Studio 36 NGV_C_875783_Lam_YiJie by Yi Jie Lam

ABPL 90115 REFLECTIVE JOURNAL

-Studio 36 NGV_CStudio Leader : Anna Nervegna

Yi Jie Lam 875783 Semester 1, 2021

CONTENTS

Task 1

Iterations

Task 2

Gallery Analysis

Task 3

Inside-Out Objects

Task 4

Urban Massings

Research/Reading

118

Site Analysis

126

Design Development (Mid-Semester)

136

Design Development (Final Review)

162

References

218

This task focused on exploration of a series of iterations based on different techniques. Researching the techniques and inspired from precedents. Through multiple iterations, different ideas were able to be tested out, setting in the context of gallery design. Both successful and failed iterations provided opportunity to reflect and evaluate, crossing out options that were not preferable. It was a useful process when it comes to the first stage of design, modelling in 3-dimensional view increase the level of visualization, as well as its relationship to the others.

Task 1 - Iterations Studio 36 NGV_C

Studio 36 NGV_C

Iteration 1 Blurring

Horizontal floor plates are strategically used as a tool to blend with the verticality of the building. Through the extension of the cubic feature, cross-level interaction is encouraged. Sou Fujimoto Green Architecture 2014

Beautiful surroundings of the Kensington Garden has been merged into the architecture. The pure white grid-liked pavillion blurs the indoor and outdoor spaces, highlighting transparency to allow nature, climate and weather to be incorporated as a whole. Sou Fujimoto Serpentine Pavillion 2013

Both precedents serve as a good starting point for the iteration, where the blurring effect causes positive impact on the user experience, allowing for a sense of openness to the surrounding. Potentially, this technique could be applied internally for the spatial composition where relationships are well-crafted across spaces.

Studio 36 NGV_C

This iteration was inspired by barcode where lines with different spacing result in blurring effect. It can be applied to façade design in which the fins could potentially create a blurring effect to merge the interior and exterior together. This façade typology can also provide additional shading where the fins are manually or digitally controlled in respond to the direction of sunlight.

Studio 36 NGV_C

Iteration 2

Positive and Negative

“Space is the breadth of art,”said Wright. His theory of spatial composition illustrated the idea of compression and expansion, where the positive and negative spaces allow for the breadth, with contrasting spatial experience. Frank Lloyrd Wright Falling Water 1935

The interlocking of cubes, subtraction of volume to form negative spaces that turn into a covered terrace. Random addition and subtraction resulted in varies volumetric spaces in different scales, height and quality. Fictional Architecture

The precedents showcase technique of positive and negative spaces in two distinct ways. While The Falling Water from Wright applied horizontal and vertical planes to compose the contraction and expansion effect while moving through spaces, the fictional architecture uses simple cubic geometry to generate a variety of spaces.

Studio 36 NGV_C

Positive and negative technique raises question between form and space. They complement each other where the negative add features to the positive. The intersection of bothe positive and negative spaces form intersting indoor and outdoor areas where the combination of both provide opportunity for the insertion of voids, volumes and the in between.

Studio 36 NGV_C

Iteration 3 Fragmentation

Dissecting spaces through the fragmentation generated volumetric spaces, each with distinct functions allocated. Zaha Hadid Rosenthal Center for Contemporary Art 2003

The fragmentation of cubes created illusion effect where some of the boxes are seemed to be floating. When volumes are fragmented, it allows for different uses being assigned onto each cubes. Sou Fujimoto Inhabitable Nomanic Structure 2014

Derived from post-structuralist philosopher Jacques Derrida, fragmentation is an interest in manipulating the surface or skin of a built structure, and non-rectilinear shapes which appear to distort and dislocate elements of architecture, such as structure and envelope. This technique represents permanent and complex. Different fragments tend to illustrate different functions while the cut lines are to allow for movements and vibrancy.

The fragmentation technique applied created multiple effects. Volumes being dissected can be used as a tool to divide spaces internally, while the skin of the building being fragmention could be used to generate facade patterns, with different materiality applied onto different areas.

Studio 36 NGV_C

Iteration 4 Illusion

Peeta Random House in German 2016

Effect of illusion has been created through the use of surface geometry and alternating colours, causing to users to confuse in the internal layout, where the focus has been shifted onto the facade of the building.

The additional facade decoration applied illusion to add excitement and fun onto the pure coloured building. Wired frame cubes are arranged randomly with distorting effects, elevating a sense of chaos onto its surrounding. ARM Architecture MTC Southbank Theatre 2009

The special feature in the field of architecture is the use of illusions in order to make buildings appear different from what they are. Ancient Greek architects used optical illusions to create the impression of perfection. Illusion architecture exploits our perception to create real-life illusions in the urban space. Through illusion, one may perceive different view from the others. The iteration explores on the creation of spaces through plane and verticality. Both intersection allows surprising outcomes where different levels and scales help to inform the quality and atmosphere of spaces.

Illusion is applied mostly onto the facade, to increase vibrancy and fun onto the regular geometry. People walking on the street will be attracted and driven into the building. Internally, it might not be as suitable as how it incorporated into the facade system especially when a clear and directional internal composition is required for the building typology.

Studio 36 NGV_C

Iteration 5 Transparency

The used of glazing alternating with semi-translucent fabrics created a sense of transparency where natural light lit up the lab with beautiful shadow pattern. MLL Design Lab (n.d.)

Vertically, the honey-comb liked facade system used glass walls extensively, to allow lights from penetrating. Royal Byckovas Miami Retail 2017

Transparency allows the manipulation of light and shadow. It often features playful façade design where users are able to receive ample sunlight. Natural light passes through the transparent panels and pierces into the building’s volumes. When combined with the opaque sections of the façade, the interior of the building becomes a binary of light and shadow that shifts within the interior floor-scales as well as with the movement of the sun.

Both precedents invite natural light into the buildings through the used of glazing, where the supporting structures are exposed while creating a sense of openness towards the exterior spaces. However, the transparency technique could also be applied onto the internal layout, where the spatial relationship is merged with the surrounding context.

Studio 36 NGV_C

Iteration 6 Collage

Tadao Ando Sayamaike Historical Museum 2001

Simple geometries such as circle, rectangle and square are combined into one building form, with individual volumes and the in between circulation spaces derived from the intersection of those geometries. Tadao Ando Sayamaike Historical Museum 2001

A combination of simple shapes can result in satisfying outcome. With the use of planes, circles, cubes and prism, a series of spaces were generated, forming both public and private spaces. Also, different geometries could perform as different function including ramp, outdoor garden, terraces and division feature.

Collage is an interesting technique to explore different ways to compose space from multiple elements. From the precedent, the compositional technique was adopted to create geometrical spaces, where relationship between each volume could be derived and explored further.

Studio 36 NGV_C

Iteration 7 Jumpcut

The regular high rise rectangular building adopted the jumpcut technique to trim and join, to allow for connecting bridges and cantilivered volumes. Steven Holl Architects Linked Hybrid 2009

Ribbon-liked strips are added onto the facade, breaking the language of the boxy building. Patrick Tighe Architecture La Brea Housing 2014

Jumpcut is an interesting technique that has a great potential in coming up with playful design outcome. However, this iteration was not successful and it turned out to be more like a playspace instead of a real building geometry.

Both precedents efficiently showcase how jumpcut technique alters and elevate the aesthetic value of a building. It is particularly useful to explore when the design is static and require some additional feature to increase the level of dynamism.

Studio 36 NGV_C

Iteration 8 Super Graphic

Facade adopted supergraphic technique to create variation and movement on the skin of the building. Filipe Costa University Facade Design Project 2014

Words are incorporated as part of the facade system, attracting people’s eyeballs onto the building. Will Bruder+PARTNERS Agave Library 2009

This iteration allows for manipulation of facade with different protusions. By extruding and inverting some of the cubes, it forms patterns on the facade of NGV, allowing illumination of lighting to be a feature during nightime.

This technique is suitable to be adopted on the facade design, where creativity and innovation allows for an outstanding facade option.

Studio 36 NGV_C

Iteration 9 Folding

The double skin structure allows folding patterns on the facade, where the effect creates movement along building boundary. Yuan Ye Architects Bozhou Stadium 2018

Libeskind’s famous folding geometry, where the folds create different scale of openings, allowing people to wind around the space freely. Daniel Libeskind Serpentine Pavillion 2001

By using curves with various dimension, loose and defined spaces are generated. Different direction of curves enables interesting circulation which might be useful in a gallery where the curves can be used to exhibit artworks.

Folding technique is an apparent way to showcase movement and dynamism, both internally and externally. This technique allows for multidimensional facade system to be applied, or even with the inclined walls internally to create the expansion and contraction effect.

Studio 36 NGV_C

Task 1 was an interesting explorative exercise, to place myself in the context of the studio theme. Studio presentation with all the techniques accompanied by precedents arose my understanding on approaching design and brainstorming in a unique way, where not all design brief is constraint by its site surrounds. Sometimes,

experimenting

building

form

through multiple iteration techniques might help in coming up with a creative form that

Reflection

will is yet to be developed. Overall, task 1 was an insightful exercise where I found myself was a little bounded by my usual design process. I tended to think a lot of the building practicality unintentionally while designing, resulting in the lack of creativity of the building form. In short, I learnt not to constrain myself in the boundary, think out of the box while I am still at the first phase of the brainstorming process, to generate more innovative and interesting form.

Studio 36 NGV_C

This task was mainly focusing on analysis of contemporary art galleries. As a source of inspiration, we were required to analyse the form, distribution of functions, circulation and access, lighting qualilty, materiality and the diversity of height for each exhibition room. This task was particularly helpful as the analysis deliberately provided insights and understanding of the spaces required for a contemporary art gallery, setting ourselves in a great position before starting to design for our own gallery.

Task 2 - Gallery Analysis Studio 36 NGV_C

Studio 36 NGV_C

Sir Roy Grounds National Gallery of Victoria Contemporary Art Musuem (Houses international art collection) Melbourne | 1959

Studio 36 NGV_C

Form

Architecture Firm : Grounds Romberg Boyd Architect : Sir Roy Grounds & the Featherstons Year of Construction : 1959

• grand and forbidding in external form • sometimes confusing in the interior • unprecedented civic scale (the water wall, the stained-glass ceiling of the great hall) • building structure

with

clear

geometrical

• a regular prismatic volume pierced by three square courtyards sitting on a podium that tames the site’s irregular shape and profile

Studio 36 NGV_C

Spatial Organization

The exhibition spaces in the revamped NGV are sequences of rooms connected in enfilade. They

Exhibition Area

are separated from the circulation ramps and the orientation space of the central court. The strategy returns the institution to the model of the museum alluded to in Grounds’ design, the

Exhibition Area

palazzo. The static quality of the spaces was undercut by the volumetric play of high and low spaces in principal exhibition areas, and ceilings of timber waffles and baffles which rather tended to fuzz the apparent limits of the room. In the upper level galleries, the use of extensive skylights and high side glazing suspending the objects on display between the hierarchical tradition of the nineteenth-century museum and a more fluid modernity.

Asian Temporary Exhibition

British & European Temporary Exhibition

Foyer

Federation Court

Great Hall Entrance & Waterwall (St.Kilda Rd) Grollo Equiset Garden

Studio 36 NGV_C

Circulation & Access

Main Entrance from St. Kilda Road

Ground Floor Plan

• Access points are located on both sides of the gallery • Interesting circulation path that encourage for encounter

First Floor Plan

Vertical Circulation via escalators or ramps

Circulation

Second Floor Plan

• Narrow escalator to save space • Ramps leading to two core places • Interaction between circulation spaces and exhibition rooms Third Floor Plan

Studio 36 NGV_C

Materiality

Diversity of Gallery Room Quantum Memories 2020

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

Marine MUtants from a Disposable World Series 2020

Perforated Glass

Translucent Glass

Translucent Glass with Waterwall Translucent Glass

• standard white room to make the artwork stand out

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

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

Tinted Glass

Clear Glass

Polished Concrete

Decorative Art Passage & Megafauna, Tabor Robak

- Glass with different transparency - Polished / rough con crete - carpeted floor - bricks

Bluestone, Timber

Studio 36 NGV_C

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

- Stained Glass

Studio 36 NGV_C

Lighting Quality

Natural Lighting (diffuse daylighting)

Key Takeaways from the Visit

Artificial Lighting (to showcase artwork / artefacts)

Artificial Lighting (in built lighting)

• A central attractive spot as the highlight of the art gallery • Mixture of senses : visual, sound, smell (from the cafe) • Each exhibition room has different theme with different layout and lighting • Confusing/ lost layout • It is a place for gathering, education, laughters, fashion, art, knowledge, culture, history • Voids are use to create a sense of expansion and contraction within the space • Ceiling height varies across different areas • More interesting programs are located at the ground floor to capture visitor’s interest to continue exploring • Garden area is calm and pleasing

- to naturally lit the interior - for aesthetic purpose (colourful projection)

Studio 36 NGV_C

- different intensity of lighting for different exhibition room

- utilize lighting to highlight different artwork - produce illumination effects

Studio 36 NGV_C

"The idea for OMM was to use architecture to create a link between people and art," - Ikeguchi.

Kengo Kuma & Associates Odunpazari Modern Art Museum Contemporary Private Musuem (Demonstrates Turkish Art) Turkey | 2019

Studio 36 NGV_C

Form & Spatial Organization

Permanent Exhibition

Temporary Exhibition Terrace

This gallery reflects the streetscape quality into the new architectural design of the museum that stands on the urban scale. The design strategy is to make the volume in aggregation; stacking small boxes to create the urban scale architecture. Stacked boxes at the street level are read in the scale of surrounding houses and it grows taller towards the center of the museum to stands in the urbanscape that announces itself as a new cultural landmark of the area.

Lobby Office

Main Hall Cafe

Museum Shop

Studio 36 NGV_C

Circulation

The museum will display items from Tabanca’s

1,000-piece

collection

modern and contemporary art, alongside temporary exhibitions.

The building is

designed so that there are smaller, more intimate spaces on the lower floors, with larger, open galleries for events and exhibitions on the upper floors. It also contains a cafe and a shop. The museum opens out onto a large plaza with steps that run up alongside the building, which connects an area of older housing with a new development.

Studio 36 NGV_C

Structure/Feature

Insipired by the Ottoman houses adjacent to the site, the architect intended to create the unique character by stacking and rotating boxes that offer the opportunity to house exhibitions and activities in various scales. Not just in the formalist manner, but to continue the streetscape and recreate the non-linear journey of visiting the inside of the musuem. As timber has been really important to town’s history, hence the architect decided to build with timber that gives comfort and warmth to the space and is kind to the environment. Exhibition Area Feature/Void

Studio 36 NGV_C

Lighting

At the centre of the building, where four of the stacked blocks meet, there is a skylit atrium that stretches the full height of the three-storey building. The central atrium, composed of timber blocks, connects each level to let the natural light through the skylight above.

Materiality The playfulness about the design is the way that the different pieces fit together might make one think of a child letting his or her own imagination run wild with Lego blocks. Others may see the design like a series of puzzle boxes that invite the visitor to come closer and unravel the artistic mysteries that they contain. Tanabe’s work with bamboo, an age-old craft in Japan, is in line with the downto-earth philosophy of Kengo Kuma and Associates, which favors more natural materials like timber, stone and paper in its designs. The design, realized through the use of materials, such as laminated timber pine, limestone, plaster and oak flooring, seems both of its time and redolent of a past age.

Studio 36 NGV_C

Flexibility

Looking at the OMM from outside and seeing how the different buildings connect the different exhibition spaces, visitors also get a visual metaphor of an interlinked world that also suggests some profound links between people and nature. The stacked and interlocked boxes have been built like this to create a variety of diverse, different-sized exhibition spaces inside. On the ground level, the large-scale boxes allow room for bigger works, but on the upper levels the boxes are smaller to accommodate less grandiose artworks that seek to create a more personal dialogue with visitors.

As a connecting and unifying device, the central atrium, constructed out of timber blocks, links all the different levels and allows the natural light to flow through the skylight to let the artists creativity shine.

For the OMM design, the stacking techniques and geometric lines suggest both a Zen-like simplicity and a minimalist approach to art that complements many of the installations and artworks on display here.

Studio 36 NGV_C

Other Precedents Diller Scofidio + Renfro MoMA Renovation & Extension, New York 2019

Building

invites

open

dialogue

between

the

interior and exterior spaces. Fluidity of spaces with interconnected narratives of modern and contemporary art across all mediums. Building features a stack of verticality interlocking galleries of varying heights.

SANNA New Art Museum, New York 2017

Concept focuses on simplicity and clean translation into construction. Shifting and stacking of the cubes increase dynamism, naturally lit combines with artificial lighting condition. Facade treatment with anodized aluminium mesh on top of the white walls to form an uninterrupted continuous blurring layers, resulting in a white, light and elegant building.

Steven Holls VCU Institute for Cotemporary Art, U.S. 2018

Contemporary Art with an inviting sense of openness, where a dynamic architectural promenade connects the building’s most important spaces, engaging visitors in a variety of changing perspectives. The building was crafted to enable visitors experiencing movement in time around the exterior as well as the interior.

Diller Scofidio + Renfro and Woods Bagot Adelaide Contemporary Design Competition, South Australia A gallery that links the deep history of Aboriginal culture, historical and geographic breadth, the perpetual present of festivals and events, into the future. Building is conceived as a curatorial apparatus to support the juxtapositions of time, scale and media. Gallery spaces structured by both daylight and controlled lighting condition.

Studio 36 NGV_C

Task 2 focused on examining different galleries. Analysis 1 was a physical visit to the National Gallery of Victoria. The visit was worthwhile where I get to experience the ambience and visualize gallery spaces and quality, setting myself in a clear position of what a gallery requires. Through the visit, I learnt about the essence of a gallery space is being spacious, where the artwork was the focus of the entire room. Different flooring material and ceiling

Reflection

height required consideration to suit multiple artworks. Flexibility is another main feature to concern, whether on designing a temporary or permanent exhibition space. Analysis 2 was learning through precedents studies. At the moment, I was not quite sure about how I am going to approach the design, hence I chose precedent that is geometrically pure with interesting features. All analyses drew upon the gallery qualities with spaces that can be flexibly managed, lighting quality whether artificially or naturally, materiality and how the spaces convey and support the artworks.

Studio 36 NGV_C

This task requires us to explore the inversion technique based on a traditional interior space (eg. castle, observatory). By turning the internal volume inside out, it allows us to use shape and volume to explore the form and ideas for a gallery. We worked in pairs to do 2 iterations based on a chosen building and were required to produce drawings including plan, section and 3d model. Overall, this task was exciting as it had driven us to think about spatial arrangement in such a way that inverting the internal space. The highight of the task was it made me to consider about programs and allocation of functions when I was constructing my plan.

Task 3 - Inside Out Objects Studio 36 NGV_C

Studio 36 NGV_C

Outdoor Exhibition

Garden

Foyer

Studio 36 NGV_C

Reference Building Samrat Yantra Observatory, Jaipur, India (1738)

3D Model

Area for inversion

Studio 36 NGV_C

Iteration 1

The form is generated in square-based. Timber structures are applied as part of the roof to keep the existing form transparent while still allowing light to pass through. Most importantly, the intention is to allow for connection between the interior and exterior. The central core is purposely

Ou Exh

raised to 15 meter high to house artworks that are larger in size.

Also, they are

topped with glass, acting as skylight to allow ample sunlight to lit up the space naturally. Rather than having solid walls to enclose the entire volume, concrete pillars are installed, ensuring stability while still allowing a sense of transparency, to allow passerby to get a glimpse of what’s going on in the gallery.

Foye

Studio 36 NGV_C

Services

Lounge

Temporary Exhibition

Plan

Section

Outdoor Exhibition

Information Desk

Foyer Garden

Main Road Design Store

Permanent Exhibition

Storage

Cafe

Foyer

Services

Lounge

Temporary Exhibition Outdoor Exhibition

Information Desk

Foyer Garden

Main Road

Elevation

Design Store

Permanent Exhibition

Storage

Cafe

Front Elevation

Right Elevation

Foyer

Area for the sunken plaza is inverted to form a volume as it is simple and clean. This shape is mirrored and arranged based on the rationale of a gallery. With each volume performing as exhibition and functional space, the area remaining forms interesting circulation path that prompts for contraction and expansion. Each volume is allocated with a function while the core caters for both temporary and permanent exhibition, where every four volumes connect to each other. With this arrangement, the gallery protrays clear axis while the symmetrical plan provides clear-cut direction, avoiding visitors to get lost within the gallery. Outdoor exhibition is also proposed as an option to cater for different mode of exhibition.

Studio 36 NGV_C

Perspective 1 Perspective 2

Studio 36 NGV_C

Reference Building House of the Faun, Pompeii (180BC)

3D Model

Form

Studio 36 NGV_C

Volume

Studio 36 NGV_C

Iteration 2

Iteration 3 Elevation

Elevation

Plan

Section

Section Planes with voids are adapted to generate this iteration with the intention to create a form that demonstrate the idea of interlocking. By intersecting planes, different thickness also shows variability in terms of floor plate, thus addressing the notion of formality along with a sense of mysterious.

Studio 36 NGV_C

Plan With the idea of levelling, a solid shape is used as a base for form generation to showcase cantilevering. Vertical planes are adopted as a support structure and also to give some additional features to the form generated.

Studio 36 NGV_C

Iteration 4

Elevation

Section

Plan

Jumpcut technique is applied to the previous iteration to divide the form into 3 different parts. They are shifted in different position and combined again to generate a form that is much more interesting and ambitious. Individual fragments are sliced into unique shapes that are potential for housing different functions. Most studio-mates like this iteration as the form has potential to be developed further.

Studio 36 NGV_C

Reference Building Comlongon Castle, Dumfries, Scotland (1500’s)

3D Model

Ground Floor

First Floor

Second Floor

Third Floor

Volume

Studio 36 NGV_C

Iteration 6

Iteration 5

Elevation

Plan

Elevation

Plan

Section

This iteration illustrates the idea of order and disorder. By using only single shape to create the vertical core that varies in height, the horizontal planes are intersected to produce the effect of disruption. Horizontal planes might be adopted as the linking structure that connects all the vertical form together.

Studio 36 NGV_C

Section

Stacking and repetition are featured in this iteration with the intention of generating a form that pulls circulation out of the building. The vertical structure acts as the protrusion that connect horizontal planes while the slanting triangular shapes represent the circulation core.

Studio 36 NGV_C

Reference Building Crichton Castle Scotland 1390

3D Model

Ground Floor

Second Floor

First Floor

Volume

Studio 36 NGV_C

Iteration 7

Elevation

Plan

Section

Stacking could be much more interesting when different shapes come together. By combining semi sphere and rectangular planes, the overall form tends to portray sense of playfulness, causing the dome-liked feature to be the highlight of the structure. Most studio-mates like this as the form seemed to be a city within a city that contains playfulness within it.

Studio 36 NGV_C

From the ‘Inside-Out’ task, I have learnt to consider spatial relationship while designing a building form, for instance, how the internal composition informs through the external form, the scale of the spaces, volumes and voids. Approaching the notion of spatial composition inversely was new to me, where I struggled at the beginning on how to draw the relationship between the void space and its existing volume. Among all iterations, iterations 4 was

Reflection

the most successful attempt where the insideout technique was combined with jumpcut technique from task 1 to generate a form that portrayed movement and dynamism through geometries. Other iterations might not be as successful as iteration 4 where the results were more futuristic and not contemporary for a gallery design.

Studio 36 NGV_C

By adopting stacking as the basic technique, we were required to examine the envelope of the NGV_C. Multiple stacking techniques were explored to form the massing models in the context of the site. Some iterations were based on one technique while the others were generated by a combination of two or more techniques.

Task 4 - Urban Massing Studio 36 NGV_C

Studio 36 NGV_C

Iteration 1

Iteration 2

Building as Landscapping

Cantilevered

Plan Plan

Section

Front Elevation

Basic rectangular shape is stacked together with each cantilevered and faced towards different direction. The intention was to allow for diverse views to be captured when standing at different location or volume. The overlapped area will perform as vertical circulation, allowing for accessibility across levels. However, this has to be considered more towards the site. deciding on the direction of the view to make it site-related.

Studio 36 NGV_C

Front Elevation

Gallery with landscaping on top of the structure will be a feature for the public facility. Slopes that act as the roof will continue from the ground level towards the actual roof of the gallery, thus providing extra greenery to be incorporated as part of the view. Height is the biggest issue with this form as it limits the height from going to a multi-level building that is 60m high.

Studio 36 NGV_C

Iteration 4

Iteration 3

Terraced + Punctuation

Sculptural + Subtracted Cube

Plan

Section

Front Elevation

Section

Front Elevation

Terraced as a strategy to step each floor backwards provide additional space for viewing balcony. While it allows for sunlight penetration, the curvy sweeping lines also give credits to the outdoor view through glazing. Most classmates like this scheme but the direction of sunlight will affect the programs within it.

A container that houses for all the functions is interesting in terms of its subtracted square volumes. The perforated roof acts as skylight to direct sunlight in, while the collective subtraction provides opportunity for greenery to be integrated along the terrace. By levelling both edges of the volumes, the space can be proposed with a plaza or entrance that will serve as a gathering spot for the public.

Studio 36 NGV_C

Iteration 5

Iteration 6

Wrapped + Layering

Wrapped + Floor Level Stacking

Plan

Section

Front Elevation

Section

Front Elevation

With floor stacking and cantilevering as the base technique, the entire structure unified when the glazed skin wrapped around the form. Steel structure supporting the glazing will thus allow for a sense of openness where the gallery itself are surrounded by semi-opened outdoor spaces. This form should be explored more to avoid the feeling of being trapped in a cage.

Floor plates are used as the main elements to direct visitor’s movement and behaviour within a building. Thus, the idea of tilting floor plates and connecting them towards two central cores is to provide dynamism in terms of circulation. The entire structure is wrapped with semi-transparent skin, allowing for adequate openness and connection to the exterior.

Studio 36 NGV_C

Iteration 6

Iteration 7

Spatial Stacking

Sculptural Cube

Plan

Section

Plan

Section

Triangular shapes are adopted from the boundary of the site to generate this form. With a minimum of 5m height, each stacked triangular volume served as an exhibition space. The central breakthrough forms the foyer which then divert to both sides of the volume housing for other commercial activities.

The container form is carved out to allow for transparency and natural sunlight penetration. The form itself addresses the notion of art gallery as a sculpture, exhibiting for different form of artworks. A platform is elevated, providing opportunity for a viewing terrace that captures the iconic spire.

Studio 36 NGV_C

Iteration 8

Iteration 9

Sculptural + Punctuation

Plan

Layered and Slatted

Plan

Section

This form conveys the idea of bookshelf that has been inserted with books. With a huge cut-out at the middle, it allows for greater flexibility in terms of circulation and greenery insertion. With the sense of grandeur, it reflects on the contemporary form for an art gallery.

Studio 36 NGV_C

Section

Aiming to express circulation, the form is generated where the programs are allocated at the vertical tower form, the triangular platform surrounding the vertical volumes serve as the skybridge, connecting each volume together. This futuristic form provides a new perspective to the contemporary art gallery.

Studio 36 NGV_C

Iteration 10

Iteration 11

Terraced

Cantilevered

Plan

Section

Plan

Section

Stepping up across levels allow for insertion of greenery along the terrace, with the hierarchal principle, the formality of the gallery is expressed. The attached vertical structures unify the entire form, introduces a language to the gallery.

Cantilever is best used to express horizontality, with the notion of framing views towards a particular direction. The ground is left open to draw the visitors into the podium before entering the gallery. This stacking technique allows for multiple negative spaces, allowing sunlight and wind penetration.

Studio 36 NGV_C

Iteration 12

Iteration 13

Punctuation

Spatial Stacking

Plan

Section

Plan

This form is carved out by cubes and rectangles. The fenestrations provide opportunity for visual connections to the street. By having the entrance angled, pedestrian from Southbank Boulevard and Strut street can access easily while still maintaining the view towards the spire.

Studio 36 NGV_C

Section

This iteration focuses on the internal space. By having planes intersecting with spheres, the circulation becomes more interesting when each sphere functions as exhibition space. The sphere can become the void, allowing for transparency across different planes.

Studio 36 NGV_C

Iteration 14

Wrapped + Floor Level Stacking

Plan

Section

Internal circulation is the highlight of this iteration. With ramps or stairs surround the building boundary, visitors are forced to circulate around each floor before reaching the next space, forming a journey while visiting. A semitranslucent membrane is proposed to wrap the entire form, encouraging connection between the interior and exterior while the movement within the gallery is captured from any point of view.

Studio 36 NGV_C

100

Studio 36 NGV_C

101

Iteration 15

Iteration 16

Sculptural Cube

Plan

Floor Level Stacking

Section

Elevation

Plan

Section

Elevation

This form is divided into three areas, the southern and the northern volumes and are connected by a central void. The two entrances divert visitors into the gallery from both Southbank Boulevard and elevated Strut Street. The triangular penetration allows direct visual connection to the exterior and the patterns are reflected on the ramp on Strut Street.

By focusing the internal spaces, the floor plates are arranged in different sizes and orientation to provide dynamism to the circulation paths. With the four main rounded pillars (semi-transparent in yellow) connecting all the floor plates vertically, they can be used as lift shaft or even spaces for special exhibition.

Studio 36 NGV_C

102

103

Iteration 17

Iteration 18

Facetted Cube

Plan

Terraced Stacking

Section

Elevation

Plan

Section

Elevation

With the exploration of the facetted cube, this iteration provides flexibility where the arrangement can be used as the façade patterns or internal volumes, catering for different sizes of exhibition. To address the cubic geometry, the elevated Strut Street is designed where the stairs are arranged with cubes, allowing for seatings, or resting aside from a stair.

Folding surfaces into geometry offers different perspectives when viewing the form from multiple angles. The terraced technique is adopted for outdoor areas, with cross connections occurring across different levels. With the roof sloping down facing North, the skylight allows for sunlight penetration.

Studio 36 NGV_C

104

105

Iteration 19

Iteration 20

Terraced Stacking

Plan

Spatial Stacking

Section

Elevation

Plan

Section

Elevation

This iteration showcases terraces in a more obvious way when the triangular panels step back all the way from the north to the south direction. With a central courtyard insertion, the form addresses multiple private, public and the in-between spots, catering for multiple dimensions of functions.

With this massing, the floor levels are stacked in various scale and height, while the circulation paths are drawn out of the gallery. While allowing for pedestrian to witness the movement within the gallery, the circulation volumes serve as a façade option at the same time. Again, the patterns of slopes of the ramp are acquired from the building itself to offer a sense of consistency.

Studio 36 NGV_C

106

107

Iteration 21a

Iteration 21b

Sculptural

Plan

Elevation

Section A

Section B

Section A

Section B

Developing from iteration 15, this massing achieves the effect as a sculpture sitting elegantly on the site. By having panelling at the surface, it provides different perspectives when viewing from different angles. As a contemporary art gallery, this attempt allows for flexible manipulation of the interior space whilst maintaining the feature as a sculpture holding for exhibition.

Using the same form, this iteration showcases different version of interior spaces as compared to the previous massing. Cubes are defined according to the required heights and areas for each function, stacking and interlocking to generate a variety of possibility for a gallery space.

Studio 36 NGV_C

108

109

Iteration 22

Iteration 23a

Punctuation

Terraced Stacking

Plan

Elevation

Plan

Section

Section 1

Section 2

Setting iteration 15 as a starting point, this massing is developed to allow for more openness and transparency to the interior spaces. The façade is punctuated with the zig-zag shapes, allowing the viewers to have a glimpse of what is happening inside the gallery. The slanted planes can be potentially used as circulation path (eg. Stairs) while the functions are drawn backwards to the inner volume.

Adopting iteration 18 as a base, this massing is developed where the height reaches the required 60m. Each surface is panelled to achieve the folding effect. Each volume is pushed and pulled to create some open spaces, allowing the gallery to have some exterior spaces for outdoor activities.

Studio 36 NGV_C

110

111

Iteration 24a (Refinement)

Iteration 24b (Refinement)

Sculptural

Plan

Southbank Blvd

Section A

Kavanagh St

This massing is developed to achieve the intended angles from different perspectives. The focus is placed on the internal spaces. The central volume acts as the circulation and void space for natural sunlight to naturally lit up the internal space. The panelling effect is reflected onto the internal division so that a sense of consistency can be achieved both internally and externally, whilst creating interesting individual space.

The same form is explored with another version of internal layout whereby the circulation happens at different location. Solid volumes penetrate the floor plates to allow for both positive and negative spaces. The cut-out space can be potentially installed with huge exhibition, allowing visitors to appreciate the artwork from multiple

Section B

Studio 36 NGV_C

112

Studio 36 NGV_C

113

Iteration 25a (Refinement)

Iteration 25b (Refinement)

Terraced

Plan

Southbank Blvd

Section A

Kavanagh St

The modified massing has transformed to become a more angled volume as compared to the previous massing. The internal volume is defined where the folding from the exterior is translated into the interior space. The folded surfaces create bounded spaces to cater for intimate functions.

Circulation for this iteration happens at area facing the elevated promenade. A huge void is introduced at the entrance from the promenade while stairs act as a feature, allowing for pedestrian to capture the internal movement of the visitors. The top part of the massing is incorporated into the internal space, intersecting the floor plates to generate dynamism across levels.

Section B

Studio 36 NGV_C

Section B

114

Studio 36 NGV_C

115

Setting myself into the context, this task required more deliberate thoughts on how the massing relate to the site surrounds and the landscape. First half of the iterations did were not so successful where I did not quite relate the buildings onto the surrounding conditions. The buildings did were lack of the idea of contemporary. Second half of the attempts were more constructive and persuasive in terms of conveying the notion of contemporary arts and

Reflection

life. Sections were particularly effective where I tended to ask myself on how the internal qualities addresses the external geometries. Though it was not my usual method of starting a design scheme through massing, but overall, it made me think out of the box and not to limit myself to regular geometry.

Studio 36 NGV_C

116

Studio 36 NGV_C

117

This section includes key points obtained from readings and inspirational videos. The concept of folds was explored through researching reading materials and articles from Deleuze, Peter Einsenman and Daniel Libeskind.

Research/Reading Studio 36 NGV_C

118

Studio 36 NGV_C

119

Reading

Viewing Exhibitions (Function of Style)

FORM • • • •

Mat (closed, with courtyards) Slab (linear, l-shaped, u-shaped) Block (closed, u-shaped, o-shaped, stepped) Tower (more than 10 stories)

• •

Indoor, outdoor, terraces, courtyards Sculpture, performance can be outdoor

•

FLEXIBILITY

LIGHTING

• •

•

Open plan (layout is not predetermined) Cellular (layout is fixed)

•

Natural Light (through skylights, clerestories, side window, no direct contact with artworks, direct sunlight must be diffused by reflectors, louvers, block natural sunlight to accommodate video and film art) Artificial light (by track lighting)

• •

•

Single Height (5m high usually) Variable Height (small scale art can get lost if spaces are too large)

• •

• • • • •

Mix of natural and artificial illumination Visual connection to the exterior Bring light from the courtyards Cladding system can provide additional shading Cladding materials: Zinc, perforated aluminium, granite panels, abodized expanded aluminium mesh, curved corrugated glass

Flexibility of Display

Grouped vertical risers (within the core or on the perimeter of units) Plumbing and electrics (in ceiling or floor voids)

• •

Vary in size, height, orientation Degree of natural artificial illumination --> musuem can exhibit different types of art • Ramp detached from the gallery, each floor can host a separate exhibition

CIRCULATION / ACCESS •

STORIES / LEVELS

Number of entrances Density and positions of columns Fully flexible space (no internal loading-bearing walls/ columns) More than one entrance (possible to rent out some of its spaces)

SERVICES

DIVERSITY OF GALLERIES • •

UK regulations (fire exit should be 9m for a gallery)

Environmental Diversity

• •

ORGANIZATION OF SPACE

Key Takeaways:

ESCAPE DISTANCES

INDOOR & OUTDOOR

•

Escalator, Ramps, Public Stairs (require to move people quickly, weekdays. weekends, opening days for exhibition) Egress Stairs (additional means of access)

VENTILATION • •

Mechanically ventilated Natural air (fully air-conditioned galleries are unnecessary)

Single story (can exploit roof for natural light) Multiple stories (sense of continuity across floors are a challenge)

Studio 36 NGV_C

120

Studio 36 NGV_C

121

Reading

Ted-Talks :

The Overexposed City (Paul Virilio)

A New Museum Wing...in A Giant Bubble

Key Takeaways:

Key Takeaways

• • •

• • • • •

(Liz Diller)

the dematerialization of the city the faster we move around the world the less we appreaciate its vastness the disappearance of real space runs parallel to the disappearance of local or historical time (a new form of creating a city based on computing and television logic The Overexposed City - constructed with highly processed materials and finishes that are polished (to achieve maximum luminosity) a place where nothing is constant and where everything exists at the same time time substituted for space face-to-face encounter changed into screen of the terminal (physial spcae and distance loses their importance in human life) all these facts have significant impact on the city’s inhabitants, facade of buildings, city and architecture’s form and even their structure (all tiny fragments of urban functions or human life in urban space will be gradually transformed and integrated)

Studio 36 NGV_C

• To make a good public space, we have to erase the distinction between landscape, architecture, media design, urbanism...(goes beyond distinction) • A place beyong exhibiting arts • The importance of having a flexible interior

122

Studio 36 NGV_C

123

Concept Exploration Folds

Dynamism

Constantly Evolving, Multiplying

Movement

“The world we live in is not so much homogenous and fixed but rather multiple and disperse in a perpetual process of becoming.” - Gilles Deleuze

Why Folds? The current NGV is interpreted as a container embracing the past and present history and culture. Hence, NGV_C is reimagined as a spatial conception that is constantly changing and developing while celebrating the uncertainty of future.

How does the folds convey through architecture and forms? Architecturally, the fold is not a technical device to generate a form, but it is an ontology of becoming, of a differentiation while maintaining a continuity. Hence, the form generated portrays the idea of constantly moving and developing. Both the interior and exterior qualities are viewed as a series of potential expression of pure movements without a definite starting or ending point. With the idea of folding in mind, the form and spatial composition are no longer based on traditional architectural attempts with resolution through order and repetition, but relationships based on uncertainties and differences, enabling the experience of variations. Each gallery space is no longer detached from program and event, the folds become the event themselves with variable intensities of movement.

How does the idea of folds expand into the precinct and city? Moving away from the conventional architectural conception of spatial adjacency, the notion of folds certainly aspired to be extended to a broader context, leading to the consideration of ﬁgure and ground contextualism. Thinking away from the formal static variation, the folds urge for a progressive undulating rearticulation and redeﬁnition of inhabitable space where spaces folded into many sites and potentially across a diverse architectural landscape to form an evolving continuum.

Studio 36 NGV_C

124

Studio 36 NGV_C

125

As a class, we gather information about the site history, vegetation, cultures and programmes, traffic and circulation and building heights to better comprehend the site within the art precinct. Information gathered are useful to help inform the design rationale. This site is exceptionally challenging as it is sitted on a triangular site which is bounded by two streets. As it is a public scheme, the built form is required to respond to the sight lines along Strut Street axis and to enhance a sense of connectivity of publicly accessible areas. The height is limited to 60 metres with consideration of the issue of overshadowing.

Site Analysis Studio 36 NGV_C

126

Studio 36 NGV_C

127

Locality Plan

MELBOURNE

YARRA RIVER

SOUTHBANK

LOCALIT Y PL AN

Studio 36 NGV_C

128

Studio 36 NGV_C

200

400m

Locality plan shows relationship to the different surrounding typologies in a larger scale, highlighting important routes approaching site, its surrounding urban fabric and greenery coverage. Sitting at the core of the art precinct and next to the NGV, the NGV_C is envisioned to weave both Melbourne CBD and Southbank, where the process of constant developing falls and interweave both iconic zones in Victoria admist the contemporary era and reflected by the building itself, stimulating movement and change as people travel across the site. Reflecting on the brief, the art precinct is reimagined as a rich cultural site with dynamic arts and life going on without a definite end.

129

BIRRARUNG MARR

FEDERATION SQUARE

BOTANICAL GARDENS

ALEXANDRA GARDENS

FLINDERS ST STATION

HAMER HALL

ARTS CENTRE

NGV INTERNATIONAL

THE AUSTRALIAN BALLET

SOUTHBANK THEATRE

MELBOURNE RECITAL CENTRE

Site Analysis (Overview)

Summer Sun

Winter Sun

CI TY RO AD

GH ST

STU

KA VA NA

VD Tram Stop Tram Line Bus Route Bus Stop Bicycle Lane Summer Wind Direction (Jan 9am) Winter Wind Direction (July 3pm)

SITE ANALYS I S

Studio 36 NGV_C

130

Studio 36 NGV_C

40m

Site analysis illustrates sun and wind direction, historical and cultural context that will critically affect the form generation process and its functional layout. View towards the spire is to be maintained while Sturt St is encouraged to be the main access pathway to the NGV_C. Locating at the core of the cultural hub, the new NGV_C aspired to become an expressive bold standalone icon for the city, leading the other arts and cultural facilities to evolve across space and time.

131

Site History

Surrounding Context

77 Southbank Boulevard

HISTORY OF MELBOURNE ARTS PRECINCT

1926

1877

1906

Cooper and Bailey’s Great American Interna�onal Circus ﬁrst pitch their tent next to St Kilda Road.

1988

1984

1990

2002

•

Melbourne Concert Hall opens (now Hamer Hall). The city’s premier venue for orchestral performance seats 2500 people.

Buxton Contemporary opens, a gi� of philanthropist Michael Buxton and family.

2013

Tes�ng Grounds opens. This experimental outdoor arts space ac�vates the vacant site at 1 City Road.

•

Mailbox Art Space 141-143 Flinders Ln

2018

The Victorian Government announces plans for the transforma�on of the Melbourne Arts Precinct.

•

Before the arrival of Europeans, the south side of the Yarra River was a wildlife thriving wetland where the Kulin Nation people would hunt and gather. With the 1890 gold rush came a huge influx of people to the city which resulted in a tent settlement on Southbank known as ‘Canvas Town’. In 1946, the government reserved the space we now know as the arts precinct for cultural purposes. The NGV was opened in 1968, Hamer Hall in 1982 and the Theaters Building in 1984.

Studio 36 NGV_C

The gallery has been championing the practices of emerging, mid-career and established Australian artists since its inception in 1989. The FLG stable is unified by a commitment to presenting high quality, exceptional artworks that demonstrate conceptual rigour, technical expertise and creative sensitivity. The breadth of practice by FLG artists incorporates digital media and large scale multi-media installation, as well as more traditional modes of creative representation.

Anna Schwartz Gallery 185 Flinders Ln

City Gallery 110 Swanston Street

Identified and cultivated the careers of visionary artists from Australia and internationally. The gallery represents over thirty multi-generational artists and works on individual projects with artists and curators globally. Anna Schwartz Gallery distinguishes itself for its uncompromising conceptual position and contribution to culture spanning visual art, music and publishing, under the imprint SCHWARTZCITY.

•

The gallery provides a venue for dialogue between cultural material, guest curators and the public. The subject is always the city itself. Some of the most interesting exhibitions have involved branches of the City of Melbourne not associated directly with the city’s cultural life, such as parking and engineering. Indigenous curators and artists have been prominent in programming and the City Gallery proudly subscribes to the Code of practice for galleries and retailers of Indigenous Art.

2018

Melbourne Recital Centre and Southbank Theatre open. The Recital Centre is the city’s second-largest classical music auditorium.

The Australian Centre for Contemporary Art opens on Sturt Street a�er almost 20 years in a former gardener’s co�age on The Domain.

1982

NGV opens. Such is the public aﬀec�on for the water wall and the world’s largest stained-glass ceiling that it is heritage listed just 14 years a�er it was completed.

2009

ABC Southbank Centre opens. In launching the centre Prime Minister Paul Kea�ng predicts that Southbank will one day become a signiﬁcant arts precinct.

Southbank Promenade opens, facilita�ng the urban renewal of Southbank that con�nues today.

1973

The Victorian College of the Arts is established.

1968

Wirths Park reserved for cultural purposes. It would be more than 20 years before the ﬁrst cultural ins�tu�on opens on the site.

1994

Australian Ballet House opens. It is home to the Australian Ballet and Australian Ballet School. Both are world leaders in performance and educa�on.

Arts Centre Melbourne theatres building opens. There is State Theatre, Playhouse, Fairfax Studio, Australian Music Vault, and a host of other exhibi�on and performance spaces.

Architect Roy Grounds’ master plan for the Victorian Arts Centre Complex is completed. It includes a new gallery, concert hall and theatres building topped with a landmark spire.

1946

The Glacarium ice ska�ng rink opens on City Road. Dancers skate to orchestral music, and the rink later plays host to the ﬁrst game of ice hockey in Australia.

Flinders Lane Gallery Level 1, The Nicholas Building, 37 Swanston St

1960

Olympia is converted into the Green Mill dance hall, replete with replica Dutch windmill and a grand ballroom graced with a fernery and waterfalls where 3000 patrons could dance the night away under a ceiling of twinkling stars.

1901

Fitzgerald Brothers’ take over the site, ﬁrst opening the Olympia circus building and later the “fashionable rendezvous” Prince’s Court.

132

An alternative public art space that supports artistic experimentation and the exhibition of new work. Located in the heart of Melbourne’s Flinders Lane arts precinct, artists are invited to create site-specific work for a series of restored mailboxes and the surrounding area of the historic Pawson House heritage building.

Studio 36 NGV_C

Tolarno Gallery Level 4/104 Exhibition St •

The dynamic exhibition program, ranging from video, film, photography and installation, to painting, sculpture, digital media and cutting edge design, attracts the attention of collectors, curators and critics from around the globe.

The Ian Potter Centre Federation Square, Flinders St & Russell St •

•

A spectacular showcase comprising over 20 galleries housed within a landmark architectural complex. NGV Australia presents the history of Australian art from the Colonial period and the Heidelberg School through to contemporary art and includes photography, prints and drawings, fashion and textiles, decorative arts, and a suite of galleries dedicated to Aboriginal and Torres Strait Islander art.

133

BOTANICAL GARDENS

Vegetation

1.5km

Movement/Circulation FAWKNER PARK 1.9km

Pedestrian Pathways Bicycle Lanes Tram Lines Tram Stop Bus Stop

VEGETATIONS

CIRCULATION & •TRAFFIC •• • • • • • •• • •• ••••••••••••••• • • • • • •• • • • • • • •

Platanus London Plane Platanus Cyprus Plane Brachychiton Flame Tree Liquidaber or Sweet Gum Xanthorhoea Grass-tree Corymbia Lemon Scented Gum Eucalyptus Ironbark Angophora Smooth-barked apple Ulmus English Elm Phoenix Canary Island Date Palm

Pedestrian Pathways Bicycle Lanes Tram Lines Tram Stop Bus Stop

• • • •

The main Yarra River seperate the site from Melbourne CBD. Ample greenery are located nearby the site, with the main Royal Botanical Garden spans across one side of St Kilda Road. A new immersive garden is proposed as part of the public realm which is located next to Sturt Street. A diversity of vegetation are visible around the site including both indigenous and exotic series.

• •

VEGETATIONS • • • • • • • •• • • • • • • • • • • • • •

• •

The site is highly accessible by trams, bus, pedestrian routes and bicycle paths. Located at a site which is relatively quite as compared to the NGV International. Located at a sophisticated transportation hub (Flinders St Station) that connects both Southbank and Melbourne CBD. Crucial to maintain the view towards the Art Centre Spire as a civic skyline landmark throughout the precinct.

Platanus London Plane Platanus Cyprus Plane Brachychiton Flame Tree Liquidaber or Sweet Gum

Xanthorhoea Grass-tree Corymbia Lemon Scented Gum Eucalyptus Ironbark Angophora Smooth-barked app Ulmus English Elm Phoenix Canary Island Date Palm

Studio 36 NGV_C

134

Studio 36 NGV_C

135

This section shows design progress across the semester,

where

iterations

are

refined

and

developed from week 5 to week 7. Feedbacks were taken into consideration to develop plans, sections, design statement and concept. Out of all iterations from task 4, 2 schemes were developed for the midsemester review. One of the scheme will be chosen to further develop for the final crits.

Design Development (Mid Sem) Studio 36 NGV_C

136

Studio 36 NGV_C

137

Contemporary Gallery (5 points)

Research Question:

Write 5 points you could and want to explore about when designing a contemporary gallery.

How does the NGV_C curate a vessel of arts and memory across space and time? How does it reintroduce and document its official past history and culture into the civic landscape and translate them into the present and future legacies?

• Gallery that consolidates the history and memory of the settings • Gallery that embodies quality of flexibility, openness and dynamism. • Gallery that functions beyond exhibiting, but also serves as a hub and a gathering place, a nexus for the arts and humanities.

Design Statement (Mid-sem):

• Gallery that fosters dialogue through layers of visual and spatial connections • Gallery that makes me want to visit. The NGV_C is conceived as a new paradigm for art, culture and humanism with emphasis on a contemplative journey. Sitting at the core of the art precinct in Southbank, the gallery is perceived as a standalone expressive bold icon for the city that mediates the transition from the past to the

Design Statement (Initial Concept)

future. The prismatic form invites glimpse up, down and into the gallery, signifying the process of unfolding

Sitting at the core of the art precinct at Southbank, the

memories and culture from the exterior. Inspired by Daniel Libeskind who introduced the folding

NGV contemporary will become the new public realm after NGV

theory, the new NGV_C seeks to address the architectural ethos that conditions a mode of being-

international that houses significant exhibitions and galleries. As a

within-space. The skin acts as a buffer between the inside and outside world, offering visitors to

new destination for culture, art, design, and history, the proposal

experience a distinct mode of relaxation amidst the urban soundscape. Quoted from Libeskind

emphasises on the journey for contemplation and relaxation

where architectural possibility no longer relies from the autonomy of individual elements, the

amidst the urban soundscape. Kengo Kuma explains the criteria of

proposal visualises the establishment of a unique identity where the spatial response informs

architecture as humbleness. Instead of embracing a complex form,

disparity and in-betweenness through moments of openness and enclosure to elevate user

architecture needs to be presented in a language that everyone

experience. The intertwining spaces and functions provide infinite opportunities to foster dialogues

can understand. The design hence pursues a clear-cut aspiration,

and stories along with shifting views, encouraging cross-level visual and spatial interactions while

a respite for visitors to escape for a couple of hours away from the

experiencing the shared joy of art and ideas.

hustle and bustle city. While being agile enough for future generations to constantly evolve their own storytelling, the

Aside from exhibitions, the design seeks to translate the

contemporary public realm is a place for inspiration, encounter and contemplation that enables

notion of a gathering hub that performs as a nexus for the arts

meaningful relationships.

and humanities. Through interconnected natural blending of outdoor and indoor spaces, it fosters dialogue with shifting views, encouraging cross levels visual and spatial interactions. NGV contemporary is a building of the 21st century, while remaining agile enough for the future generations to evolve their own storytelling along the journey of contemplation.

Studio 36 NGV_C

138

Studio 36 NGV_C

139

Research Question:

Concept

“The world we live in is not so much homogenous and ﬁxed but rather

The formatted space

multiple and disperse in a perpetual process of becoming.”

Design Statement (Mid-sem Refined):

Rationalised Uniform Thematic

- Gilles Deleuze

The entanglement of various individual’s fabrics of everyday life urges the breaking away of formatted space. In fact, geometrical transformation is the tool for the creation of a contemporary architecture. “The world we live in is not so much homogenous and fixed but rather multiple and disperse

in a perpetual process of becoming.” The NGV_C is conceived as an event, opening up and unfolding. It does not represent an essential form, but rather a form of ‘becoming’. The folds are perceived as a mediator

Diverse

that translates the excavated and actualized past historical, social and cultural

Break away from the gridded space

inheritance into the virtual realm that remains latent to be developed in the future.

Dynamic

Through multilayering of lines and planes, the existing spatial order is interrupted where

Element to subject hierarchy

- Gilles Deleuze

The entanglement of various individual’s fabrics of everyday life urges the breaking away of

formatted space. In fact, geometrical transformation is the tool for the creation of a contemporary architecture.

new formality and sets of events are prompted to be unfolded in unconscious ways, encouraging people to immerse in the mode of being-within-space while experiencing

various sensory dimension of distraction, fascination, curiosity and indiﬀerence that are

form, but rather a form of ‘becoming’. The folds are perceived as a mediator that translates the

excavated and actualized past historical,Quoted social from and cultural into the possibility virtual realm that relies on the autonomy Libeskindinheritance where architectural no longer of individual elements, the proposal the establishment remains latent to be developed in the future. Through multilayering of linesvisualises and planes, the existing of a multitude of events openness and enclosure to elevate user experience.while The intertwining spaces and in unconscious ways, encouraging people to immerse in the mode of being-within-space providefascination, inﬁnite opportunities foster dialogues and experiencing various sensory dimensionfunctions of distraction, curiosityto and indifference thatstories along with shifting

are perpetually folded and unfolded.

views, encouraging cross-level visual and spatial interactions while experiencing the shared joy of art and ideas.

Quoted from Libeskind where architectural possibility no longer relies on the autonomy of individual

Such events are not deemed as an end point but rather a threshold provoking a myriad

elements, the proposal visualises the establishment of a multitude of events where the spatial

of others, while being agile enough for future generations to constantly evolve their own

PAST

where theand spatial response informs disparity and spatial order is interrupted where new formality sets of events are prompted to in-betweenness be unfolded through moments of

response informs disparity and in-betweenness through moments of openness and enclosure to

storytelling. It is a contemporary public realm for inspiration, encounter and

elevate user experience. The intertwining spaces and functions provide infinite opportunities to

FUTURE

The NGV_C is conceived as an event, opening up and unfolding. It does not represent an essential perpetually folded and unfolded.

contemplation that enables meaningful relationships.

foster dialogues and stories along with shifting views, encouraging cross-level visual and spatial interactions while experiencing the shared joy of art and ideas.

C ONC EP T

Such events are not deemed as an end point but rather a threshold provoking a myriad of others, while being agile enough for future generations to constantly evolve their own storytelling. It is a

The process of folding put things into the process of becoming where it bridges the past historical

contemporary public realm for inspiration, encounter and contemplation that enables meaningful

and cultural legacies with the future possibilities that are remained to be developed.

relationships.

Studio 36 NGV_C

140

Studio 36 NGV_C

141

Precedents

Conceptual Massings The dynamism, illusion and movement obtained from these artworks give inspiration in generating form.

What Lies Beneath Gabby O’ Connor 2011-2014

‘Blaze’ Bridget Riley 1960s

Colours Superimposed Sol LeWitt 1991

Studio Libekind 2007

Op Art Painting Bridget Riley 1964

Inland Ice Gabby O’ Connor 2014

ECEDEN TSRoyal Ontario Musuem, Canada

Denver Art Museum, United States Studio Libekind 2006

The interior space has successfully conveyed the idea of bringing the folds into the building volumes. CONCEPTUAL M AS S IN GS

6 best massings are chosen from Task 4. Among those, 2 are focused for development in Mid-semester. Massing 01 and 04 are more successful and have potential to be further explored. The ramp/stairs area leading up to the promenade require more work and possibly with relationship to the form itself.

PR EC36 E DE NT S Studio NGV_C

142

Studio 36 NGV_C

143

Scheme 1

Programs Exploration

Form Generation DIGITAL GALLERY COLLECTION DISPLAYS CORRIDOR GALLERY

EXTRUDE GALLERY

PERFORMANCE THEATRE PUBLIC AMENITIES

PERMANENT GALLERY

ATRIUM

INTERNATIONAL DISPLAYS

RECEPTION LOUNGE

INDIGENOUS GALLERY

ARRIVAL

SPECIAL INSTALLATION

VIP ENTRY

TEMPORARY EXHIBITION

Public

PUBLIC AMENITIES

GALLERY

ARTISTS STUDIO LIBRARY

LOADING DOCK

CONFERENCE

STORAGE

04 02

GALLERY

INCLINE DIVIDE

05 03

FORM GENERATION

INCLINE DIVIDE

EXTRUDE

GALLERY

04 02

05 03

SERVICES

INFO BREAKOUT

EXTRUDE

PUBLIC AMENITIES

GALLERY

EDUCATION

GALLERY

INCLINE

SUBTRACT

D PANEL

FORM G ENERATION FORM GENERATION

GALLERY GALLERY

PANEL SUBTRACT

INCLINE DIVIDE

EXTRUDE

01GALLERY

Studio 36 NGV_C

05 03

04 02

STAFF

GALLERY

EXTRUDE

EDUCATION

MEETING

PUBLIC AMENITIES

Private

DIVIDE

EXTRUDE

MEP ROOM

CAFE

05 03

BREAKOUT

WORKSHOP

BREAKOUT

04 02

INFO

RESEARCH

AUDITORIUM

DESIGN STORE

SERVICES

GALLERY

KIDS LEARNING

VIEWING TERRACE

GALLERY

Private

RESTAURANT BAR

GALLERY

SCULPTURAL GALLERY

INCLINE DIVIDE

All the programs that are related to an art gallery are listed according to the brief provided. The are

PANEL SUBTRACT

INCLINE

categorised0 5 from private to public which will help with the internal layout and arrangement. The ENa ERATION programs FORM are drawnGin bubble FORM G EN ERATION diagram to explore the connections and relationship between them.

DEFINE

PANEL

144

DEFINE PANEL

DEFINE

Studio 36 NGV_C

145

Floor Plans Development

CLOAK

MEP ROOM

ENTRANCE

STURT ST

PERMANENT DISPLAY

COLLECTION DISPLAYS

TEMPORARY EXHIBITION

N A

RECEPTION

CORRIDOR GALLERY

ATRIUM

SUNKEN GALLERY

DIGITALISATION

SPECIAL INSTALLATION

TEMPORARY EXHIBITION

VIP LOUNGE

SOUTHBANK BLVD SOUTHBANK BLVD

B ASE ME NT P L AN

N 0

15m

F I R S T F L O O R P LA N

15m

INTERNATIONAL GALLERY CONFERENCE ROOM

LOADING DOCK

ATRIUM

STAFF

STORAGE

ST G H N A VA

PERMANENT DISPLAYS

STURT ST

LOUNGE

DESIGN STORE

PERFORMANCE THEATRE

CAFE

FOYER

AUDITORIUM

BREAKOUT

STURT ST

KIDS LEARNING VIP ENTRY

DROP OFF ZONE

SCULPTURAL GALLERY ENTRANCE

N A

G H

ATRIUM

ST N A

G H

CONTEMPORARY EXHIBITION

ATRIUM

LIBRARY VOID PERMANENT DISPLAYS

INDIGENOUS GALLERY

SUNKEN GALLERY BELOW

RECEPTION CLOAK

MAIN ENTRANCE

TO PROMENADE

SOUTHBANK BLVD

GROUND F L O O R P L A N

15m

SE C O N D FL O O R P L AN

Studio 36 NGV_C

146

Studio 36 NGV_C

T HI R D F L O O R P L AN

15m

147

Floor Plans Development

Ground Floor Plan (Refined)

VIEWING TERRACE 10

TEMPORARY GALLERY

ATRIUM STAFF ENTRY

ATRIUM

A G H

N A

KA VA N

ATRIUM

STURT ST

N A

SCULPTURAL GALLERY

RESTAURANT/ BAR

RESEARCH/ READING

ARTISTS STUDIO

1. TICKETING 2. CLOAK 3. FOYER 4. VISITOR LIFT 5. STAFF LIFT 6. CAFE 7. DESIGN STORE 8. STAFF 9. ARTISTS STUDIO 10. LOADING DOCK 11. WORKSHOP 12. STORAGE 13. KIDS LEARNING AREA 14. BREAKOUT 15. TEMPORARY EXHIBITION

MEETING ROOM

VIP ENTRY

15 2

DROP OFF ZONE

1 4

MAIN ENTRANCE

TO PROMENADE

SOUTHBANK BLVD

G ROUND FLO O R PL A N

SOUTHBANK BLVD

15m

First Floor Plan (Refined) FI FT H FL O O R PL A N

15m

PROMENADE LEVEL ENTRANCE

2 1

PROMENADE

FORTH F L O OR P L AN

PROPOSED GARDEN (HASSELL + SO–IL)

3 6

FEEDBACK FOR FLOOR PLANS IN GENERAL: 1. 2. 3. 4. 5. 6. 7. 8.

• The functional arrangement requires more logical sense. • The folds should reflect onto the plans to generate more dynamism.

TICKETING CLOAK FOYER VISITOR LIFT STAFF LIFT TEMPORARY EXHIBITION COLLECTION DISPLAYS AUSTRALIAN GALLERY

4 7

• Location of visitor lifts are awkard. • Landscapping needs to be refined. •

Foyer at ground floor is way bigger than it requires.

•

Main entrance at ground floor should be repositioned to allow for a grand gesture prior F I RS T MADE: F L O O R PL A N CHANGES

entering. •

Basement is not required due to the existing site condition.

Studio 36 NGV_C

SOUTHBANK BLVD

• • • • •

148

15m

Main entrance is repositioned to allow for more room for visitor to queue prior entering. Landscape has been redesigned to better reflect the folds onto the ground as well. Artist studio and workshop are moved to the ground floor to allow for easy accessibility. Lift cores are positioned at 90 degree facing the main entrance. More folds are brought into the internal as to reflect the exterior gesture.

Studio 36 NGV_C

149

Programmatic Distribution

Renders

FOYER

CAFE DESIGN STORE

•

PERMANENT GALLERY

STAFF LIFT

PERFORMANCE THEATRE

TEMPORARY EXHIBITION COLLECTION DISPLAYS

VIEWING TERRACE

AUSTRALIAN GALLERY

TEMPORARY EXHIBITION

LIBRARY MEETING CONFERENCE

FOYER

INDIGENOUS GALLERY

SCULPTURAL DISPLAY

RESEARCH

PERMANENT GALLERY

VISITOR LIFT

RESTAURANT BAR INTERNATIONAL DISPLAYS

KIDS LEARNING ARTISTS STUDIO

STAFF

WORKSHOP STORAGE

LOADING DOCK

Views are the main focus while placing programmes (more intimate functions are places towards the middle area while open and flexible programs are located towards the edges).

S O U TH B A NK B O UL EVARD VI EW

PROGRAMM A T I C DI ST R I B UTI ON

Section

FRL

+58.00m

LEVEL 5

+37.00m

LEVEL 4

+30.50m

LEVEL 3

+24.00m

LEVEL 2

+17.00m

LEVEL 1

+08.00m

GROUND LEVEL

S EC T IO N

• •

SOUTHBAN K BOUL EVARD VI EW

PRO M ENA D E V IEW

STREET L EVEL VI EW

+0.00m

15m

Section appears to be quite successful where the folds are addressed in both exterior and interior. The only consideration was the cutting angles causing the areas to be a little compact, perhaps another angle would resolve the issue.

Studio 36 NGV_C

PRO M ENA D E V IEW

150

Studio 36 NGV_C

151

Scheme 2

Floor Plans Development

Form Generation DIVIDE

EXTRUDE

04 02

05 03

MEP ROOM

STURT ST

N A

ROTATE

AUDITORIUM

DIVIDE

EXTRUDE EXTRUDE

04 02

05 03

04 02

ROTATE

DEFINE DIVIDE

SOUTHBANK BLVD

BASEMENT PLAN

INCLINE ROTATE

DEFINE DIVIDE

15m

STORAGE

LOADING DOCK

STAFF

PANEL

ROTATE

PANEL INCLINE

KIDS LEARNING

05 03

G H

TEMPORARY EXHIBITION

DIGITALISATION

FO R M G EN ERATION

DEFINE DIVIDE

PANEL

ROTATE

05 03

INCLINE

VIP ENTRY

F O R M GENERAT ION FORM GENER A TION

PERFORMING THEATRE ABOVE LOUNGE TEMPORARY EXHIBITION

DESIGN STORE CLOAK

RECEPTION

INCLINE ROTATE

PANEL INCLINE

FOYER

CAFE

PANEL

MAIN ENTRANCE

OUTDOOR SEATINGS

TO PROMENADE

SOUTHBANK BLVD

G R O U N D FL O O R P L AN

15m

I ON

PANEL

Studio 36 NGV_C

152

Studio 36 NGV_C

153

Floor Plans Development

SCULPTURAL

VIP LOUNGE VOID

STURT ST

N A

ST H

N A

ST H

CLOAK

TEMPORARY DISPLAYS

ENTRANCE

RECEPTION FOYER

WORKSHOP

SPECIAL INSTALLATION VIEWING PLATFORM VOID

PERMANENT EXHIBITION

ARTWORK DISPLAYS

ARTISTS STUDIO

TIME-BASED MEDIA

ATRIUM

VOID ATRIUM GALLERY TERRACE

SOUTHBANK BLVD

FIRST F L OOR P L AN

SOUTHBANK BLVD

N 0

15m

FORTH FLOOR PLAN

15m

CONFERENCE ROOM

VOID

H G N A VA

INDIGENOUS GALLERY

SPECIAL INSTALLATION ENTRANCE

LIBRARY BRIDGE SPECIAL INSTALLATION

COLLECTION DISPLAYS

FEEDBACK FOR FLOOR PLANS IN GENERAL:

INTERNATIONAL GALLERY

RESEARCH/ READING

VOID

STURT ST

KA RESTAURANT/ BAR

STURT ST

N A

OUTDOOR DINING

FIFTH FLOOR PLAN

• The functional arrangement requires more logical sense.

VOID

• The folds should reflect onto the plans to generate more dynamism. • Landscapping needs to be refined. SOUTHBANK BLVD

• The main entrance could be placed at the intersection points between Southbank Boulevard

SOUTHBANK BLVD

and Kavanagh Street to offer a sense of inviting visitors to come in from different angles.

S E CON D F L O O R P L A N

Studio 36 NGV_C

T H I RD FL OOR P L A N

15m

154

Studio 36 NGV_C

155

Ground Floor Plan (Refined)

Programmatic Distribution

STAFF ENTRY

TEMPORARY EXHIBITION

A G H

INTERNATIONAL DISPLAYS

CONFERENCE

12 15

RESTAURANT BAR

ATRIUM GALLERY TERRACE

2 4

TEMPORARY EXHIBITION

FOYER

STAFF LIFT

VIEWING PLATFORM

LIBRARY

SCULPTURAL DISPLAY

INDIGENOUS GALLERY

VISITOR LIFT

KA VA N

1. TICKETING 2. CLOAK 3. FOYER 4. VISITOR LIFT 5. STAFF LIFT 6. DESIGN STORE 7. STAFF 8. ARTISTS STUDIO 9. LOADING DOCK 10. WORKSHOP 11. STORAGE 12. KIDS LEARNING AREA 13. TEMPORARY EXHIBITION 14. SCULPTURAL DISPLAY 15. PERFORMING THEATRE ABOVE

RESEARCH

PERMANENT GALLERY AUSTRALIAN GALLERY PERFORMANCE THEATRE

DESIGN STORE

CAFE

PERMANENT GALLERY

FOYER

VIP ENTRY

COLLECTION DISPLAYS

ARTISTS STUDIO

KIDS LEARNING

STAFF

WORKSHOP STORAGE

LOADING DOCK

MAIN ENTRANCE TO PROMENADE

SOUTHBANK BLVD

GRO U ND F LO O R P LA N

First Floor Plan (Refined)

15m

•

This massing allows for more accessible outdoor space where functions such as outdoor dining and atrium gallery terrace could be proposed. PR OGR AMMATIC DISTRIBUTION

PROMENADE LEVEL ENTRANCE

G H

PROMENADE

Section

PROPOSED GARDEN (HASSELL + SO–IL)

FRL

+59.20m

LEVEL 5

+42.20m

LEVEL 4

+32.20m

LEVEL 3

+24.50m

LEVEL 2

+18.00m

LEVEL 1

+08.00m

9 6

1. TICKETING 2. CLOAK 3. FOYER 4. VISITOR LIFT 5. STAFF LIFT 6. PERMANENT EXHIBITION 7. CAFE 8. AUSTRALIAN GALLERY 9. OUTDOOR SEATINGS 10. ATRIUM GALLERY TERRACE

SOUTHBANK BLVD

CHANGES MADE:

F I RST FLO O R PLAN

• • • • •

GROUND LEVEL

Main entrance is repositioned into a better location. Landscape has been redesigned to better reflect the folds onto the ground as well. Foyer at ground floor is resized while functions such as artist studio, staff and workshop is arranged in a more logical way. A seperate access point and lift are provided for staff to access and circulate throughout the gallery. More folds are brought into the internal as to reflect the exterior gesture.

Studio 36 NGV_C

+0.00m

15m

156

SECTION

•

15m

Section appears to be quite successful where the folds are addressed in both exterior and interior.

Studio 36 NGV_C

157

Renders

SOUTHBANK BOULEVARD VIEW

Studio 36 NGV_C

158

PRO M ENA D E V IEW

SOUTHBAN K BOUL EVARD VI EW

PRO M ENA D E V IEW

STREET L EVEL VI EW

Studio 36 NGV_C

159

Progress made for the mid semester review was good and productive. The comments received from the crits were mostly commenting on the form where both schemes appeared to be too futuristic and not reflecting on the ‘actualised past’ much. Also, one of the panel suggested that scheme 2 was more thoughtful and was more dynamic by looking from the section. Taking on board of those comments, I would

Reflection

need to rework on the design statement, formulating the present and future more than the past to reflect the form even better. I would also continue develop scheme 2 while applying the folds from scheme 1 floor plan into scheme 2 and explore the internal volumes to achieve the aspiration set for my design statement.

Studio 36 NGV_C

160

Studio 36 NGV_C

161

This section shows design progress after midsemester review towards the end of the semester. Scheme 2 from mid-semester was chosen to be developed. Feedbacks were taken into consideration to develop plans, sections, design statement and concept. Facade, materiality and construction details are developed with the help of the engineer. Both interior and exterior render views are the focused on Week 11 to 12 where appropriate views are paramount to convey the design statement.

Design Development (Final Crit) Studio 36 NGV_C

162

Studio 36 NGV_C

163

Floor Plans Development

Week 8

Ground Floor Plan

Week 8

First Floor Plan

Ground Floor Plan

Ground Floor Plan WORKSHOP

LOADING DOCK

ENTRANCE

WORKSHOP

7 FOYER

TEMPORARY EXHIBITION

STORAGE

LOADING DOCK

KA VA N

STAFF ENTRY

FOYER

OUTDOOR SEATINGS

TEMPORARY EXHIBITION

STORAGE

PERMANENT EXHIBITION

KA VA N

STAFF ENTRY

ENTRANCE ARTISTS STUDIO

KA VA N

G H

CAFE

N A

ARTISTS STUDIO

OUTDOOR SEATINGS

KIDS LEARNING

CAFE

ERFORMANCE THEATRE

PERFORMANCE THEATRE

GALLERY OF TIME

ATRIUM GALLERY TERRACE

PERFORMANCE THEATRE

FOYER

AUSTRALIAN GALLERY

SCLUPTURAL

MAIN ENTRANCE

SOUTHBANK BLVD

DESIGN STORE

1. TICKETING 2. CLOAK 3. FOYER 4. VISITOR LIFT 5. STAFF LIFT 6. DESIGN STORE 7. LOADING DOCK 8. PACKING 9. WORKSHOP 10. STORAGE 11. KIDS LEARNING AREA 12. TEMPORARY EXHIBITION 13. SCULPTURAL DISPLAY 14. PERFORMING THEATRE ABOVE

AUSTRALIAN GALLERY

SCLUPTURAL

SOUTHBANK BLVD

STAFF ENTRY

PERMANENT EXHIBITION

GALLERY OF TIME

2 1 6 14

ATRIUM GALLERY TERRACE

SOUTHBANK BLVD

First Floor Plan

GROUND FLOOR PLAN N

SOUTHBANK BLVD

15m SOUTHBANK

BLVD

15m

First Floor Plan

First Floor Plan N

15m

PROMENADE

3 1

ENTRANCE

A N VA

ST N AG

FOYER

• PERMANENT EXHIBITION

OUTDOOR SEATINGS

CAFE

• PERFORMANCE THEATRE

AUSTRALIAN GALLERY

•

SCLUPTURAL

ATRIUM GALLERY TERRACE

Moving forward from the midsemester review, folds were achieved better in scheme 1 as compared to scheme 2. Hence, the internal layout were refined and reflected in the plans. Keeping the similar functional arrangement from mid-semester, the plans improved with dynamic folds extended from the exterior. However, the form itself with the slightly pushed effect was not quite there yet viewing from the plans.

SOUTHBANK BLVD

Studio 36 NGV_C

First Floor Plan

164 0

15m

4 1. TICKETING 2. CLOAK 3. FOYER 4. VISITOR LIFT 5. STAFF LIFT 6. STAFF 7. CAFE 8. KITCHEN 9. OUTDOOR CAFE 10. CONTEMPORARY ART GALLERY 11. ATRIUM GALLERY TERRACE 12. INSTALLATION

SOUTHBANK BLVD

• Internal composition was redefined with more logical planning. • Columns were included and ground floor was made to be more opened and inviting. Things to consider: • Align columns with the walls. • Requires additional fire stairs for safety purpose.

Studio 36 NGV_C

FIRST FLOOR PLAN N

15m

165

Sections Development

Week 8

Facade Materiality Exploration

Week 8

Facade Material

Section A

•

Option 1 as shown from the sketching was intended to achieve the single skin where some of the panels are substituted with glass supported by steel structures to invite sunlight into the gallery.

Facade Material

Section B

• • •

The folding features achieved at the form were extended into the interior where the floor meets the wall and the ceiling to enhance the dynamism. Circulation was refined where they were now concentrated at one area with inclined walls seperating from the gallery. The intention was to provide an inclusive and isolated space where visitors are able to immerse in the artwork itself without being distracted.

Studio 36 NGV_C

166

•

Option 2 as shown from the sketching was intended to achieve the double skin facade where mesh is used as a barrier for the terrace. Both option will be featured in white to highlight on the folds.

Studio 36 NGV_C

167

Structural Studies Structural

Studies

Floor Plans Development

Week 8

Week 9

•

Basement mainly to cater for back of house services. Things to consider: • The logic of back of house (conditioned or unconditioned storage, goods lift location, how the artwork are unloaded from the loading dock.

1 1. ARCHIVE 2. PLANT ROOM 3. STAFF LIFT

• Structure: Giant truss with steel and concrete

• Facade panels: titanium and granite • Steel beams are set in place, the building holds itself up and transfers weight to “anchors” of concrete pillars that reach down into bedrock

BASEMENT PLAN Basement Plan N

15m

Denver Art Museum Studio Libeskind 2006

8 W8 (THURS) 9

G H

KA VA N

• Structure: Giant truss with steel and

STAFF ENTRY

concrete

1. TICKETING 2. CLOAK 3. FOYER 4. VISITOR LIFT 5. STAFF LIFT 6. DESIGN STORE 7. LOADING DOCK 8. PACKING 9. WORKSHOP 10. STORAGE 11. KIDS LEARNING AREA 12. DIGITAL MEDIA 13. SCULPTURAL DISPLAY 14. PERFORMING THEATRE ABOVE

• Facade panels: titanium and granite • Steel beams are set in place, the building holds itself up and transfers weight to “anchors” of concrete pillars that reach down into bedrock

14 2

SOUTHBANK BLVD

• Additional fire stair has been added to comply with the code of regulation. Things to consider: • Back of house logic, arrangement of workshop, unpacking and clean storage space and how they circulate within the exhibition spaces.

Studio 36 NGV_C

168

Studio 36 NGV_C

Ground Plan GROUND Floor FLOOR PLAN N

15m

169

Floor Plans Development

Week 9

Floor Plans Development

Week 9

PROMENADE

W8 (THURS)

3 1

2 7

1. TICKETING 2. CLOAK 3. FOYER 4. VISITOR LIFT 5. STAFF LIFT 6. TEMPORARY EXHIBITION 7. CAFE 8. KITCHEN 9. OUTDOOR CAFE 10. CONTEMPORARY ART GALLERY 11. HANGING PERFORMANCE

1. RESEARCH/READING 2. PRINT STATION 3. DISCUSSION ROOM 4. VISITOR LIFT 5. STAFF LIFT 6. ADMINISTRATION 7. MEETING 8. REST AREA 9. ARCHIVE 10. SPECIAL INSTALLATION

SOUTHBANK BLVD

• •

Gallery spaces with division walls. Staff area has been moved to upper levels to enable a more logical sense towards circulation route between galleries.

FIRST FLOOR PLAN First Floor Plan N

15m

2 1

Things to consider: • Why are there two solid walls placing near to each other at the stairs area? • Toilets are not required for all levels.

THIRD FLOOR PLAN Third Floor Plan N

15m

1 4 1. 2. 3. 4. 5. 6.

SCULPTURAL DISPLAY INDIGENOUS GALLERY SPECIAL INSTALLATION VISITOR LIFT STAFF LIFT TEMPORARY EXHIBITION

1. 2. 3. 4. 5.

MEMBER LOUNGE PERMANENT EXHIBITION STORAGE VISITOR LIFT STAFF LIFT

Things to consider: • What is the logic of transferring artworks? Is there a seperate route for them so that visitors will not be distrupted when the staff is working within the visiting time.

Studio 36 NGV_C

SECOND FLOOR PLAN Second Floor Plan N

15m

170

Things to consider: • Logic of transferring artworks across levels.

Studio 36 NGV_C

FORTH FLOOR PLAN Forth Floor Plan N

15m

171

Week 9

Floor Plans Development

W9 (MON)

Week 9

W9 (MON)

2 7 3

PROMENADE

Floor Plans Development

1 1. 2. 3. 4. 5. 6.

• •

ART STORAGE MECHANICAL GOODS LIFT CONSERVATION LABORATORY PHOTOGRAPHY ELECTRICAL

1. TICKETING 2. CLOAK 3. FOYER 4. VISITOR LIFT 5. GOODS LIFT 6. MAIN TICKETED EXHIBITION 7. CAFE 8. KITCHEN 9. OUTDOOR CAFE 10. TEMPORARY EXHIBITION 11. HANGING PERFORMANCE

Basement Plan BASEMENT PLAN

Back of house services have been revised with a more logical sense. A goods lift was added to facilitate the travelling of artworks down to basement from loading dock.

15m

10 11

SOUTHBANK BLVD

• •

Division walls were configured to hide as many columns as possible. Cafe has been relocated towards the edge as the previous location is not functional and limit the circulation area from the entrance.

First FloorPLAN Plan FIRST FLOOR N

15m

8 W9 (MON)

W9 (MON)

9 1

G H

KA VA N

STAFF ENTRY

5 12 4

1. TICKETING 2. CLOAK 3. FOYER 4. VISITOR LIFT 5. GOODS LIFT 6. DESIGN STORE 7. LOADING DOCK 8. CRATING & UNPACKING 9. WORKSHOP 10. STORAGE 11. KIDS LEARNING AREA 12. DIGITAL MEDIA 13. SCULPTURAL DISPLAY 14. PERFORMING THEATRE ABOVE

6 1

SCULPTURAL DISPLAY INDIGENOUS GALLERY SPECIAL INSTALLATION VISITOR LIFT GOODS LIFT MAIN TICKETED EXHIBITION STORAGE

14 3 3 13

Ticketing and cloak has been resolved. Back of house services was revised to be hidden from the visitors.

Studio 36 NGV_C

1. 2. 3. 4. 5. 6. 7.

SOUTHBANK BLVD

• •

Ground Plan GROUNDFloor FLOOR PLAN N

15m

172

Things to consider: • Exhibition walls have been revised to align with the grid for aesthetic and efficiency purpose.

Studio 36 NGV_C

Second Plan SECONDFloor FLOOR PLAN N

15m

173

Floor Plans Development

Week 9

Floor Plans Development

Week 9

W9 (MON)

1 1

SCULPTURAL DISPLAY PRINT STATION SPECIAL INSTALLATION VISITOR LIFT GOODS LIFT ADMINISTRATION MEETING REST AREA RESEARCH/READING

6 1. 2. 3. 4. 5. 6. 7. 8. 9.

4 1. 2. 3. 4. 5.

8 2

COLLECTION DISPLAYS PERMANENT EXHIBITION STORAGE VISITOR LIFT GOODS LIFT

• •

Relocation of the fire lift allows increase spatial efficiency. Internal wall configuration has been worked out for a smoother circulation path.

Third FloorPLAN Plan THIRD FLOOR N

•

15m

A double height collection displays are located to allow visitors standing on the rooftop terrace to be able to look through into the space.

Fifth Floor Plan

FIFTH FLOOR PLAN N

15m

W9 (MON)

1 1

5 3 4

1. 2. 3. 4. 5.

MEMBER LOUNGE PERMANENT EXHIBITION STORAGE VISITOR LIFT GOODS LIFT

4 1. 2. 3. 4. 5. 6.

COLLECTION DISPLAYS BAR CATERING KITCHEN VISITOR LIFT GOODS LIFT DINING

Sixth Floor Plan SIXTH FLOOR PLAN

Forth FloorPLAN Plan FORTH FLOOR •

A seperate route has been dedicated for the artwork to be transferred.

Studio 36 NGV_C

15m

174

•

Top floor with the best view is dedicated for restaurant and bar viewing towards the spire.

Studio 36 NGV_C

15m

175

Floor Plans Development

Week 10

Floor Plans Development

Week 10

W10 (MON)

3 7

1 3

8 5

PROMENADE

W10 (MON)

1 1. 2. 3. 1. 4. 2. 5. 3. 6. 4. 5. 6.

ART STORAGE MECHANICAL GOODS LIFT ART STORAGE CONSERVATION LABORATORY MECHANICAL PHOTOGRAPHY GOODS LIFT ELECTRICAL CONSERVATION LABORATORY PHOTOGRAPHY ELECTRICAL

4 5

3 5

Basement Plan BASEMENT PLAN •

1. TICKETING 2. CLOAK 3. FOYER 4. VISITOR LIFT 5. GOODS LIFT 6. MAIN TICKETED EXHIBITION 7. CAFE 8. KITCHEN 9. OUTDOOR CAFE 10. TEMPORARY EXHIBITION 11. HANGING PERFORMANCE

Grid arrangement has been aligned to the inclined walls.

BASEMENT PLAN 5 0 N

SOUTHBANK BLVD

•

15m

10 11

•

Stairs in the Main Ticketed Exhibition are redesigned, adding a more dynamic movement effect. The core has been pushed towards the left to allow for more room upon entering.

First FloorPLAN Plan FIRST FLOOR N

15m

8 W10 (MON)

W10 (MON)

G H

KA VA N

STAFF ENTRY

5 12

11 1. TICKETING 2. CLOAK 3. FOYER 4. VISITOR LIFT 5. GOODS LIFT 6. DESIGN STORE 7. LOADING DOCK 8. CRATING & UNPACKING 9. WORKSHOP 10. STORAGE 11. KIDS LEARNING AREA 12. DIGITAL MEDIA 13. SCULPTURAL DISPLAY 14. PERFORMING THEATRE ABOVE

2 6 1 3

Core has been redesigned to better reflect on the form. Drafting issues has been resolved where the ‘push’ effect is represented with lines.

Studio 36 NGV_C

SCULPTURAL DISPLAY INDIGENOUS GALLERY VOID VISITOR LIFT GOODS LIFT MAIN TICKETED EXHIBITION

SOUTHBANK BLVD

• •

1. 2. 3. 4. 5. 6.

Ground Plan GROUNDFloor FLOOR PLAN N

15m

176

Second Plan SECONDFloor FLOOR PLAN N

•

The void has been redesigned to eliminate the static effect.

Studio 36 NGV_C

15m

177

Floor Plans Development

Week 10

Floor Plans Development

W10 (MON)

Week 10

W10 (MON)

1 1. 2. 3. 4. 5. 6. 7. 8.

ADMINISTRATION PRINT STATION MEETING VISITOR LIFT GOODS LIFT STAFF LOUNGE RESEARCH/READING ARCHIVE

1. 2. 3. 4. 5.

COLLECTION DISPLAYS PERMANENT EXHIBITION STORAGE VISITOR LIFT GOODS LIFT

Fifth Floor Plan

Third FloorPLAN Plan THIRD FLOOR •

Arrangement of walls need to be reconsidered that will address the language of the form.

FIFTH FLOOR PLAN N

15m

W10 (MON)

15m

W10 (MON)

4 1 1. 2. 3. 4. 5.

MEMBER LOUNGE PERMANENT EXHIBITION STORAGE VISITOR LIFT GOODS LIFT

1. 2. 3. 4. 5.

BAR CATERING KITCHEN RESTAURANT VISITOR LIFT GOODS LIFT

Sixth Floor Plan SIXTH FLOOR PLAN

Forth FloorPLAN Plan FORTH FLOOR N

Studio 36 NGV_C

15m

178

•

Location of bar has been switched with the catering kitchen to allow views towards the spire.

Studio 36 NGV_C

15m

179

Facade Structure

• • •

•

Week 10

The building works as a seperate structure from its internal columns system. The skin is supported by a truss system, with the major truss framing each large triangular panels, while the secondary trusses acting as the supporting structure in between. The maximum span across each panels is kept below 12m, by referencing the construction system of full glass curtain walls of the Apple retail store at San Francisco completed by Seele company. With this construction system, it allows for the advantage of having views towards the dominant direction, while allowing the visitors to visualize the beauty of the structure incorporated into the building itself.

Studio 36 NGV_C

Internal Logic

• • • •

180

Week 10

Columns are laid out according to the 12m x 12m grid system, with the dominant columns supporting each the floor plates. The cantilevered floors are mainly voids that do not required any supporting system. Circulation stairs are the main feature of the design, allowing visitors to experience the dynamism of the facetted walls resulting from the building geometry. By locating stairs at one location facing Southbank Boulevard, the internal functional composition is optimized where the gallery spaces occupying most of the internal volumes.

Studio 36 NGV_C

181

Section Development

Week 11 Section A

Section A (Short)

15m

Section B

Section B (Long) Studio 36 NGV_C

182

Studio 36 NGV_C

183

Facade Exploration

• • •

Week 11

•

Option 1 is a single skin facade with randomized glass and polycarbonate fabric alternating each other. Pros: Maximum amount of sunlight could penetrate in. Cons: Least efficiency as the building consumes more energy in terms of its ESD principles.

Studio 36 NGV_C

• •

184

Option 2 is a double skin facade with where the first inner layer is a fully glazed truss system where the outer layer is the semi-transparent fabric that still allow natural light to penetrate. Pros: Double skin system reduces energy consumption of the building. Cons: Less amount of sunlight will be received as compared to option 1.

Studio 36 NGV_C

185

Detailed Section Draft

Week 11

This section was constructed based on option 2 of facade exploration. The double skin structure composed of polycarbonate sheets and glass as the two skin layers, acting as thermal buffer zone. Ceiling design requires thoughts where it can perform interesting to bounce off lights onto the artworks.

DETAILED SECTION DETAILED SECTION N

Studio 36 NGV_C

186

Studio 36 NGV_C

187

Facade Exploration

Week 12

Option 1 and 2 make the gallery looks too transparent, although allows plenty of light penetrating. A white concrete material was tested where the gallery turned out to be much more pure and solid. However, the glazing needs to be covered with some structures to make the entire geometry looks more solid and white.

Studio 36 NGV_C

188

Studio 36 NGV_C

189

Facade Exploration

Week 12

The ‘cut-out’ area were filled with a mesh system, allowing the entire building to become a more coherent solid and pure geometry. The outcome is satisfying where I believed with this facade option addresses my three descriptive words better. - Solidity, Chaos, Pure

Studio 36 NGV_C

190

Studio 36 NGV_C

191

Interior Views

Week 12

Foyer (GF)

Foyer (L1)

Temporary Gallery (L1)

Collection Displays (L2)

Permanent Gallery (L4-5)

Rooftop Restaurant/Bar(L6)

Studio 36 NGV_C

192

Studio 36 NGV_C

193

Final Review

AERIAL V IE W Studio 36 NGV_C

194

Studio 36 NGV_C

195

Final Review

Studio 36 NGV_C

196

Studio 36 NGV_C

197

Final Review

S OU THBANK BO ULE VAR D V IEW

Studio 36 NGV_C

198

Studio 36 NGV_C

199

Final Review

S OUTHB A N K B O U LE V A R D V I E W

Studio 36 NGV_C

200

Studio 36 NGV_C

201

Research Question:

Final Review

How does the NGV_C curate a vessel of arts and ideas across space and time and translate them into the new and unanticipated future legacies?

Design Statement (Mid-sem Refined):

“The world we live in is not so much homogenous and fixed but rather multiple and disperse in a perpetual process of becoming.” - Gilles Deleuze The NGV_C is a new paradigm for art, culture, and humanism. Sitting at the core of the art precinct in Southbank, the gallery is an expressive bold standalone icon for the city in contrast to the NGV. While the NGV embraces the beauty of the past in the present, the NGV_C celebrates the uncertainty of the future. The folded form signifies the constantly evolving life and arts through a series of spatial conception that will be expanded to the art precinct, thus the city, executed by an experience of variations. The folds are considered a fabric where the patterns are imprinted and folded along, therefore initiating continuous and reversible dialogues. The gallery spaces are no longer detached from the programs and events, but where the folds become the events themselves. Hence, the NGV_C addresses the architectural ethos that conditions a mode of being-within-space. Quoted from Libeskind where architectural possibility no longer relies from the autonomy of individual

CONCE P T

elements, the proposal visualises the establishment of a unique identity where the spatial response informs disparity and in-betweenness through moments of openness and enclosure to elevate user experience. The external folds are extended inwards, generating variable intensities of movement and dynamism. The intertwining spaces and functions provide infinite opportunities to foster dialogues and stories along with shifting views, encouraging cross-level visual and spatial interactions while experiencing the shared joy of art and ideas. While being agile enough for future generations to constantly evolve their own storytelling, the contemporary public realm is a place for inspiration, encounter and contemplation that enables meaningful relationships.

Studio 36 NGV_C

202

Studio 36 NGV_C

203

Final Review

LEVEL 06

28. Restaurant / Bar 29. Viewing Platform

LD A

28 29

LEVEL 05

LEVEL 04 Loading Dock

26. Permanent Exhibition 27. Solo Exhibition

24. Permanent Exhibition 25. Member Lounge

LEVEL 03

ST 23

22. Administration 23. Research/Reading

Staﬀ Entrance

LEVEL 02 18. Sculptural Display 19. Main Ticketed Exhibition 20. Temporary Exhibition 21. Collection Displays

19 21

LEVEL 01 16 17

SOUTHBANK BLVD

15. Cafe 16. Main Ticketed Exhibition 17. Temporary Exhibition

GROUND FLOOR 7. Digital Media Gallery 8. Kids Learning 9. Design Store 10. Hanging Performance 11. Workshop 12. Storage 13. Unpacking & Crating 14. Loading Dock

8 10

4 5

SITE PLAN

Studio 36 NGV_C

P ROGRAMMAT I C DI AGRAM

30m

204

Studio 36 NGV_C

2 1

BASEMENT 1. Art Storage 2. Retail Storage 3. Mechanical 4. Electrical 5. Conservation Laboratory 6. Photography

205

Final Review

1 7

7 3

1. ART STORAGE

1. SCULPTURAL DISPLAY

2. MECHANICAL

2. TEMPORARY EXHIBITION

3. GOODS LIFT

3. COLLECTION DISPLAYS

4. CONSERVATION LABORATORY

4. VISITOR LIFT

5. PHOTOGRAPHY

5. GOODS LIFT

6. ELECTRICAL

6. ART PASSAGE

7. RETAIL STORAGE

7. MAIN TICKETED EXHIBITION

B A SEMENT PLAN

SEC OND FLOOR PLAN

15m

5 12 4

4 1 1. TICKETING 2. CLOAK

1. ADMINISTRATION

2. ARCHIVE

3. FOYER

3. MEETING

4. VISITOR LIFT

5. GOODS LIFT

6. DESIGN STORE

5. GOODS LIFT

6. STAFF LOUNGE

7. LOADING DOCK

7. RESEARCH/READING

8. CRATING & UNPACKING 9. WORKSHOP

10. STORAGE 11. KIDS LEARNING AREA 12. DIGITAL MEDIA GALLERY

13. SCULPTURAL DISPLAY 14. HANGING PERFORMANCE ABOVE

GROUN D FLOOR PLAN

SOUTHBANK BLVD

THI RD FLOOR PLAN

15m

10 8

1 1

3 2

4 7

1. TICKETING

1. MEMBER LOUNGE 2. PERMANENT EXHIBITION

2. CLOAK 3. FOYER

3. STORAGE

4. VISITOR LIFT

5. GOODS LIFT

6. ART PASSAGE 7. MAIN TICKETED EXHIBITION 8. CAFE 9. KITCHEN 10. OUTDOOR CAFE 11. TEMPORARY EXHIBITION 12. HANGING PERFORMANCE

FI RST FLOOR PLAN

FOURTH FLOOR PLAN

15m

(PROMENADE LEVEL)

Studio 36 NGV_C

206

Studio 36 NGV_C

15m

207

Final Review

Secondary Steel Structure 4

1. SOLO EXHIBITION 2. PERMANENT EXHIBITION 3. STORAGE 4. VISITOR LIFT

Glazing as Skylight

5. GOODS LIFT

Intergrated Solar PV Cells Truss System

F I F T H F LOOR P LA N

White Concrete Panels

15m

Semi-translucent Glazing

Anodized Aluminium Mesh

FA C A D E S TR ATEGY 5

1. BAR 2. CATERING KITCHEN 3. RESTAURANT 4. VISITOR LIFT 5. GOODS LIFT

S I X T H F LOOR P LA N

Studio 36 NGV_C

15m

208

Studio 36 NGV_C

209

Final Review

DETAIL SECTION FRL

+59.0

FRL

+59.0

LEVEL 6

+46.5

LEVEL 6

+46.5

LEVEL 5

+39.5

LEVEL 5

+39.5

LEVEL 4

+33.0

LEVEL 4

+33.0

LEVEL 3

+25.5

LEVEL 3

+25.5

LEVEL 2

+18.0

LEVEL 2

+18.0

LEVEL 1

+8.0

LEVEL 1

+8.0

GROUND LEVEL

0.0

BASEMENT

-3.0

SECTION A

Studio 36 NGV_C

GROUND LEVEL

15m

210

0.0

S EC T I O N B

Studio 36 NGV_C

211

15m

Final Review

ROOF TO WALL DETAIL 6

2 4 3

1. 2. 3. 4. 5. 6.

WHITE CONCRETE PANELS THERMAL BUFFER VENTILATED CAVITY TRUSS STRUCTURAL SYSTEM PLASTERBOARD STAINLESS STEEL GRILLAGE SKYLIGHT

ROOF TO WALL DETAIL 0

WALL TO FLOOR DETAIL

1 2 3 4

1. CONCRETE FLOORING WITH EPOXY FINISHES 2. STEEL BEAM 3. SUPPLY AIR DUCT WALL TO FLOOR DETAIL 4. UNDERLAY ACOUSTIC LINING 0 1 3m

CEILING DETAIL

1 2

1. SOUNDSCREEN ACOUSTIC INSULATION 2. PLASTERBOARD CEILING 3. TRACK LED ADJUSTABLE SPOTLIGHT

CEILING DETAIL 0

D ETA IL S E CTI O N

Studio 36 NGV_C

212

ATR I U M

Studio 36 NGV_C

213

Final Review

CO LLECT ION DISPL AYS

S O LO EX H IBI TI ON

PER MANENT EXH IBIT IO N

ROOFTOP AT RI UM

Studio 36 NGV_C

214

Studio 36 NGV_C

215

Throughout the semester, I have absorbed and gained insights from Studio 36. Thanks to my studio leader, Anna who delivered the studio content in an interesting and deliberate approach, setting me in a position where I am confident and bold about my design outcome. Personally, the studio approaches the design brief starting from massing which I found innovative and effective, driving me to move away from the conventional process that often limit myself. As a level E student, I am fortunate enough to involve myself in this studio with the interesting building typology, a civic building that gathers

Reflection

people to enjoy and appreciate artworks before heading towards my thesis subject. Being a person who do not enjoy visiting a gallery, I am glad that towards the end of the semester, my level of interest to visit an art gallery has increased incrementally as I had gone through the process of researching and designing with the concept of folding and translating it into the contemporary era. Overall, the studio had taught me to come up with a design statement that is convincing and constructive, allowing me to confidently generate my design based on a solid concept, learnt

through

theoretical

readings

and

analysed past projects as well as dealing with façade and structural strategy.

Studio 36 NGV_C

216

Studio 36 NGV_C

217

References

A. (n.d.). Gallery of Bozhou Statium / Yuan Ye Architects - 3. Retrieved from https://www.archdaily. com/922542/bozhou-statium-yuan-ye-architects/5d4a1da0284dd12fd7000412-bozhou-statiumyuan-ye-architects-image?next_project=no B. (2018, March 9). Supergraphics. Retrieved from https://www.behance.net/gallery/63011725/ Supergraphics Bridget Riley - 48 artworks - painting. (n.d.). Retrieved from https://www.wikiart.org/en/bridget-riley Sou fujimoto among 23 architects chosen to “reinvent” paris | Green building architecture, Sou fujimoto, Green architecture. (n.d.). Retrieved from https://www.pinterest.com.au/ pin/428967933238036264/ Fracalossi, I. (2021, April 9). Denver Art Museum / Studio Libeskind. Retrieved from https://www. archdaily.com/80309/denver-art-museum-daniel-libeskind Form is Emptiness, Emptiness is Form. (2012, April 5). Retrieved from https://zenmindmaterialworld. wordpress.com/2012/04/05/form-is-emptiness-emptiness-is-form/ Gallery of AD Classics: Rosenthal Center for Contemporary Art / Zaha Hadid Architects - 19. (n.d.). Retrieved from https://www.archdaily.com/786968/ad-classics-rosenthal-center-forcontemporary-art-zaha-hadid-architects-usa

Saieh, N. (2019, October 24). Linked Hybrid / Steven Holl Architects. Retrieved from https://www. archdaily.com/34302/linked-hybrid-steven-holl-architects Serpentine Gallery Pavilion 2001 | Studio Daniel Libeskind | Medios De Comunicación - Fotos y Videos - 1. (n.d.). Retrieved from https://archello.com/es/story/37473/attachments/photosvideos/1 Sol LeWitt:Small Structures and Related Works. (2019, July 24). Retrieved from https://www. krakowwitkingallery.com/exhibitions/sol-lewitt-exhibition-2008/ Strategy: Use Transparency with Form to Play with Light in New Ways. (n.d.). Retrieved from https:// www.mlldesignlab.com/blog/strategy-use-transparency-with-form-to-play-with-light-in-new-ways Street-Art Optical Illusion. (2019, December 27). Retrieved from https://www.archipanic.com/ portfolio/street-art-optical-illusion/ Young, J. (2000). Daniel Libeskind’s Jewish Museum in Berlin: The Uncanny Arts of Memorial Architecture. Jewish Social Studies, 6(2), new series, 1-23. Retrieved April 17, 2021, from http://www. jstor.org/stable/4467574 Zara, J. (2017, November 6). Sou Fujimoto Launches New French Follies. Retrieved from https:// architizer.com/blog/inspiration/stories/sou-fujimoto-launches-new-french-follies/

González, M. F. (2019, October 24). Odunpazari Modern Art Museum / Kengo Kuma & Associates. Retrieved from https://www.archdaily.com/924542/odunpazari-modern-art-museum-kengokuma-and-associates?ad_medium=widget&ad_name=navigation-next Murray, A. (2007). Unfolding Ground. Retrieved from https://www.ainsliemurray.com/project/ unfolding-ground Paek, S. (2018). Fold as a Non-spectacular Event: The Cases of Peter Eisenman′ s Rebstockpark Master Plan (1990-1991) and The Aronoff Center for Design and Art (1988-1996). Journal of Asian Architecture and Building Engineering, 17(3), 385-392. Portilla, D. (2019, November 28). Serpentine Pavilion / Sou Fujimoto. Retrieved from https://www. archdaily.com/384289/serpentine-pavilion-sou-fujimoto Prevos, P. (2020, July 10). Optical Illusion Architecture in Melbourne by ARM Archtects. Retrieved from https://horizonofreason.com/science/optical-illusion-architecture/ Royal Ontario Museum by Studio Libeskind. (2016, March 2). Retrieved from https://architizer.com/ projects/royal-ontario-museum/ Sayamaike Historical Museum, Osaka Japan | Tadao Ando | Tadao ando, Architecture presentation, Osaka japan. (n.d.). Retrieved from https://www.pinterest.com.au/pin/557390891373783873/

Studio 36 NGV_C

218

Studio 36 NGV_C

219