Studio 36 NGV_C Bud Lo Reflective Journal

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In this exercise, we generate different iterations to study the potential of different elements of the galleries, for example the programme, facade, the Promenade.

Through different design techniques, iterations are produced in an abstract way.

Through thinking how the produced iteration can be performed in which building element, we are asked to think what do the techniques mean for architectural design and the environment. Some precedents of built work are referenced as inspiration and study for the architect perform that design technique in the architecture. There are always success and failure in the iterations, with a deisgn agenda and purpose helps to develop the ideas in a more sophisticated way.

TASK 1 ITERATIONS

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ITERATION 1 Technique: Jump Cut

Geometries and shapes are being cut from the rectangular form and rearranging them in different positions and directions. It is a potential form for a gallery, the left separated forms can be cafe or gift shops while the hollowed areas can be courtyards or gallery spaces. I enjoy the progress of creating this iteration and the canteliever boxes on Level 2 has some interesting spaces created with Level 1.

The studio overall enjoys the iteration and find potential as an actual gallerery.

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ITERATION 2 Technique: Jumpcut

From a twisted trapizem, the form is cut into different pieces and rearranged to a clustered arrangement like a village.

The forms have potential acting as different rooms or functions. The in-between space of the blocks create a mazed like circulation. There is a discussion on whether it shall be a jumpcut or collage.

However, I am satisfied with the result of the iteration while some people may queried if the journey from one room to another will be too complicated and annoying.

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ITERATION 3 Technique: Blur

This iteration is inspired by Broadway Boogie Woogie by Piet Mondrian. With different intensity and extrusion length of the fins, it creates a blurring effect to the plane. The fins can act as sun shading, especially on the West side in Melbourne weather. The studio overall likes this iteration as this facade gives different depthness when having a side view while for the elevation view, the depthness cannot be shown.

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ITERATION 4 Technique: Collage

Utilising Friedrichstrasse Office Building’s floor plate as a base, I collage the plates with rectangular cubes as horizontal elements and cylinders as vertical elements to link everything together.

Collaging is always one of my favourite go when I try out designs. This is a potential form or an arragement of programmes in the building.

The forms with same shape can act as the same function.

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ITERATION 5 Technique: Transparency

Referencing the idea of Japanese Tori, it creates an approach to the Promenade.

From the side or above, the vertical elements optically clashes with the horizontal elements.

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ITERATION 6 Technique: Collage

Referencing Tadao Ando’s Sayamaike Historical Museum, Ando always use simple geometries and makes collages with the elements. I use a few rectangular boxes, a plane and a circle to make a collage. The negative space creates a mysterious area which can be a courtyard space or reflection, meditation space. This is potential for a gallery form, including the connection to the Promenade.

The studio like this iteration and I enjoy the process of producing it and the result of it.

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ITERATION 7 Technique: Positive and Negative

The cut out space from the left side is extended to the right side, creating a strong comparison of positive and negative space. In reverse, the right side also creates some negative space in between.

This idea is potential for the approach of the gallery building and the Promenade.

Witth the reference of Peter Eisenman’s Housse X, I am interested in the positive and negative experience he provided through the architecture and the interior space. I am quite satisfied with the result generated.

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ITERATION 8 Technique: Illusion

With a square plane, and a lot of sticks, I stack the components together and create a space in the middle.

Imagine standing in the void of the centre, it creates a chaotic experience, the space in between also allows natural light to come into the centre.

I think it is a potential for a ceiling or wall or as a facade.

Salwhasoo Flagship Store in seoul, South Korea utilised stacking sticks as walls and ceilings but in a formal way.

It creates a illusion in the interior, and customrers will have to explore the full extent of the interior space. I wish to create a similar experience with this iteration. The studio is very happy with this result generated and see great potential in it.

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ITERATION 9 Technique: Folding

Referencing Kengo Kuma’s folding technique for Dundee Museum, the form is twisting with the rotation of the floor plates, conecting two forms with a skybridge at the roof level. This folding is different from folding paper but through twitsing, the twisted floor plates provides outdoor areas, potential for balconies or a sky garden. With the separation of the two forms, it creates a “plaza” area in between and I think it is potential to continue this area to the Promenade.

Furthermore, thinking if this is situated in the site, it is a sign of “welcoming” to the Yarra River.

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ITERATION 10 Technique: Supergraphics

This is a Supergraphic of “NGV”, referencing Ando’s use of light in the Church of Light and Church by the Sea, he creates a big Cross with his significant fair face concrete walls and the light fuse through the gaps. In the Church of Light, the Cross is of the wall while in the Church by the Sea, the Cross is on the ceiling, allowing light to create the Cross shadow of the wall. This idea can be used as a precedent to my design agenda or purpose of my iteration. It is a potential feature wall or ceiling. Some may not find the word “NGV” but I enjoy how humble the words are hidden.

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ITERATION 11 Technique: Fragmentation

With the precedent of Sou Fujimoto’s “Nomadic” House in Paris, he stacked boxes with different sizes to create a sculptural design. His main idea is a void in the centre represents the “living area”, with formal entrances at either side and lots of other access points if “one doesn’t mind lowering their head.

My iteration is created with different boxes, each boxes represents different function, the separated boxes on the right can be some elements on the Promenade or a cafe and gift shop next to the main gallery building. The studio overall seems satisfied with this iteration.

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ITERATION 12 Technique: Illusion

I was inspired by the artwork, Open Book Fountain, in Budapest, the artwork uses the idea of flipping book pages and creates the movement with water. I created a movement of the water with the idea of folding and I relate it to the Yarra River and imagine it as the waves. By also referencing Zaha Hadid’s work, her firm focuses on parametric design which creates a lot of curve buildings with computation softwares.

The forms Hadid created gives out animated forms. I was trying to make curves, referencing the Guangzhou Theatre but this iteration may not be that success compare to the other iterations.

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ITERATION 13 Technique: Order Disorder

I make a unit and repeat the unit with the change of direction. I think the negative space inside creates an alluring experience. If it is a form of the gallery, the roof provides some area with natural lighting while some can be blocks and potential for exhibition areas where natural lights are prohibited.

Some in our studio like this idea while some find it not contemporary enough. I enjoy this iteration as I feel the potential of continuity at the end of the edges.

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ITERATION 14 Technique: Jump Cut

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Geometries and shapes are being cut from a plane and being rearranged in different order and levels. I will consider this as a failure trail as there is not a very obviolus purpose for this iteration and the logic of the rearrangement is not clear.

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ITERATION 15 Technique: Supergraphics

The idea of this iteration is to create depthness through different extrusions of the tubes. The length of extrusion can create a pattern on the surface. I was inspired by the NGV kids learning centre work in 2018, children are able to stick different long bending tubes to the wall, with different. It was a co-working piece which are contributed by all. This idea can be taken to the gallery. However, this iteration compare to the previous NGV supergraphics, I think the former one is more powerful than this.

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TASK 2 MASSING

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In this exercise, we generate different iterations to study the potential of different massings for the gallery. Through different design techniques, iterations are produced in an abstract way. Using two techniques together, the reference or inspiration from an artist, and the theory of the readings by Masters Architects, the forms generated.The reference of an artist allows us to think out of the box and think widely, not in a traditional way to achieve “contemporary”. Contemporary Art Gallery does not only mean containing contemporary art work but the architecture itself also need to be contemporary. Not only looking at architectural references but an artwork and the theory, background, history of that artist and his or her design context allows us to design in a more abstract way.

Reading and understanding the design theory of the architects provides the opportunity for us to learn the logic behind their designs and interpret in our own way. This “take and give” also benefits us in figuring out the design statement of our design and how the massing reinterpret the theory.

This is a challenging task as the massing consists of two buildings and a promenade connecting the buildings together. The promenade needs to be incoporated, the landscape design exercise also challenge us in scale, compare to the building itself.

Knowing the height and number of levels allows us to further refine and draw on our initial massing designs to more architectural, going further beyond only abstract.

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ITERATION 1 Typology : Building as Abstract + Landscape Technique : Folding

Kengo Kuma “Dundee Museum” 2018 It is not the surface but the form that has to be particlised: the point is not to prearrange interaction, but instead to make the arrangements themselves interactive. Instead of stepping forward, designers need to remain completely open to visitors’ needs. Only then will we have a space without boundaries and paths.

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Drawing further from one of my iterations in Task 1, I produced this folding iteration with the twist but the results generated in this exercise is under my expectation compare to the one in Task 1, I thought it will be intriguing making the twist and building some landscape. However, the twist here may not be too obvious. A further thought may be twisting with less direction to make the form look more abstract. Visting the Soho Office in Shanghai by Hadid last year, she used bridges to link the towers together and create plaza in between the office buildings. The logic of folding of this iteration may need to have more logic and asking the question why do we fold in this way.

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ITERATION 2 Typology : Building as Diagrams/Functions+ Abstract Technique : Fragmentation

Sou Fujimoto “Vertical Village” Fujimoto found inspiration for his deconstructed designs by looking back to the cave as a raw space where function was determined according to human behaviour. His design philosophy “Primitive Future”, creates intimate and protected spaces while allowing the user the freedom to behave however they want.

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With the idea of allowing the user the freedom to behave however they want, I created the form with some boxes at first and some large slabs for the freedom of movement, and connect the horizontal elements with a vertical rectangular box as a core. Some of the slabs are tilted to create a more lively space. Referencing Fujimoto’s idea of stacking vertical and horizontal elements together, this creates interesting in-between space of people to experience. I am happy with this iteration. This iteration is the studio’s favourite one as well.

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ITERATION 3 Typology : Building as Landscape + Figure Ground Technique : Illusion

Victor Vasarely “Vega-Nor” 1969 Utilizing geometric shapes and graphics, it creates compelling illusions of spatial depth.

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I was inspired by the art work Victor Vasarely made, he uses simple shapes like squares to create depthness. In this iteration, by having different levels of the squares, it gives a illusion of movement like the waves, to me it symbolises the Yarra River. I like this iteration as I think it is a response to the site as well. This is the second favourite iteration among the studio when receiving feedback.

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ITERATION 4 Typology : Building as Landscape + Figure Ground Technique : Scale

Tatsuya Tanaka “Mask Resort” 2020 Tatsuya Tanaka is a master of turning everyday objects into miniature worlds that seem larger than life. He’s been doing it daily for almost a decade, and in the midst of the COVID pandemic, he’s started to integrate some alltoo-familiar objects into his work.

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This iteration is inspired by Tanaka’s manifesto and I took the piano is a starting point, the Promenade creates the keyboards for people to “play” the notes, dancing on the keyboard and the two gallery buildings are the action frames of the piano. The up and down creates a fascinating journey along the Promenade.

The connection of the two buildings are connected with the piano, where in this Southbank Arts Precinct, it symbolises the incorporation of different arts.

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ITERATION 5 Typology : Building as Diagram/Functions + Figure Ground Technique : Fragmentation

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Using the idea of stacking boxes, each box acts as a function or a echibition area in the gallery, and the centre area is a courtyard space. It looks simple but the process of making this iteration is a bit provocative. Firstly, the boxes cannot be too small, as a gallery, the exhibition rooms shall be large enough to have flexibilities for different artworks. Secondly, the site is two triangles, I was struggling if I should rotate the boxes to fit the angle or keep it with two directions only. In the end, I rotated according to the boundary line and intersect the end of the boxes. The area below the cantelievered space is potential for balconies or “Vista� area. However, this is not my favourite one among all the iterations and the studio seems indifferent to this iteration.

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ITERATION 6 Typology : Building as Landscape + Figure Ground Technique : Dissolution of Space

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ITERATION 7 Typology : Building as Diagrams/Functions+ Abstract Technique : Jumpcut

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Taking SANAA’s New York Museum as precedent, it is an idea of deconstruct and reconstruct. The original figure ground was cut into different shapes and rearranged vertically to create the gallery buildings. Each shape acts as a function and the height of the forms differs to create flexibility to the gallery space. SANAA’s “white on white idiom tells us architecture is mixed with what lays around it, it is open to the circumstances and to the environment. The space is cut with an enclosure and inside it, the real project takes place.

I like the simplicity of the outlook while the cantelievered area is very provocative and interesting. To my surprise, this iteration is one of the second favourite from the Studio. I find it a very great potential in developing into a gallery so I was struggling between this iteration and Iteration 3 when choosing two massings to further develop. However I came across some difficulties when compiling the programme in this design. As there is not a lot of floor area, if keeping the idea of deconstruct the ground form and reconstruct, the programmes cannot be fit.

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GALLERY ANALYSIS GALLERY: BERKELEY ART MUSEUM ARCHITECT: TOYO ITO LOCATION: BERKELEY, CALIFORNIA, USA, 2007

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SITE ANALYSIS TRANSPORT

FLINDERS STREET (TRAIN STOP) FLINDERS STREET (TRAM/BUS STOP)

ARTS CENTRE (BUS STOP)

STURT STREET (TRAM STOP)

VCA (BUS STOP)

ARTS PRECINCT (TRAM STOP)

GRANT STREET (TRAM STOP)

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CULTURAL PROGRAMMES

HAMER HALL

ARTS CENTRE

THE AUSTRALIAN BALLET

NGV INTERNATIONAL

MELBOURNE THEATRE COMPANY

MELBOURNE RECITAL CENTRE

BUXTON CONTEMPORARY

MELBOURNE CONSERVATORIUM OF MUSIC

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MID SEM REVIEW

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PRECEDENTS

SANAA 21th Century Contemporary Art Museum, Kanazawa, Japan 1999-2004

Tadao Ando Glass House, Jeju, South Korea 2008

SAN New Art Museum 20

Tadao Museum Langen Foundation 20

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NAA m, New York, USA 007

o Ando n, Raketenstation Hombroich 004

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Sou Fujimoto House NA, Japan 2011

Toyo Ito Taichung Metropolitan Opera House, Taiwan 2009

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SCHEME 1 Research question: If Architecture is the environment of our life and the environment is also considered as architecture. The aspect of environment is quite related to a different cultural context. What is the relationship between man, culture, environment? How does the dependent relationship be expressed in the contemporary architecture?

Design Statement: Sou Fujimoto said architecture creates interplay between the questions of what is inside and what is outside, what function a space can serve and how architects allow people to act in any way they choose.

NGV Contemporary draws on Fujimoto’s concept between nature and architecture, it reflects the strong connection of Indigenous culture and respect with the history and culture of the place. The Gallery reintroduces a tranquillity space for reflecting and appreciating contemporary arts in the NGV_C. The new NGV contemporary gallery, situated in the arts and entertainment precinct in Southbank, Melbourne, offers a series of temporary and permanent contemporary gallery, showcasing artwork

by Melbourne and international artists, and indigenous contemporary art. The two sites are connected by the Promenade, creating connection between Southbank Boulevard, City Road and St Kilda Road.

With Fujimoto’s concept of embracing the surroundings and environment, the Gallery and Promenade symbolises the Yarra River. The Yarra River was a significant food source and meeting place for indigenous Australians from prehistoric times. The Gallery draws on SANAA’s manifesto of “social narratives”, permits to people to surprisingly meet in architecture, giving birth to new possibilities and to create continuous experimentation of in-between spaces, which are capable to generate flexibility. It encourages visitors to take the message from art, and to reflect who we are and how we can be a better being. Throughout the journey in the NGV_C, visitors are provided with the opportunity to have spiritual refreshment and amble in the gallery and the Promenade.

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List of References: Kuma, K. (2008). Anti-object: the Dissolution and Disintegration of Architecture. London, UK: Architectural Association Publications.

Sha, S. (2019). HO! SANAA. Taipei, Taiwan: Uni-books Sha, S. (2017). Japan Contemporary Architecture: Nature Category. Taipei, Taiwan: Garden City Publishers Ando, T. (2019). Hyogo. Japan: Atelier Tadao Ando De Klee, K. (2016). Sou Fujimoto on multi-layered and conceptual architecture [Video]. Available from https://www. youtube.com/watch?time_continue=354&v=_5DDDC28vck&feature=emb_title&ab_channel=DesignIndaba Franco, J. (2016). Kazuyo Sejima (SANAA) // The Architecture Project [Video]. Available from https://www.youtube. com/watch?v=JE088Lz5qEE&ab_channel=TheArchitectureProject

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When I was doing research and reading to create my own design statement, I found some similarities between Kuma, Fujimoto and SANAA, in there interpretation on space. Kuma believes that it is not the surface but the form that has to be particlised: the point is not to prearrange interaction, but instead to make the arrangements themselves interactive. While Fujimoto share some similar ideas on the how architects allow people to act in any way they choose rather than what function a space can be served as. SANAA’s design manifesto of “social narratives” pretty much sums up these design believes and show how to make a community space. SANAA believes that human and architecture are able to generate an artificial labyrinth of paths that permits to explore the space one piece at a time and, most of all, permits to people to surprisingly meet in architecture, giving birth to new possibilities.

Three of the parties have different design outcomes and different design styles but they share some similar design philosophy.

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VERTICAL PROGRAMME

NORTH BUILDING

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GROUND FLOOR PLAN BUILDING SOUTH

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LEVEL 1 PLAN

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SCHEME 2 Research question: If Architecture is the environment of our life and the environment is also considered as architecture. What is the relationship between man, environment, and architecture? How does the dependent relationship be expressed in the contemporary architecture?

Design Statement: Sou Fujimoto said architecture creates interplay between the questions of what is inside and what is outside, what function a space can serve and how architects allow people to act in any way they choose.

NGV Contemporary draws on Fujimoto’s concept between nature and architecture, it reflects the strong connection of Indigenous culture and respect with the history and culture of the place. The Gallery reintroduces a tranquillity space for reflecting and appreciating contemporary arts in the NGV_C. The new NGV contemporary gallery, situated in the arts and entertainment precinct in Southbank, Melbourne, offers a series of temporary and permanent contemporary gallery, showcasing artwork

by Melbourne and international artists, and indigenous contemporary art. The two sites are connected by the Promenade, creating connection between Southbank Boulevard, City Road and St Kilda Road.

With Fujimoto’s concept of embracing the surroundings and environment, by blurring the boundaries between the built environment and nature, the interior boxes offered space of galleries without natural lighting while remaining connected to nature and the surrounding environment through providing patio space and glazed windows, and the landscape approach in the promenade. The Gallery draws on SANAA’s manifesto of “social narratives”, permits to people to surprisingly meet in architecture, giving birth to new possibilities and to create continuous experimentation of in-between spaces, which are capable to generate flexibility. It encourages visitors to take the message from art, and to reflect who we are and how we can be a better being. Throughout the journey in the NGV_C, visitors are provided with the opportunity to have spiritual refreshment and amble in the gallery and the Promenade.

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List of References: Kuma, K. (2008). Anti-object: the Dissolution and Disintegration of Architecture. London, UK: Architectural Association Publications.

Sha, S. (2019). HO! SANAA. Taipei, Taiwan: Uni-books Sha, S. (2017). Japan Contemporary Architecture: Nature Category. Taipei, Taiwan: Garden City Publishers Ando, T. (2019). Hyogo. Japan: Atelier Tadao Ando De Klee, K. (2016). Sou Fujimoto on multi-layered and conceptual architecture [Video]. Available from https://www. youtube.com/watch?time_continue=354&v=_5DDDC28vck&feature=emb_title&ab_channel=DesignIndaba Franco, J. (2016). Kazuyo Sejima (SANAA) // The Architecture Project [Video]. Available from https://www.youtube. com/watch?v=JE088Lz5qEE&ab_channel=TheArchitectureProject

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FINAL REVIEW

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Research question: If Architecture is the environment of our life and the environment is also considered as architecture. What is the relationship between man, environment, and architecture? How does the dependent relationship be expressed in the contemporary architecture?

Design Statement: Sou Fujimoto said architecture creates interplay between the questions of what is inside and what is outside, what function a space can serve and how architects allow people to act in any way they choose.

NGV Contemporary draws on Fujimoto’s concept between nature and architecture, it reflects the strong connection of Indigenous culture and respect with the history and culture of the place. The Gallery reintroduces a tranquillity space for reflecting and appreciating contemporary arts in the NGV_C. The new NGV contemporary gallery, situated in the arts and entertainment precinct in Southbank, Melbourne, offers a series of temporary and permanent contemporary gallery, showcasing artwork by Melbourne and international artists, and indigenous contemporary art. The two sites are connected by the Promenade, creating connection between Southbank Boulevard, City Road and St Kilda Road.

With Fujimoto’s concept of embracing the surroundings and environment, the Gallery and Promenade symbolises the Yarra River. The Yarra River was a significant food source and meeting place for indigenous Australians from prehistoric times. By blurring the boundaries between the built environment and nature, the interior boxes offered space of galleries without natural lighting while remaining connected to nature and the surrounding environment through providing patio space and glazed windows, and the landscape approach in the promenade. The gallery deconstructs solid walls into a permeable space defined by glass and wall meshes, revealing “contradiction between information and experience without resolving it”. The Gallery draws on SANAA’s manifesto of “social narratives”, permits people to surprisingly meet in architecture, giving birth to new possibilities and to create continuous experimentation of in-between spaces, which are capable to generate flexibility.

It encourages visitors to take the message from art, and to reflect who we are and how we can be a better being. Throughout the journey in the NGV_C, visitors are provided with the opportunity to have spiritual refreshment and amble in the gallery and the Promenade.

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DESIGN PROCESS DIAGRAM

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SOUTH BUILDING PROMENADE ENTRANCE

SOUTH BUILDING The south building has two entrances, one on GF Southbank Blvd and one on Level 1 Promenade. All levels are connected with a atrium which is the social narrative space in the building. The temporary and permanent galleries sit on Basement, GF, L1, 2, 3 while the Indigenous Gallery sits on L2. In the basement, there is a research library and reading room for users to search for archive art materials and creating a tranquility space for reading. The basement has a skylight where the above is the water fountain on the GF along Kavanagh Street. There is a Cafe on Southbank Blvd, an ramp and lift is next to the cafe to access to the Promenade. The other Pop-up cafe is on L1. L1 features a long corridor along the Promenade, dissolving the interior and exterior through transparent glass, creating the contraction between solid and transparency, visual interconnection and isolation of individual. The members lounge for the NGV members locates on L3.

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NORTH BUILDING PROMENADE ENTRANCE

NORTH BUILDING The guest entrance of the North Building is on the Promenade Level 1 level. The Basement of the North Building features a large exhibition space for permanent and temporary galleries which provides high level flexibility. A large Indigenous Gallery locates on the GF, with a small patio facing the City Road. The Digital Media Gallery and Kids Learning Centre are on Level 1.

The North Building provides decent dining experience on Level 2, providing a resaurant and bar, facing the Promenade, enjoying the view of Southbank Arts Precinct, the South Yarra and Melbourne Art Centre. There are 6 residents contemporary artists in the NGV_C, their studio is located on the Level 2, each has an individual working space but also a co-working space, common room and pantry. Gift Shops are located in both the South Building and North Building, next to the ticketing for guests to choose their souvenirs.

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The use of transparency in this gallery expresses the contradiction of visual interconnection and isolation of individuals in the modern society.

The double glazing provides blurring the boundaries between the interior and exterior environment. Concrete is the basic structural element of the building, utilising concrete walls, columns and beams, the exterior white concrete create the Whiteness and simplicity. This allows bringing and diffusing natural light to all the spaces. Some galleries are enclosed with concrete walls without direct sunlight to avoid damage from the UV to the art work. Aluminium white mesh is also another facade material to diffuse direct sunlight to the gallery space. Insulation is important to protect the art work indoor without suffering extreme temperatures. The interior finish is white plasterboard lining, having the continuity of the external white concrete.

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List of References: Kuma, K. (2008). Anti-object: the Dissolution and Disintegration of Architecture. London, UK: Architectural Association Publications.

Sha, S. (2019). HO! SANAA. Taipei, Taiwan: Uni-books Sha, S. (2017). Japan Contemporary Architecture: Nature Category. Taipei, Taiwan: Garden City Publishers Ando, T. (2019). Hyogo. Japan: Atelier Tadao Ando De Klee, K. (2016). Sou Fujimoto on multi-layered and conceptual architecture [Video]. Available from https://www.youtube.com/watch?time_continue=354&v=_5DDDC28vck&feature=emb_title&ab_ channel=DesignIndaba Franco, J. (2016). Kazuyo Sejima (SANAA) // The Architecture Project [Video]. Available from https://www. youtube.com/watch?v=JE088Lz5qEE&ab_channel=TheArchitectureProject

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The Promenade connects both South and North Building, providing outdoor sitting areas, Sculpture Park, providing outdoor collection displays, one-off events. The Promenade symbolises the river among all the cultural programmes in the Southbank Art Precinct to connect all the arts together, the Promenade starts from Southbank Blvd and extends to Melbourne Arts Centre, continuing to the South Yarra for further city planning and enhancement project. This recreational public space creates a open social narratives area for people to meet surprisingly together, this also express the Promenade allows all the arts elements are be connected. The basement of both buildings provide galleries with high level flexibility and adapbility, catering different spatial formats of exhibition. The Galleries integrate and bring people together through open spaces that connect, in an almost extreme way, the interiors and exteriors with the use of transparency. Using white as a method to avoid a hierarchy in their architecture, bringing light everywhere instead of being intensified in certain spaces.

Drawing on the design statement on social narratives and embracing the surroundings and environment, the white of the Gallery avoid hierachy in the architecture but focusing on lightness, space and transparency to create feelings of continuity and community in public spaces. “The architecture is mixed with what lays around it, it is open to the circumstances and to the environment.� Architecture has to be considered as the environment and the environment has to be considered architecture as well. . Throughout the journey in the NGV_C, visitors are provided with the opportunity to have spiritual refreshment and amble.

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