainty, desire, anxiety, open space, destiny, perhaps. We can live toward it, shape it, because it does not yet exist.” (Rovelli, “The Order of Time”, p12)

The art gallery itself, as a contemporary object, should extend its presence. Through designing & constructing the art gallery, an impact on the fu ture of the site should be established, which helps shape the uncertainty of the future. The response to the memory of the past will also be explored and established through materiality, artistic ele ments, built forms and so on.

Carlo Rovelli, “The Order of Time”, Publish: Penguin Books (2018 (english edition)), ISBN9780241292525.

Carlo Rovelli, Digram relationship between past, present and future, The Order of Time, p32.

3. Human’s notion of time & internal space of an art gallery

”Movement is a function of time” (Kuma, “Anti Object”, p147)

Space can bring two attributes to the concept of time. One is what Rovelli calls ‘proper time’, which can be measured by a specific “clock”, a sun or moon. The other is ‘relative time’, based on people, environments and movement. This also complies with Heidegger’s philosophical theory that the existence of time is defined by the actions of people. The design will explore two concepts through various spaces created by light & shadow, movement, and fluid rhythm.

Kengo Kuma, “Architecture Words 2: Anti Objects”, AA Publications (2013), Translated by Hiroshi Watanabe, ISBN 9781907896347.

Martin Heidegger, “Being and Time”, Translated by Jiaying Chen, Publisher: Joint publishing (2014), ISBN 9787108050960.

Nathan Rupert, Shadow of the Sun, Photograph, Aug. 2011. Syn Architects, The Hometown Moon, 2021.

0.5km Atherton Reserve 1kmcarltongarden

0.7kmFitzroygarden0.3kmVictoragreenstrip

1.5kmYarra

live service club/workshop

tram

tra c

path

Gertrude St. Smith St.

Fitzory Contemporary Art Gallery (FCAG)

volume

level stack

shirnk edge condition

access & walls

walls

TEMPORARY

TEMPORARY GALLERY

OFFICE

PROJECT

Plans-Fondazione Prada Torre-OMA

S t r eet

S t r eet

S t r eet

S t r eet

S t r eet

Roof RFL +21

3F RFL +15

Di

Di

Di