Reflection Journal Studio 36 by carmelbeamer

STUDIO 36 NGVC -

Reflective Journal

BEAMER NGV JOUNAL 2020

MY JOURNEY

My usually quiet house is full with people. Children needing to be taught, to be played with, wanting food, drinks, to go out, to do something... Then work is all staring at a screen and talking to people online... NThen A V I G study A T I N G isA NallO online. NLINE how to steal time?

LACK OF QUIET the guilt of studying not mothering....

DREAMS - FOLLOW YOUR PASSION

what i lack in mothering i hope i offer inspiration to believe that anything is possibe if you work for it...

STUDIO 36 NGVC -

Reflective Journal

Waht is an art gallery?

BEAMER NGV JOUNAL 2020

SUBHEAD

To me an art gallery is a place of wonder and inspiration. It rejuvenates my spirit seeing creativity at its finiest. I get immense joy sharing it with my children and friends. It is an experience, one which usually fills my mind for a few days...if not forever. INSPIRATION A DESTINATION AN EVENT a chance to learn

WHAT IS IT TO ME? -

Art Gallery?

Family, source of inspiration, learning, wonder, Entertainment, a destination

BEAMER NGV JOUNAL 2020

P L AY I N G W I T H F O R M + + FO L LOW I N G T EC H N I Q U ES O F B LU R F O L D , J U M P C U T, E X T R U S I O N . . . A L L N E W, V E R Y I N T E R E S T I N G A N D F U N . I N I T I A L LY I T H O U G H T I T J U S T A B O U T T H E TA S K S E T B U T T H E N I R E A L I S E D A H W E A R E P L AY I N G W I T H M A S S F O R O U R M U S U E M . CLEVER... G A M I N G C H A N G I N G M O M E N T F O R M E WA S C O N T E M P L AT I N G H O W T H E S E F O R M S C O U L D R E P R E S E N T T H E G A L L E R Y A N D W H AT T H E Y MEAN. I S T H E B LU R R J U S T A N E X T E R I O R A F F EC T O R D O E S I T A F F E C T T H E WAY W E M O V E THROUGH THE BUILDING. D A I LY L I F E O F H O M E S C H O O L I S T I M E CONSUMING.... THESE FORMS MAKE ME THINK OF BAR C O D E S . . . . S C A N N E R C O D E S . . . M AY B E M Y M I N D I S A L L T O O D I G I TA L . B Y B L U R R I N G T H E M A S S W H AT A M I EXPRESSING ABOUT ARCHITECTURE? DO I THINK BUILDINGS SHOULD BE ERASED? IS THE CITY OVEREXPOSED.... W H AT D O E S T H E V E R T I C A L I T Y O F T H E M A S S I M P LY ? T H E R E WA S Q U I T E A L O T O F DISCUSSION ABOUT HITLER AND NAZIS AND BUILDINGS OF POWER WITH VERTICAL DESIGNS. THIS NOTION OF POWER WITH AN ART G A L L E R Y I S N O T N E C E S S A R I LY A B A D THING....ART IS EXPRESSIVE AND CAN BE C H A N G E T H E WAY P E O P L E T H I N K . . . I T C A N O F F E R V I E W S A N D O P I N I O N S P R E V I O U S LY UNKNOWN... I N T E R S T I N G T O P O N D E R T H E I M P O R TA N C E OF ART AND HOW IT IS USEFUL AND N E C E S S A R Y I N S O C I E T Y. . . .

BEAMER NGV JOUNAL 2020

N O T O N LY A M I L E A R N I N G N E W S K I L L S O F P L AY I N G W I T H M A S S A N D F O R M , I A M LEARNING RHINO FOR THE FIRST TIME. I L O V E T H E WAY I T R E N D E R S O U T A S H A P E , I T MAKES BEAUTIFUL CURVES. I W I S H I H A D M O R E T I M E TO D E V E LO P T H ES E S K I L L S A N D D E P L O Y T H E M O N T H E TA S K . I FEEL VERY LIMITED BY MY RHINO SKILLS A N D A M R E V E R T I N G B A C K T O S K E T C H U I P. I H AV E F O U N D T H AT I C A N E X P O R T T O R H I N O .

T H I S I T E R AT I O N M A K E S M E T H I N K O F A F E T U S , O R N E W L I F E B EG I N N I N G - O R A B LO B O F S O M E T H I N G S T I C K Y. . . L E T S H O L D O N T H E T H E B L O B C O N C E P T. THE SHAPE OFFERS SOME INTERESTING IDEAS O F B E I N G A B L E T O WA L K U P A B U I L D I N G OR GRASSY EMBANKMENTS WHERE PEOPLE C A N L AY I N T H E S U N A N D E N J O Y T H E A R T S P R E C I N C T. THE POSSIBLE TWISTNG IN THE FORM COULD B E T RA N S U LU C E N T A N D A L LOW L I G H T I N TO THE BUILDING THE FORM IS SCULPTURAL, EMERGING FROM THE EARTH. IT COULD BE COVERED IN PLANTINGS. THE OVERHANG COULD PROVIDE SHADE FOR A PICNIC AREA OR ENTRANCE THE MIND CONTINUES TO TWIST LIKE THE F O R M T O C R E AT E O R R E A R R A N G E T H E S P A C E T O C R E AT E A N A R T G A L L E R Y. I L I K E T H E WAY I T L O O K S L I K E P L AY D O H T H AT H A S B E E N P I N C H E D D U P WA R D S B U T COULDNT BE PRISED OFF THE BENCH - IT WA S S T U C K . T H E S T R I P Y E F F E C T A L O N G T H E B OT TO M LO O K S L I K E P I A N O K E YS A N D TO M E , M A K E S M E T H I N K O F T H E A R T S - A LT H O U G H PERHAPS MORE CONCERT HALL. T H E N A R R O W S E C T I O N C O U L D P O S S I B LY T O L O W T O A L L O W P E O P L E T O WA L K I N T O I T. HOW WOULD THIS AFFECT THE SHAPE OF THE BUILDING? WOULD HAND RAILS GOING UP THE SIDE OF THE BEUILDING AFFECT THE AESTHETICS?

BEAMER NGV JOUNAL 2020

THIS IS INSPIRED BY MY DAUGHTERS WORK O F A R T, C R U M P L E D U P I N H E R B A G . I WA S ABOUT TO THROW IT IN THE BIN AND SHE CAME RUNNING WITH A NOOOOO MUMMY T H AT S M Y A R T W O R K . A N D S H E T H E N T O O K HER CRUMPLED MESS AND EXPLAINED EVERY D R AW I N G A N D E V E R Y D E TA I L A S I W O U L D A BUILDING, I T M E A N T A LOT TO H E R . A R T I S O P E N F O R T R A N S L AT I O N W H AT I S A R T I S D I F F E R E N T F O R T H E INDIVIDUAL

BEAMER NGV JOUNAL 2020

I T WA S A L I G H T B U L B M O M E M N T T O M E T H AT A R T I S D I F F E R E N T TO E V E RYO N E . ART IS IN THE EYE OF THE BEHOLDER AND I G U E S S T H I S I S E S P E C I A L LY T R U E W I T H C O N TEMPORARY ART - SOMETIMES IT CAN BE A PILE OF PENCILS STUCK TOGETHER AND ONE P E R S O N T H I N K S - T H AT I S N O T A R T A N D T H E N T H E N E X T P E R S O N T H I N K S - O M G I L O V V E I T, I T M A K E S M E T H I N K O F S C H O O L D AY S A S A CHILD AND THE FREEDOM OF LIFE WITHOUT BILLS AND A MORTGAGE. IT REMINDED ME OF THE WORKS OF SUSAN L E F E R E - A B O U T T R A N S L AT I O N . HOW DOES THE FORM OF A BUILDING (ART GALLERY) AFFECT HOW WE INTERPRET THE ART?? A SMALL ROOM WITH POOR LIGHT WILL AFFECT THE VIEWERS JUDGEMENT ON THE O M P O R AT N C E O F T H E P I E C E ? K T W I L L A F F E C T THE FINISHES? IT WILL AFFECT THE PROPORTIONS OF THE ART WORK. O N T H E L E F T I S M Y T H I R D I T E R AT I O N O F FOLDING. I P L AY E D W I T H T H I S I D E A O F F O L D E D P A P E R FO R A W H I L E A N D LOV E T H E S I M P L I C I T Y O F T H E FO R M . T H E Y F LOW TO G E T H E R A N D U N I T E Y E T A R E C L E A R LY S E P A R AT E . . . I WA S THINKING AS ONE OF EACH OF THE GALLERIES AND ONE AS THE PROMENADE. I S E E T H E C R E AS ES AS S PAC E W H E R E L I G H T WILL BE LET INTO THE BUILDING AND WHERE I T W R A P S A R O U N D WO U L D B E A N OT H E R L E VEL OVERLAPPING ONTO EACH OTHER WITH P O S S I B L E V I E W S O F T H E S P A C E B E L O W. TO THE RIGHT IS THE JUMP CUT AND ORDER DISCORDER. W I T H J U M P C U T I L I K E T H E WAY T H E P I E C E S F I T T O G E T H E R A S A W H O L E Y E T S E P A R AT E D THEY MAKE THIS UNIQUE FORM.. THIS NOTION O F S E P A R AT I O N A N D U N I T I N G I S I N T E R E S T I N G F O R A N A R T G A L L E R Y E S P E C I A L LY I N T H E S E T I M E W H E R E S O C I A L D I S TA N C I N G I S K E E P I N G U S S E P A R AT E D E V E N F R O M O U R L O V E D O N E S . T H E I M P O R TA N C E O F U N I F Y I N G I D E A S A N D T H O U G H T S H A S N E V E R B E E N M O R E I M P O R TA N T. I D O N T K N O W H O W Y O U C O U L D C R E AT E T H E I L LU S I O N O F T H E I M AG E O N T H E R I G H T Y E T I T H I N K I T I S B E AU T I F U L A N D LOV E H OW D E L I C AT E I T I S . I A M U N C E R TA I N T H AT A N A R T G A L L E R Y S H O U L D B E D E L I C AT E . I T H I N K THE NGVC SHOULD BE VOCAL AND MAKE A S TAT E M E N T T H AT E M B R A C E S A N D R E F L E C T S T O D AY S S O C I E T Y A N D C U LT U R E .

BEAMER NGV JOUNAL 2020

I T T R U LY I S A M A Z I N G H O B Y C R E AT I N G T H E S E I T I E R AT I O N S T H AT Y O U C A N S E E B U I L D I N G S . E A C H I D E A P R E S E N T S A N O T H E R C O N C E P T. YO U R M I N D P N D E R S H OW WO U L D T H I S O C C U P Y T H E S PAC E ? IS THIS AN INTERNAL VIEW OR THE EXTERNAL MASS OF THE BUILDING IS THIS LIGHTING MODELS? IS THIS THE LANDSCAPE FOR THE PROMENADE? C O U L D I I N C O R P O P AT E A F E W O F T H E S E I N T O THE ONE SITE? H O W D O T H E Y R E L AT E ? D O T H E Y R E L AT E ? SHOULD I BE THINKING OF HOW THESE C O U L D W O R K S T R U C T U R A L LY O R I S T H E R E N O R E L E VA N C E T O T H AT AT T H I S S TA G E ? I L I K E T H E I L LU S I O N O F T H E S Q UA R E G E T T I N G BIGGER - THIS ONE I STRUGGLE WITH STRUCT U R A L LY, , , I J U S T D O N T S E E H O W I T C O U L D B E F E A S I B L E ? H OW WO U L D YO U G E T T H E M A S S T O F L O AT I N T H E A R E A ? ? H O W W O U L D T H E L A R G ES T S PAC E B E E X P O S E D L I K E T H AT. . . . H O W E V E R I D O L I K E T H E T H O U G H T O F EXPOSED... ;LIKE THE ART IS EXPSOED?? THE JUMP CUT MAKES MY MIND WHIRR, I SEE THE CUTS AS LIGHT VOIDS IN THE BUILDING AND THE CIRCULAR SHAPES AS INTERNAL GARDENS COOLING DUCTS IN THE BUILDING. E AC H O F T H E C U T S F R O N T O N LO O K L I K E T H E Y C O U L D B E D I F F E R E N T F LO O R S , M E Z Z N I N E L E V E L S A S Y O U M A K E Y O U R WAY T H R O U G H T H E G A L L E R Y. THESE COULD BE LINKED VIA RAMPS AND Y O U W E AV E T H R O U G H T H E S P A C E S WITH LIGHT COMING IN THE VOIDS IT COULD BE BEAUTIFUL T H E R E C TA N G U L A R F O R M D O E S N T R E A L LY F I T T H E S I G H T. COULD THIS WORK AS A TRIANGULAR SHAPE? I T H I N K I S H O U L D H AV E U S E D A T R I A N G L E

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ORDER AND DISORDER CHALLENGES EVERY PA RT O F M Y B E I N G . I WA N T T O T I D Y T H E D I S O R D E R . I LOV E T H E O R D E R I D I D N T R E A L I Z E H OW M U C H I LO N G FO R O R D E R U N T I L I P L AY E D W I T H T H I S F O R M . I S E E E A C H O F T H E R E C TA N G L E S A S W I N DOWS D I F F E R E N T F LO O R L E V E L S . A N D T H E N T H E DISORDER DISRUPTS THE BUILDING I T I N T E R U P T S T H E F L O W. I R E A L LY L I K E T H E S I M P L I C I T Y O F T H E M U LT I P L E D R E C TA N G L E S A N D T H E V I E W S T H E Y C R E AT E I N S I D E . THE DISORDER IS A MESS TO ME I DONT KNOW IF I CAN SEE THIS AS A BUILDING A LT H O U G H F R O N T O N I L I K E T H E I R E E G U L AT I Y OF THE FORM. I CAN SEE THE BUILDING LIFTING UP OUT OF T H E G R O U N D A N D M A K E S PAC ES FO R P EO P L E TO E N J OY I N T H E G A R D E N . O N O N E O F T H E S I D E V I E WS I T LO O K S L I K E P L AT F O R M S A N D I T H O U G H T T H I S W O U L D B E A C O O L I D E A I N S I D E T H E G A L L E R Y T O H AV E D I F F E R E N T H E I G H T V I E W I N G P L AT F R O M S H O W T H I S W O U L D B E L O G I S T I C A L LY P O S S I B LY I D O N O T K N O W. IT WOULD BE A COOL SCULPTURE...PERHAPS A RICHARD SERRA STYLE ALL OUT OF SANDBLASTED STEEL AND KIDS COULD CLIMB T H R O U G H I T A N D O V E R I T.

BEAMER NGV JOUNAL 2020

I N T E R E S T I N G LY I A M D R AW N T O T R A N S P A R E N C Y I JOURNEYED INTO THE INSIDE OF THE BUILDI N G I M E A N I T E R I AT I O N O N T H E L E F T. I L O V E H O W W H E N Y O U L O O K E D U P I T WA S L AY E D AND THIS PROVIDED DIFFERENT DEPTH WITH T H E U S E O F T H E S A M E M AT E R I A L . T H I S M A S S I N G TO O K YO U O N A J O U R N E Y T H R O U G H T H E S PAC E A N D A L L T H R O U G H T H E C U R V E S W O U L D N â&#x20AC;&#x2122; T B E A P P R O P I AT E F O R ART WORK THERE IS SOMETHING ABOUT THIS F O R M T H AT W O R K S F O R M E . I L I K E T H E P L AY O F D I F F R E E I N G H E I G H T S A N D D I F F E R E N T S I Z E S PAC ES . I T H I N K I T W O U L D M A K E F O R A C R E AT I V E S PAC E W H E R E A RT S I S T S C O U L D C H O O S E WHICH ROOM THEY WISH TO USE FOR THEIR A R T W O R K . . A S I T I S A C O N T E M P O R A R Y G A LL E R Y I T M AY N O T A L L B E A R T O N A WA L L . I WA S N T A FA N O F T H E P O I S I T V E A N D N E G A , M A D E M E T H I N K O F A B A D S TA R WA R S M O D E L O R S O M E T H I N G . H A H A I T H O U G H T I T WA S U G LY. . . A LT H O U G H T T H E F R O N T S Q A U R E WA S KIND OF COOL. I LIKE THE PROPORTIONS

Im anxious about with thinking of new masses...and how to make them work. i revert back to old techniques of looking at things around me and what inspires me... today the rubbish laying around every where.

BEAMER NGV JOUNAL 2020

T H I S I S T H E I N T E R I O R I M A G E S I N S I D E T H AT CAPTURE ME. A LT H O U G H I F E E L T H E F O R M F T H E G R I D I P R E S E N T E D F O R M I D S E M E S T E R R E V I E W WA S S U D D E N LY D E V I S E D L O O K I N G B A C K N O W I C A N S E E T H AT I T WA S N T R A N D O M . T H E E L E M E N T S T H AT I N S P I R E D M E A L O N G T H E J O U R N E Y H A D S U B C O N S C I O U S LY A F FECTED MY CHOICE O DESIGN THE GRID. T H I S WA S O N E O F M FAV O U R I T E I T E R I AT I O N S BESIDE THE PLANE (INTERESTING BOTH ITIERAT I O N S T H AT I L I K E D S T E M E D F R O M A M O D E L O F S O M E T H I N G L AY I N G A R O U N D M E . EG THE RUBBISH E M I LY S A R T W O R K PERHAPS THIS HELPS ME TO VISUALISE? T H E N T H E I N S I D E L AY E R S O F T H I S A N D T H E T R A N S P A R A E N C Y A R E A L L T H AT I A M T R Y I N G TO ACHIEVE WITH THE GRID. AT T H E T I M E I J U S T T H O U G H H M M M T H I S SEEMS LIKE A GOOD IDEA BUT IN REALITY ALL THE STEPS HAD GUIDED ME.. L AY E R S LIGHT INTERSECTING MODULES I U S E D T H I S I T I E R AT I O N A S T H E B A S E F O R T H E GRID - I JUST TURNED IT INTO SOLID ROOMS. I T I S I N T E R ES T I N G T H EOT H E R B LU R R FO R M I S W H AT I WA S T R Y I N G T O T U R N I N T O A B U I L D I N G A N D A LT H O U G H I D I D N T U S E T H AT IT DID INSPIRE THE GRID DESIGN ALSO. AS T H E R E WA S A L O I T O F D I S C U S S I O N A B O U T T H E VERTICAL LINES A N N A I S V E R Y P AT I E N T - N O T S U R E H O W S H E MANAGES TO SIT THROUGH ALL OUR IDEAS AND NOT GET BORED OUT OF HER BRAIN -(THANKS ANNA!!!0

BEAMER NGV JOUNAL 2020

Massing SITE how to make the site and mass connect to be meaningful? how to allow people to intrepret art in a way without suggesting a niew point? can an object be without meaning?

SUBHEAD

Thursday 27th

I canâ&#x20AC;&#x2122;t bear to look at a computer today. They are soulless and sap my energy through constant zoom conversations. No energy exchange No feelings Devoid.

My museum must capture the essence of living Interacting Intertwine

I drew n sketched concepts....

BEAMER NGV JOUNAL 2020

DING AS LANDSCAPE + Lewitt ABSTRACT + GRIDS BUILDING AS LANDSCAPE + Lewitt ABSTRACT + GRIDS

O H I T WA S L O V E LY T O P U T P E N T O P A P E R A N D D R AW. . . I T F E LT E A S I E R T O B E C R E AT I V E A N D A L LOW T H E S I T E TO I N T R E P R E T T H E L I N ES I C O U L D S E E T H I S M E LT I N G I N T O T H E LANDSCAPE IN A VERY ZARA HADID KIND OF WAY. T H E A RT WO R K B U L E W I T T I S S O C O LO U R F U L A N D J OYO U S W H I C H I T H O U G H I S F I T T I N G FO R W H AT S O C I E T Y N E E D S AT T H E M O M E N T. I WOULD NEED HELP TO BE ABLE TO MODEL THIS. A LT H O U G H I H AV E D R AW N A N U N D U L AT I N G P R O M E N D A D E I T H I N K T H I S W O U L D B E AW F U L HA HA T H E K I D S WO U L D LOV E I T - L I K E C O N T I N UA L S K AT E R A M P S F R O M E N D T O E N D . I M A G I N E HOW MANY GRANDMAS WOULD GET CLEANED UP BYKIDS ON SCOOTERS. O K S O T H AT S A N O T O A N U N D U A LT I O N P R O M . I D O L O V E LT H E C U R V E D I N T E R I O R L I N E S THOUGH. SMOOTH AND VERY MODEFN. A LT H O U G H I C O U L D N â&#x20AC;&#x2122; T S P E C I F Y A C O L O U R F U L FA C A D E L I K E T H E P AT T E R N I C O U L D D O A T E X T U R E D P AT T E R N I N A N E A R U TA L C O L O R A N D T H AT W O U L D L I K E Q U I T E C A P T I VAT I N G A L S O T H E G L A S S FA C A D E I N T H E L E W I T T P AT T E R N W O U L D A L S O B E W O N D E R F U L . P E R H A P S L I K E A S TA I N D E D G L A S S W I N D O W - R E F L E C T I V E O F T H E N G V R O O F ? ? ? ? T H AT C O U L D B E R E A L LY C O O L - O R I S I T T O O C L O S E T O T H E N G V C O N C E P T. . . THOUGHTS TO PONDER

BEAMER NGV JOUNAL 2020

ECTS IN LANDSCAPE + Kandinsky + FIGURE GROUND ABSTRACT OBJECTS IN LANDSCAPE + Kandinsky + FIGURE GROUND

I WA S R E A L LY H A P P Y W I T H T H I S D R WA I N G . I L O V E D T H E I D E A O F A WAT E R FA L L R U N N I N G DOWN THE LENGTH OF THE PROMENADE. I COULD IMAGINE SO MANY WET LITTLE KIDS H AV I N G T H E B E S T D AY O F T H E R E L I F E W H I L S T M U M I S F U R I O U S AT T H I S S O A K E D T O D D L E R HA HA... B U T I T WO U L D LO O K V E RY C O O L A N D P EO P L E COULD THROW COINS IN AND MAKE A WISH... I I LOV E T H E S I M P L I S I T Y O F K A N D I N S K Y - AS I T ENDS UP NOT BEING SIMPLE YET IT IS IDENTIFIABLE SHAPES.

Stamp House by Charles Wright Architects

HOWEVER I MODELLED THIS AND IT DIDNT WORK. IM NOT SURE WHY IT DIDINT WORK IN THE MODEL YET IT WORKED IN THE SKETCH. I THINK IT IS TO DO WITH THE HEIGHT - THE D R AW I N G W E L L E X C E E E D S T H E 2 4 M M E T R E S S O O N C E I T WA S M O D E L L E D AT 2 4 M I T S E E M E D T O FA LT A N D L A C K E D T H E G R A N D E U R T H AT T H E D E S I G N N E E D E D T O W O R K . I LOV E DT H E T H O U G H T O F T H E B U I L D I N G F L O AT I N G I N WAT E . SURROUNDED MUCH LIKE THE NGV I GUESS. I L O V E R E F L E C T I O N S O N WAT E R

BEAMER NGV JOUNAL 2020

BSTRACT OBJECT IN LANDSCAPE + FIGURE GROUND +

Chandigarh THIS ONE REMINDS ME OF THOSE JUMPY T H I G N S K I D S U S E D A N D YO U S TO O D O N A N D THEN BOUNCED AROUND., I T S N O T A FA C V O U R I T E A LT H O U G H I D O H AV E A T H I N G FO R S P H E R ES A N D I LOV E T H EC H A N G I G A R H F L O AT I N G I N WAT E R . E S C H E R A N D T H E S P H E R E I S M E S M O R I S I N G A N D I WA S S O E N C H A N T E D B Y T H AT E X H I B I T I O N .

BEAMER NGV JOUNAL 2020

GROUND + ABSTRACT OBJECTS IN LANDSCAPE + ESCHER RE GROUND + ABSTRACT OBJECTS IN LANDSCAPE + ESCHER

MOCAPE byGD Lighting MOCAPE byGD Lighting

T H E S K E T C H O F T H I S I S N T G E R E AT Y E T T O M E T H E C O N C E P T O F T H E T R I A N G L E FA C A D E A N D L I K E T H E P R A D A B U I L I N D W O U L D B E FA N ATS T I C . . . I CA N S E E I N F LU E N C ES OT T H E G R I D I N T H I S E A R LY I N S P I R AT I O N A L S O . I T F E AT U R E S A L A R G E V O I D I N B O T H B U I L D INGS TO LET LIGHT IN - IM NOT SURE IF THIS WO U L D N E E D TO B E E N C LO S E D S O M E H OW FOR RAIN PROOFING

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BUILDING BUILDING as DIAGRAM as DIAGRAM Of FUCTION Of FUCTION CUBISM CUBISM + GRIDS + GRIDS + BUILDING + BUILDING AS LANDSCAPE AS LANDSCAPE

ITS AMUSING FOR ME TO TRY THIS FORM AS I D I S L I K E T H E M E S S I N E S S O F T H I S B U I LT F O R M - I D O N T S E E T H E B E A U T Y I N I T. I T H I N K I T I S A C L E V E R D ES G I N A N D LOV E H OW I T I S T R I C K E R Y H O W I T F L O AT S B U T I T D O E D S N T AW O R K A E S T H I T C A L LY F O R M E . I L O V E T H E GREEN PLANTING IN THE GRIDS AND THE C U B I S M PA I N T I N G AS I T I S O R D E R E D. I A C T U A L LY D I D N R E A L I S E J U S T H O W M U C H I LIKE ORDER.

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SKETCHING IDEAS...I DO LIKE TO THINK WITH MY HANDS AND VISUAL

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W O R K I N G O N L AY O U T A N D S P A C E R E Q U I R E M N E T S E N S U R I N G T H AT I T A L L F I T S A N D I T H AT E A C H S P A C E W O R K S N E X T T O T H E O T H E R

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M A I E S TAT I S I N H I S . A N I M A L I M P E R D I E T E F F I C I A N T U R M E L U T, E A V E L R E B U M P O S S I T. E T I A M M A I E S TAT I S I N C O R R U P T E C U M E L , V I X LABORES VIVENDUM PERCIPITUR NE, AD EOS FA C I L I S V O L U T P AT. E A M N E S O L E AT S E N T E N T I A E C O N C LU S I O N E M Q U E . I D D U O S U M MO IMPETUS, VEL EU PRIMA BRUTE LIBER. L O B O R T I S P E R I C U L A S A L U TAT U S N O N E C , I D N O N U M Y PA RT E M AC C O M M O DA R E M E L .

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L O C AT I O N F O R C O N T E M P L AT I O N A N D I N V I O R G AT I O N A N D R E F R E S H I N G O F T H E MIND

M O N D AY 3 1 S T I SIT AND WRESTLE WITH FEAR AND CONFIDENCE AND DOUBT MY ABILITY TO COME UP R WE IT’S SOMETHING G O O D , I N T E L L I G E N T, PURPOSEFUL....I THINK W H E N I G E T T I R E D I LO O S E CONFDENCE TO TRY NEW THINGS. T H I S I S M Y G R E AT E S T CHALLENGE. IT’S WHY I TURN T O T H E I N S P I R AT I O N O F MY DAUGHTER AS FOR THE M O S T PA RT D O U BT H AS N ’ T CORRUPTED HER FREE C R E AT I V E S O U L . AT T H I S P O I N T I L O O K AT M Y MASSES AND IM STILL NOT FEELING A PULL OR CONNECT I O N TO O N E PA P E R P L A N E I S R E F L E C T I V E O F T H AT C H I L D LIKE FREE THOUGHT BUT W H AT E L S E . . . H O W D O E S I T T R A N S L AT E T O A S P A C E T H AT HIGHLIGHTS THE ART WITH I N T H E WA L L S . . . . H O W D O E S I T EXCITE ENTHRALL E N T H U S E T H O S E YO U N G A N D OLD H O W C A N T H E L I G H T FA L L ? H O W D O T H E T E X T U R E S D R AW AT T E N T I O N A N D C R E AT E E N ERGY I L O O K AT M Y S E C O N D C H O SEN MASSING AND BESIDE IT BEING INTERESTING I’M NOT S U R E H O W I C O N N E C T. P I C K UP STICKS AND TREES....

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The focus of the area of SouthBank Boulevard and Dodds Street is to form a connection between the NGV Art Gallery, Hamer Hall, MTC, Australian Centre for Contemporary Art, the Buxton Contemporary, the Malthouse and the new NGV Contemporary. The promenade enables a flow through from Flinders Station to Southbank Boulevard unifying the arts precinct. Analysis of buildings of Modernism, Habitis and Critical regionalism aims to ensure the NGVC offers a genius loci unifying the area. Inspiration from Tadao Ando (21_21, Hansol Museum, Chichu Art Museum, Suntory Museum), Diller Scofidio + Renfer (US Olumpic and Paralympic Museum, High Line, The Tianjin Julliard School, The Broad) and Kengo Kuma ( Gc Prostho Museum, Lotus House, Museum of Wisdom, Kurogi, Pineapple Cake Shop) helps to formulate the design intent representing the NGVC. As Peter Eiseman said, â&#x20AC;&#x153;a single grain of sand can trigger a landslide.â&#x20AC;&#x2122; The beginning of 2020 Covid 19 triggered that landslide. The world has shifted

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into isolation and now more than ever our future, past and present is open for translation. Susan Bassnett (1998) and Andre Lefevere (1992) discuss the dicourse of translation and how the impracticality of non implying signals on objects is unachievable, placing emphasis on the knowledgeable form. How does the individual and the collective interpret and comprehend meaning to better our world? How does the NGVC offer hope and positivity in a world that constantly shuts down and reopens due to pandemics and weather catastrophes. There is a need for the Joy in art and the Play in form which through simplicity enables pure individualized translation (Lefevere 1992). The NGVC aims to offer hope and place of refuge whereby the introverted and extroverted discourse can flourish. Peter Eiseman discussâ&#x20AC;&#x2122; the notion of event, where displacement of a static environment through form problematics the environment in which creates the event forming the opportunity for translation of the object. No

MID SEMESTER REVEIW

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object is free from translation, everyone is entitled to interpret their unique difference. Art was sidelined due to the pandemic, yet art is the one medium that can lift the collective spirit of a community. Art enables reflection and offers release and the NGVC generates the space for the collective spirit to bond in a discourse of unknowing. The folds and randomness NGVC represents the differences and celebrates the collisions in the individuals perceptions of Art folding and lifting in form. Ulrich Grevsmuhl played with chance and order, whereby creativity is based on selection and spontaneous intuition. The random yet predictability of the current global situation in the form which the tension and constant negotiation highlights the required desire to translate, interpret and make meaning of art in our current world.

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Lefevere, Andre. 1992. Translation History Culture. Routledge. New York http://ilts.ir/Content/ilts.ir/Page/142/ContentImage/Translation%20 History%20Culture.pdf

Grevsmuhl, Ulrich. 1988 Mathematics and Modern Art: Chance and Order. MT122. http://www.grevsmuehl.de/material/forschung/2-2%20F_ cherverbindende%20Studien/MT%20122%20-%20MODULE%20AND%20STRUCTURE.pdf

Eiseman, Peter. 1992. Unfolding Events. Zone. MIT Press. New York

Bassnett, Susan. 1998 Translation Studies. Constructing Cultures: Essays on Literary Translation. Cromwell Press, Great Britain https://books.google. com.au/books?id=9v_uEf9k280C&printsec=frontcover&source=gbs_ge_summary_r&cad=0

References

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MID SEMESTER REVIEW WA S T H E M O S T H O R R F Y I N G EXPERIENCE. I HAD NOT U N D E R S T O O D W H AT WA S R E Q U I R E D AT A L L . I H AV E N O T S T U D Y I N G AT MELBOURNE UNIVERSITY FO R T H E BAC H E LO R O F ARCHITECTURE COURSE A N D H AV E N E V E R H A D T O PRESENT LIKE THIS BEFORE. I WA S U T T E R LY C L U E L E S S . AS A PERFORMER I USED T O H AV E D R E A M S A B O U T G O I N G O N S TA G E A N D N O T REMEMBERING MY WORDS OR KNOWING THE SONG W E L L T H I S WA S L I K E T H AT. I KEPT IT TOGETHER AND TRIED TO MAKE M Y WAY T H R O U G H T H E P R E S E N TAT I O N ,

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I AM ADDING THESE IMAGE S A F T E R I H AV E P R E S E N TE D A N D I S T I L L LOV E T H I S C O N C E P T. IN THE TIME FRAME WE H A D I D I D N T H AV E T H E SKILLS TO MASTER THE PROGRAMS REQUIRED TO B E A B L E T O D R AW T H I S AT A M A S T E R S L E V E L . I N A N O T H E R S U B J E C T I T WA S ALSO COMMENTED ON HOW IN ARCHITECTURE UNDERG R A D U AT E C O U R S E S W E A R E N T TA U G H T H O W T O DRAFT OR PROGRAMS TO H E L P FA C I L I T I AT E T H I S . THE CLASSES ANNA HAS ORGANISED FOR US ARE T H E F I R S T I H AV E H A D ( T H A N K YO U A N N A FO R THIS) AND ARE AMAZING. I AM PICKING UP BITS AND P I E C E S H E R E B U T I T TA K E S ME A WHILE TO FEEL CONFIDENT WITH THESE KIND OF PROGRAMS AND SPEED I S E S S E N TA I L T O M E E T T H E M I L E S T O N E S E S P E C I A L LY SINCE I AM JUGGLING A L O T.

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I LOV E T H E L FOW O F M Y P A P E R P L A N E G A L L E R Y, AND I CAN SEE THE INTERIOR WITH SHARDS OF L I G H T C O M I N G I N . H OWE V E R I A M N O T I C I N G T H AT LOT O F S T U D E N T S A R E GOING FOR THIS FORM AND I LIKE TO BE UNIQUE SO IT IS STEERING ME AWAY F R O M T H I S - H O W EVER IT IS AN IDEA I W I L L PA R K FO R T H E F U TURE. WHO KNOWS A COOL HOUSE OR EXTENSION TO A HOUSE DOWN THE TRACK MY FOLD AND MAKE THE MOST OF THE SITE. THIS FOLDED FORM FILLS THE SITE BEAUTIF U L LY A N D E M B R A C E S THE SHAPE OF THE SITE. I MAMANGED TO GET THE FOLD ON THE SOUTH SITE TO FRAME THE SPRE W H I C H I R E A L LY L I K E A N D I LIKE THE THREE SECTIONS TO SOUTH SITE. IT I S S T I L L M Y FAV O U R I T E DESIGN.

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A S W T D C

V B W

M s

Art programs in the area Sun Wind Transport pedestrian pathways Demographic Contours Vegetation - indigenous Botanical gardens Waterfront

Montreal cube apartments - Picasso Contour maps - Zara Hadid Organic flow - bones - femur landscape Dome - fly eye Mother child Singapore airport terminal

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J OY I N A R T P L AY I N A R T PETER EISEMANS NITION OF EVENT K I N D O F E V E N T, O N E I N W H I C H A D I S P L A C E M E N T O F T H E S TAT I C E N V I R O N M E N T I S N O T M E R E LY A N E L E C T R O N I C O N E - L I N E R B U T, R AT H E R , A N I N T E R P R E TAT I O N I N W H I C H T H E E N V I R O N M E N T I S P R O B L E M AT I Z E D , I N W H I C H T H E E V E N T C O M E S B E T W E E N S I G N A N D O B J E C T. B LU R R I N G O R D I S P L AC I N G O F T H E WHOLE, T H I S VA R I A B L E C U R VAT U R E I S T H E I N F L E C T I O N O F P U R E E V E N T. A SINGLE GRAIN OF SAND CAN TRIGGER A LANDSLIDE T H E F O L D I S N O T M E R E LY A F O R M A L D E V I C E , B U T A WAY O F U N F O L D I N G N E W S O C I A L O R G A N I Z AT I O N S F R O M E X I S T I N G URBAN ENVIRONMENTS. T R A N S L AT I O N S T U D I E S GENERAL EDITORS: SUSAN BASSNETT AND ANDRÉ LEFEVERE DISCOURSE THE BUILDINGS FORM REFLECTS THE DIFFERENCE AND COLLISIONS IN INDIVIDUALS PERCEPTIONS OR ART AND R E P R E S E N T S T H E C O N S TA N T N E G O I T I AT I O N R E Q U I R E T O T R A N S L AT E A N D I N T E R P R E T A R T. TA D A O A N D O CHURCH OF LIGHT C H A P E L O N WAT E R A K I TA M U S E U M O F A R T M AT H E M AT I C S A N D M O D E R N A R T: CHANCE AND ORDER ULRICH GREVSMÜHL “ C R E AT I V I T Y D O E S N O T O N LY D E P E N D O N S P O N TA N E O U S I N T U I T I O N B U T ALSO ON THE DETERMINED, DECISIVE THOUGHT BY THE HELP OF WHICH A SELECTION FROM A GIVEN RANGE OF IDEAS IS MADE. “

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STUDIO H T T P S : // W W W. A B O R I G I N A L C U LT U R E . C O M . A U / HOUSING.HTML H T T P S : // E N . M .W I K I P E DIA.ORG/WIKI/INDIGENOUS_ARCHITECTURE H T T P S : //A L C H E TRON.COM/BRADS H AW - R O C K - P A I N T I N G S H T T P S : // K I M B E R L E YCRUISESPECIALISTS. C O M . A U / 2 0 1 9 / 0 6 / 0 7/ A B O R I G I N A L- A R T- K I M B E R L E Y/ WA N D J I N A T H E WA N D J I N A ( S O M E TIMES WONDJINA) ARE C LO U D A N D RA I N S P I R ITS FROM AUSTRALIAN A B O R I G I N A L M Y T H O LO G Y T H AT A R E D E P I C T E D P R O M I N E N T LY I N R O C K ART IN AUSTRALIA. ... THE STORIES OF THE WA N D J I N A A N D T H E ARTWORK DEPICTING T H E M R E M A I N I M P O R TA N T T O T H E M O WA N JUM COMMUNITY OF INDIGENOUS PEOPLE. "A B O R I G I N A L L AW I S VERY SPECIFIC ON W H AT Y O U C A N A N D

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C A N ' T D O W I T H WA N D J I N A S . . . I T ' S T O TA L LY I N A P P R O P R I AT E F O R A N O N - I N DIGENOUS PERSON TO BE D O I N G WA N D J I N A S , E S P E C I A L LY W I T H O U T P E R M I S S I O N ." [ 3 ] S O U R C E : W H AT A R E WA N D J I N A S ? - C R E AT I V E S P I R I T S , R E T R I E V E D F R O M H T T P S : // W W W. C R E AT I V E S P I R I T S . I N F O /A B O R I G I N A L C U LT U R E /A R T S / W H AT- A R E - WA N D J I N A S H T T P S : // W W W.W U R U N D J E R I . C O M . A U / O U R - S T O R Y/ S I G N I F I C A N T- P L A C E S / H T T P S : // E N . M .W I K I P E D I A . ORG/WIKI/SOUTHBANK,_ VICTORIA

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I D O N O T C R E AT E I N A L I N E A R FA S H I O N . I J U M P. T H AT I S M E . B U T WAT C H . T H E P I E C E S W E AV E T O GETHER IN THE END. MY WORK IS NEVER LINEAR. I SOAR AND I P L U M M E T. C R E AT I V I T Y I S O N T H E EDGE OF DISASTER. M Y T E A R S WAT E R THE SEED OF A NEW T H O U G H T. I SHALL NEVER BE ABLE TO DESIGN HOW SOMEONE WA N T S M E T O D E SIGN. I AM ME. F L AW E D . I M P E R F E C T. F O R Y E A R S I H AV E AIMED FOR PERFECTION.

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B U T I A M T I R E D F R O M FA I L I N G T O R E A C H I T. S O T O D AY I A C C E P T M Y S U C K Y S E L F - C U R LY HAIR AND ALL.

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17.5%

WINTER SUNSET 5:09

8.93%

SUMMER SUNSET 20:45

14.86%

L AC K S LU S T R E N E E D S TO B E R E WO R K E D

WINTER SUNRISE 7:26

SUMMER SUNRISE 6.00AM

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GREEN SPACES

L AC K S LU S T R E N E E D S TO B E R E WO R K E D

TRAM TRAIN

TRANSPORT

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EXTRUDED SITE FOR FORM

SITE

NATURAL LIGHT

FOLDED STRESS

INCREASED INCREASEI HEIGHT AND DEPTH

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PROGAM

STACKED TO FIT

SITE

TURNED FOR VIEWS

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GALLERY ANALYSIS: HERZOG + DE MEURON DE YOUNG MUSEUM, SAN FRANCISCO

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FORM De Young Museum is a Mat form, featuring two courtyards. The depth and length are far greater than the height, except fot the tower which provides a viewing platform of the surrounding bay area Building Size: 293,000 sq ft.

PROGRAM (Organisation of Space) Exhibition spaces are cellular yet you move through these to get to the next.

FLOORPLA

PROGRAM

CONF. ROOM

ABSTRACTION AND ABSTRACT EXPRESSIONISM

BAY AREA FIGURATIVE

POLITICS AND POP ART

MEMBERSHIP INFO. CENTER

THE BODY IN CONTEMPORARY ART

ROTATING WORKS ON PAPER

REINVENTING MODERNISM

ADMINISTRATIVE OFFICE AREAS

CONF. ROOM

AMERICAN SCENE / SOCIAL REALISM

RECEPTION CONF. ROOM

TOWER LOBBY

INTERSTITIAL GALLERY

ART OF AUSTRALIA

ART OF AMERICAS

THE ART OF CRAFT ART OF AMERICAS MAIN COURT

ART OF AMERICAS

MAIN LOBBY TICKETS/INFORMATION ART OF AMERICAS

ENTRY COURT

CAFE

EVENTS KITCHEN

CONCOURSE LEVEL

AUDITORIUM

FAMILY ROOM

CAFE KITCHEN

MUSEUM STORE

Public Areas

EDUCATION GALLERY

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CIRCULATION The Circulation of the gallery begins with entering an angular courtyard. From the courtyward the gallery branches off to different galleries via corridors in multiple directions.

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LIGHTING The gallery uses a combination of natural lighting from windows and skylights to light the interior in conjunction with artificial lighting. LED lighting is used throughout the gallery in traditional methods but also uses a backlit ceiling that appears to the layman to be a skylight. Essentially used as a lighting element, NEW/LIGHT double-layered ceiling systems were installed using various light sources to backlight the ceilings, including daylight, quartz fixtures, and tungsten fixtures.

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HEIGHT 3 floors with variying heights to allow different exhibition heights. The tower is 144-foot (44m) tower

SERVICES Services are grouped to the right and left perimeter of the building and rise vertically.

Permanent Collection Galleries: 73,200 sq ft Temporary Exhibition Galleries: 12,000 sq ft Other Art Display Areas: 11,000 sq ft Education Areas: 20,000 sq ft Conservation Facilities: 13,200 sq ft Landscape Features Sculpture Garden: 35,000 sq ft Childrensâ&#x20AC;&#x2122; Garden: 47,500 sq ft Entry Court: 1,100 sq ft Visitor Amenities Museum Store: 3,900 sq ft Cafe: 3,700 sq ft Auditorium/Lecture Hall: 3,900 sq ft Tower Observation Floor: 2,500 sq ft

SECTION

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INDOOR/OUTDOOR Herzog + de Meuron use large ribbons of glass to extend internal spaces to external spaces, particularly with internal space spilling into courtyards and courtyard light spilling into indoor spaces.

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CONSTRUCTION The structure of the main building is a composite comstruction made up of a steel frame and bracing. The basement level is a concrete construcion of walls and floors. The floors on upper levels consist of a metal deck filled with concrete. The tower level is concrete construction. Concrete shear walls are connected together with girders while the roof is steel framed. The cladding consists of copper panels designed to oxidize over time

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SHIGERU BAN - ASPEN ART GALLERY

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D O I I N C O R P O R AT E T H E N O T I O N O F S T E A LT H B O M B E R ? U N D E T E C T E D ? QUESTION THE MESSAGE OF VERTICAL LINES? L O O K AT V I A N A L I - T R A N S P A R E N C E Y SCALE DIARAMA THINK OF TRANSITION AGENDA S O P H I S I T I C AT I O N FUJIMOTO CENTRE POMPIDOU AT R I U M - T R A N S P A N A R E N C Y A P S P E N A R T M U S E U U M - L AY E R S THE GRIDED FORM IS VERY STRONG IN THE ASPEN ART MUSESUM AND I L O V E I T. I L O V E T H E L AY E R S A N D T H E P L AY O N L I G H T. T H E T R A N S P A R E N C Y. . I F I C A N A C H I E V E S O M E O F T H I S I W I L L B E H A P P Y. I H AV E R E A L I S E D H O W I L I K E T O THINK THINGS THROUGH MORE AND S K E T C H T H I N G S M O R E T H A N I H AV E T I M E T O D O W I T H H O M E S C H O O LING AND THREE SUBJECTS (NEVER AGAIN). I LOV E A R C H I T EC T U R E A N D C A N W O R K O N I T T I R E L E S S LY B U T T H E STRESS HAS BEEN OVERWHELMING.

H T T P S : // W W W. A R C H D A I LY. C O M / 5 4 6 4 4 6 /A S P E N - A R T- M U S E U M - S H I G E R U - B A N - A R C H I T E C T S / 5 4 1 0 2 B 0 F C 0 7 A 8 0 3 F B 3 0 0 0 0 C 6 - A S P E N - A R T- M U S E U M - S H I G E R U - B A N - A R C H I T E C T S -T R U S S - D E TA I L- A X O N ? N E X T _ P R O J E C T = N O

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I P A R T I C U L A R LY L O V E T H E S T I A R S N E X T T O T H E C U R TA I N G L A S S WA L L AND THE GRIDED EXTERIOR. I THEN LIKE HOW THE MUSEUM S P A C E S A R E T H E N N E U R TA L A N D N O G R I D . R O O F L I T. THE ROOF IN THE CAFE AREAS IS O V E R W H E L M I G Y E T S T R I K I N G AT T H E SAME TIME. I WO U L D LOV E TO B E A B L E TO M O D EL SOMETHING LIKE THIS FOR MY G A L L E R Y Y E T I T W O U L D TA K E M E T H E R ES T O F T H E S T U DY P E R I D. I L I K E T H E E L O G AT E D F O R M S O F T H E B E N C H S E AT I N G I T P L AY S W I T H T H E L I N ES O F T H E S PAC E A N D H I G H LIGHTS THE WOOD AND THE TEXTURES. T H E S H A D O W S A N D P L AY O N L I G H T A R E E S P E C I A L LY B E A U T I F U L . L I G H T A N D S H A D OW M A K E A S PAC E . I THINK THE BEAUTY OF THE GRID I S T H AT I W I L L B E A B L E T O A C H E V E THIS. IN THE INITIAL RENDER EVEN I L O I K E T H E S H A D O W I T C R E AT E D B E H I N D T H E FA C A D E

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AFTER THE MIDE SEMESTER REVIEW I S TA R T E D T O L O O K I N T O I N D I G E N O U S A R C H I T E C T U R E , I WA S D R AW N T O W O O D E N S H E LT E R S E S P E C I A L LY I N INDONESIAN AND CANADA.. THE INT R I C A C Y O F T H E W O V E N W O O D WA S U T T L E R LY B E A U T I Y F U L . . A U S T R A L I A N I N D I G E N O U S S H E LTERS SEEMED MORE SIMPLICITIC SO I W O N D E R E D I F I C O U L D AT T E M P T T O DEVISED A STRUCTURE FOR THE ENT R A C N E O F T H E G A L L E R Y T H AT WA S REFLECTIVE OF THESE ARCHITECT U R A L S T Y L E S . N O T N E C E S S A R I LY A I M I N G T O B E S P E C I F I C A L LY A U S T R A LIAN OR INDIGENOUSE BUT MORE A H O M A G E T O A P R I M I T I E B U I LT F O R M . THE WORKS OF KENGO KUMO, S H I G E R U B A N A N D TA D A O A N D O A L L E N C A P U S L AT E T H I S S T Y L E

I T H AS B E E N A PA RT I C U L A R FAV O U R I T E O F M I N E F O R A L O N G T I M E S O I F I N D I T Q U I T E I R O N I C T H AT I H AV E U N K N O W L I N G LY E N D E D U P AT T H I S P O I N T. I T I S A L S O Q U I T E A M U S I N G A S I G R E W U P WAT C H I N G MY MOTHER WOOD CARVE. S H E TA U G H T M E T H E B A S I C S A N D I T S S O M E T H I N G I LOV E TO L E A R N BETTER. THERE IS SUCH BEAUTY W I T H W O R K I N G W I T H N AT U R A L M AT E R I A L S . I THINK COVID - 19 HAS HIGHLIGHTED T H E I M P O R TA N C E O F N AT U R E A N D YO U R S U R R O U N D I N G S . H OW TO N O U R I S H YO U R S O U L W H E N E V E RY THING ELSE IS SHUT DOWN. T O M E T H E G A L L E R Y N E E D S T O H AV E A LARGE OUTDOOR GALLERY SYSTEM.

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Civic Space South Bank Boulevard

HISTORY SIMILARITY SUBJECTIVE DISCOURSE OWNERSHIP M AT E R I A L S https://www.melbourne.vic. WAT E R gov.au/news-and-media/Pages/ Works-commence-on-SouthPLANT TREES bank-Boulevard-Civic-Space-. INTO THE GALLERY aspx O P P O S I T I O N N AT U R E V E R https://www.melbourne.vic. S U S C U LT U R E gov.au/SiteCollectionDocuM O N E Y - D I C H O N T O M AY ments/southbank-blvd-bulletin-may-2020.pdf P O R O U S I T Y - S PAC E

https://www.wallpaper. com/gallery/art/global-outdoor-art-installations-2017/ amp

COMPETITION COLLAGEY PA N D E M I C CRISIS MODESTY E N G AG I N G O N M A N Y L E VELS RESPONSIBILITY C U LT U R E STUDIO

https://justinpluslauren.com/ winter-stations-toronto-outdoor-art-installations/

AS I ADMIRE THE ABC B U I L D I N G A N D T H E R E C I TA L H A L L E X T E R N A L LY A N D I N T E R N A L LY T O G E T H E R THEY SEEM TO COMPETE F O R C R E AT E T H I S A R C H I T E C T U R A L N O I S E T H AT I A M T H E N D R AW N T O T H E B O TA N I C A L G A R D E N S A N D N AT U R E . Iâ&#x20AC;&#x2122;M REMINDED OF THE WORLD OF KENGO KUMOS

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A C O M M E N T WA S M A D E T H AT Y O U S H O U L D L O V E Y O U R P L A N S S O M U C H T H AT Y O U W O U L D WA N T T O TAT T O O T H E M O N Y O U R S L E F. THIS MADE FEEL UPSET AS I DIDNT THINK MY PLANS WERE B E A U T I F U L AT A L L . W E I R D L O O K I N G .

T H I S I S M Y D I AG RA M O G T H E G R I D A N D H OW I T E N C O M PAS S ES A L L T H O U G H T S . L I N E S L I N K A N D C R E AT E P AT T E R N S .

I TRIED TO BEAUTIFY THEM SHAPE OF THEM AND MAKE SENSE OF THEM. I DONT KNOW WHY BUT THIS IDEA OF L O V I N G P L A N S S O M U C H T H AT Y O U W O U L D T O TAT T O O T H E M H A N D N E V E R O C C E R E D T O M E . . .Y E T I A G R E E - S O M E P L A N S A R E J U S T S O B E A U T I F U L . . . I A M D R AW N T O T H E M . HOW DO I MAKE MINE LIKE THIS??

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GALLERY ANALYSIS: THE BROAD diller scofidio + renfro

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FORM The broad is a square in plan an rectangular in elevation.the facade hides the irregular form of the vault. the vault and a level of mistique and intrigue

PROGRAM (Organisation of Space) Exhibition spaces are cellular yet you move through these to get to the next.

FLOORPLA

PROGRAM

CIRCULATION

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The Circulation of the gallery is divided into two sections - the vault and the other. It offers a large open space and then a variety of smaller intimate spaces

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HEIGHT 3 floors with variying heights to allow different exhibition heights. 200 feet x 200 feet Vault is 40 per cent of the museumâ&#x20AC;&#x2122;s total volume, 40 per cent for art,\ 20 percent for offices and support functions.

SECTION

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INDOOR/OUTDOOR Diller & Scofidio + Renfro, The broad is surrounded by parklands but internally you only feel the glimpses of the outdoors through the facade. Th ebuilding is completely veiled.

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CONSTRUCTION

The structure of the building is a composite comstruction made up of a steel frame and bracing. The basement level is a concrete construcion of walls and floors. The floors on upper levels consist of a metal deck filled with concrete. The tower level is concrete construction. Concrete shear walls are connected together with girders while the roof is steel framed. The cladding consists of â&#x20AC;&#x2DC;variety of materials: concrete, steel, glass fibre reinforced concrete (GFRC) and glass fibre reinforced gypsum (GFRG)â&#x20AC;&#x2122;. (Marchuk 2018)

Reference Marchuk 2018.The Broad. Iaacblog. http://www.iaacblog.com/programs/a1_ broad_parametricfacade/#:~:text=The%20 facade%20of%20Broad%20 museum,fibre%20reinforced%20 gypsum%20(GFRG).

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KENGO KUMA - PROSTHO NGV - TAKE A PORTION OF IT AND EITHER SHADOW OR INVISIBLE OR SCALE MODIFY THE CONTAINER?? DUNDEE

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CULTURE HERITAGE HISTORY TRADITION _ ALL AFFECT TRANSLATION GRID REPRESENTS INTERSECTION OF THOUGHT, CULTURES, BELIEFS DIVING AND UNITING SKIN MATERIALITY LIGHT VAULTED CEILINGS SCAR TREES? SOFTEN HARD EDGES VERBALISE ANSWER THEN VISUALISE KUMA - TIMBER FROM TREES THAT DIED, BOUGHT ON BY THE DROUGHT SOME OF WHICH PREDATED COLONIAL OCCUPATION OF AUSTRALIA

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REFELCTION CONSERVATION SPECULATION ISOLATION BOUGHT ON BY COVID AND THE INTERSECTION OF THE PAST AND THE FUTURE TECHNOLOGY? KUMA - ODUNPAZARI ASPEN ARTS SHIGERU BAN CLEMENT MEADMORE - RUSTY SCULPTURE COURT

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KENGO KUMA AT T E M P T T O M I T I G AT E T H I S I S O L AT I O N PREVENTING A THING BECOMING AN OBJECT IS A FA R M O R E D I F F I C U LT TA S K PA RAS I T E , L I V I N G O F F I T S E N V I R O N M E N T. I T I S A N ANTI-OBJECT

TA D A O A N D O 5 SENSES R E D I S C O V E R N AT U R A L A N D SUBCONSCIOUS ELEMENTS L I K E W I N D A N D L I G H T. M A N Y O F H I S WAT E R CENTRIC PIECES WHICH W E W I L L V I S I T B E LOW A R E AN EXCELLENT EXAMPLE

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OF ANDOâ&#x20AC;&#x2122;S ABILITY TO I N T E R W E AV E N AT U R A L AND MAN-MADE ELEMENTS.

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GRID LINES REPRESENTS PEOPLE’S POINTS OF VIEW E V E RYO N E ’ S A R E D I FF E R E N T A N D AT S O M E POINT THEY INTERSECT T H E Y M AY C L A S H I N O P POSITION OR STRENGTHEN IN AGGREANCE

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W H AT I N S P I R E D D E S I G N I N F LU E N C ES LANDSCAPE O R I E N TAT I O N E N V I R O N M E N TA L D E S I G N K E Y F E AT U R E S CONNECTIONS - VOIDS M O B I L E WA L L S F L E X I B I L I T Y F R E E V E R S U S PA I D O U T D O O R S PAC ES C O N N EC T I O N TO C OV I D

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2 0 2 0 I S T H E Y E A R W E A L L H AV E C O LL E C T I V E LY P O N D E R E D T H E R E L E VA N C E O F H O W W E L I V E H O W W E I N T E G R AT E O U R D A I LY R O U TINE WITHIN THE GRID OF SOCIETY CONFINED CAPTURED C O N TA I N E D R E L I A N C E WA S O N D I G I TA L T E C H N O L O G Y T O M A I N TA I N A N A S S E M B L E N S E O F W O R K , C O M M U N I C AT I O N , E D U C AT I O N A RELIANCE ON THE GRID A RELIANCE ON THE ELECTRICITY T H AT F E E D S S O C I E T Y A N D A F R A G MENT OF A LIFE WE LIVE. A N D AT T H AT B R E A K I N G P O I N T W H E R E Y O U C A N â&#x20AC;&#x2122; T B E A R T O S TA R E AT S C R E E N W E L O N G E D F O R N AT U R E TREES WOOD L E AV E S

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F I LT E R E D L I G H T THE NGV CONTEMPORARY AKA THE G R I D R E F L E C T S A L L T H AT S O C I E T Y WA S P R E D U R I N G A N D P O S T 2 0 2 0 . I T R E F L E C T S T H E O V E R E X P O S E D C I T Y. T H E FA C A D E I S T H E FA C E O F T H E CITY A NOD TO MELBOURNE METROPOLIS GRID FORM A NOD TO OUR RELIANCE ON ELECT R I C A L T EC H N O LO GY A P L E A T O S AV E N AT U R E A N D C H E R ISH IT AS IF ITâ&#x20AC;&#x2122;S GOLD. NGVC GRID REPRESENTS AN INTERS E C T I O N O F T H O U G H T S , C U LT U R E S AND BELIEFS. DIVIDING AND UNITY A N D M E E T I N G AT I N T E R S E C T I O N S W H AT I N S P I R E D D E S I G N THIS CONNECTION TO THE EARTH

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AND OUR SURROUNDINGS IS INSPIRED BY THE NORB E R G - S C H U L Z G E N I U S LO C I . . , A N D V I R I L I O T H E OV E R EXPOSED CITY I L O O K E D AT T H E S U R R O U N D S A N D N O T I C E D T H E

L A C K O F W O O D I N T H E B U I L D I N G S A N D WA N T E D T O F O S T E R A C O N N E C T I O N B E T W E E N T H E B O TA N I C A L G A R D E N A N D T H E S I T E - C H E R I S H I N G N AT U R E . T H E S I T E T O B U I L D O N I S W O R T H A L O T O F M O N E Y H O W E V E R I S N â&#x20AC;&#x2122; T T H E I M P O R TA N C E O F N A T U R E . . . I H AV E C L I P P E D T H E F O R M T O E N A B L E M O R E V E G E TAT I O N A N D G A R D E N S A N D P L A C E S

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FOR SCULPTURES WHERE PEOPLE CAN VISIT IN DURING A PA N D E M I C I F W I T H I N 5 K M A R C H I T E C T S S U C H A S K E N G O K U M A A N D H I S U S E O F N AT U R A L ELEMENTS AND BUILDINGS SUCH AS THE PROSTHO MUSEUM A N D D U N D E E A N D O D U N P A Z A R I H AV E I N S P I R E D T H E C O N C E P T AND THE DESIGN TA D A O A N D O A N D H I S U S E O F L I G H T A N D C O N N E C T I O N T O T H E E L E M E N T S E A R T H , WAT E R S U N , DILLER AND SCOFIDIO THE BROAD ANGLES AND LINES SHIGERU BAN ASPEN ARTS MUSEUM

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DESIGN OF INDIGENOUS BUILDINGS FROM AROUND THE WORLD OFFERED THIS CONNECTION TO THE EARTH AND SIMP L I C I T Y T H AT I WA S T R Y I N G T O E X P R E S S T H E E X T E R I O R FA C A D E W I L L B E L A M I N AT E W O O D F O R M E D F R O M F E L L E D T R E E S F R O M T H E B O TA N I C A L A N D G A R D E N S A R O U N D M E L B O U R N E A N D F R O M B U S H F I R E Z O N E S T H AT W E R E A F F E C T E D S T R U C T U R A L LY B U T S T I L L S A LVA G E A B L E WOOD I N T E R N A L LY I T H A S S T E E L C O L U M N S B O R R O W I N G C O N C E P T S F R O M Z U M T H O R A N D E A R T H Y M E TA L S T H E G A L L E R Y L AY O U T I S F L E X I B L E A M D M U LT I S C A L A R E N -

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A B L I N G Y O U T O M O V E WA L L S T O H AV E O P E N P L A N O R C L O S E U P T O C R E AT E I N T I M AT E S E T T I N G S IT IS LIGHTING DIVERSE I T F E AT U R E S N AT U R A L L I G H T I N G I N T W O V O I D S A N D S I D E L I G H T T H R O U G H T H E G R I D LANDSCAPE O R I E N TAT I O N E N V I R O N M E N TA L D E S I G N K E Y F E AT U R E S CONNECTIONS - VOIDS M O B I L E WA L L S F L E X I B I L I T Y F R E E V E R S U S PA I D O U T D O O R S PAC ES C O N N EC T I O N TO C OV I D

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Sculpture Park

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TAXI DROP

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12 0 11

13 14

EXIT Gift Shop

Workshop Prep Room Curator

Cloak Permanent Gallery

Tickets Information

ENTRANCE

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10 m

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Ground Floor 1 : 500

31 32 30 28 29 26 27

GIFT SHOP

EXIT / STAFF ENTRANCE

OUTDOOR CAFE TEMPORARY ART SPACE

ARTIST STUDIOS

CAFE

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PLANE I N T E R P R E TAT I O N O F A R T E V E R Y O N E T R A N S L AT I O N I S UNIQUE GRID INTERSECTING AND JOINING UNIFYING AND DISSECTING BOTH REPRESENT THE DIVERSITY IN AN INDIVIDU A L S T R A N S L AT I O N A N D U N D E R S TA N D I N G O F A R T. H OW T H E PAS T F U T U R E AND PRESENT AFFECT OUR T R A N S L AT I O N : . . . NO OBJECT HE FREE FROM INTETPRETION SO THE N G V C S TA N D S T O R E P R E SENT INDIVIDUALITY AND P R O M O T E A N D C E L E B R AT E THE DIFFERENCES IN T R A N S L AT I O N HOW CURRENT WORKS ISS U ES PA D R M I C S A N D E N V I R O N M E N TA L D I S A S T E R S TO PRESERVE TO INCITE TO OFFER SANCTUARY T O A L L O W T R A N S L AT I O N T O E V O K E C O N V E R S AT I O N T O C R E AT E A S E N S E O F B E LO N G I N G T H E N GVC B E LO N G S TO T H E P E O P L E O F T O D AY. . . H O W T O M A K E I T R E L E VA N T

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COACH DROP MECH

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PERMANENT

LOADING DOCK

LIFT FOR ART

STORE / ASSEMBLAGE

PREP ROOM

KIDS SPACE

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E S C A L AT O R S I N T H E W R O N G P O S I T I O N C O N S I D E R . F L I P P I N G T O OV E R LO O K T H E S C U L P T U R E C O U RT L I K E I N T H E AS P E N R E L O O K AT WA L L T H I C K N E S S - 2 0 0 M M T O O T H I N MOVE GIFT SHOP C H E C K O U T O M A E S A C A L AT O R S

MEMBERS LOUNGE

RESTUARANT

TEMPORARY GALLERY

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EXIT

Gift Shop

Sculpture Park Workshop

Curator INTIMATE ART SPACE

Cloak Permanent Gallery

Indigenous Gallery OUTDOOR ART INSTALLATION

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I N T E N T I O N S O F V E W I I N G T H E A RT ? D I R EC T I O N O F T H E LO G I C RESPONSE - OPEN INTERSECTION MANNER R A D I AT I N G E X T E R N A L T E R RAC I N G A N D V E R DA N CY OV E R LO O K I N G T H E

CAFE

TEMPORARY EXHIBIT

STAFF LUNCH

W/C RESEARCH/LIBRARY

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W/C

10 m

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S C A L E / F O R M / P R O G R A M / C I R C U L AT I O N / D I V E R S I T Y / O R G A N I S AT I O N O F S P A C E / C O N S T R C U T I O N / L I G H T I N G FLEXIBILITY OPENNESS M U LT I S C A L A R I T Y LIGHTING DIVERSITY INDOOR / OUTDOOR OPEN PLAN I N C O P P O R AT I O N O F K U M A A N D Z U M T H O R H E R I TA G E C O N C E P T ? BEARKING DOWN THE FORM

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H O W T O P R O V I D E A S P A C E T H AT F O S T E R S T R A N S L AT I O N A N D C O M M U N I C AT I O N I N WAY T H AT I S C O M F O R T I N G . S T I M U L AT I N G A N D R E L E VA N T T O O U R W O R L D A F T E R T H E A F F EC T S O F T H E PA N D E M I C ?

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OMA - MILAN PRADA O N E L A S T AT T I T U D E I N V E S T I G AT I N G T H R O U G H D E S I G N DILLER / ADELAIDE SHORTLIST U S E W O R D I N G L AT T I C E O R S C R E E N N O T G R I D ?

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T H E A I M I S TO P R OV I D E S PAC ES W H E R E T H E U S E R C A N C O N T E M P L AT E T H E A R T T H E Y A R E S E E I N G S I T U AT E D I N T H E W O R L D . T H E W O R L D O F W H I C H N E E D S A S M U C H AT T E N T I O N A S T H E A R T. T O P R O V I D E A P L A C E O F C O N T E M P L AT I O N , I N T R O S P E C T I O N A N D I N S P I R AT I O N

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GOLD IS ONE OF THE MOST PRIZED NATURAL RESOURCES ON EARTH THE WORD GOLD IS ASSOCIATED WITH GREATNESS...HENCE USING GOLD FOR NATURE IN THE RENDERS

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W/C

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W/C

STAFF

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PERMANENT

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01 m 5 m

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South Bank Boulevard

Grollo Equiset Garden

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Living Art Gallery

Recycled Trash Scupltures

Store

Art Lift

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Outdoor Cafe

Kitchen

Outdoor Dining CAFE

Ramp on Promenade

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TEMPORARY EXHIBIT

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W/C

WATER ROOM Gallery

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Store

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1 A121

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Recycled Trash Scupltures

Living Art Gallery

Art Lift

Outdoor Cafe

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Outdoor Dining

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GROUND FLOOR Alternate with escalators near sculpture court

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TEMPORARY EXHIBIT

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Feel the escalators block the flow of the restaurant and cafe / indoor dining - perhaps this view and connection is more important as people will sit for an hour or so....

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Outdoor Cafe

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Outdoor Dining Ramp on Promenade

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TEMPORARY EXHIBIT

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SIGHT POINT 11.7M HUGH AND 3M WIDE TORQUED ELLIPSE 3.73 X 8 X 10 S E N S E O F AWA K E N I N G THE CURVED FORM CONTRASTS THE CONSTRAINTS OF THE GRID S A N D B L A S T E D F I N I S H E D I S H O N E D T O C R E AT E A R U G G E D F I N I S H E M A N S T H E C U R V E D F O R M F O R M S A M Y S T E R Y F R O M A C AV E L E A D I N G Y O U O N A J O U R N E Y A S I T O P E N S U P S E Q U E N C E - C A P T U R E S T H E F E E L O F WA L K I N G I N A C A N Y O N O R A G O R G E 20M C 12M X 4M HIGH

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Form The museum sequence of program is imagined first as a linear line, that later bends to shape a continuous spiral.

Program and Flexibility of Spaces Due to the building structure, open-plan exhibition spaces are offered, free of any dividing partitions.

Circulation A rhythmically flowing route is incorporated through the exhibition. It starts in the historic building and, going in a clockwise direction, slopes gently down into the heart of the spiral, after which it rises again on the contrary direction â&#x20AC;&#x201C; filled with energy like the springs of a watch. Visitors experience the route as a flowing continuum with a composed narration.

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STUDIO 36 RESEARCH TASK GALLERY: THE LOUVRE ARCHITECT: JEAN NOUVEL LOCATION: ABU DHABI

Nouvel has taken a contextual approach to the site and has drawn inspiration from traditional Arabic culture. The building is organised into a â&#x20AC;&#x2DC;museum cityâ&#x20AC;&#x2122; as its series of contrasting white buildings that house the exhibits are modeled from the Medina and low lying Arabic settlements. The organisation of rooms enable the flexibility for simultaneous displays of more than one exhibition. The arrangement of the gallery is not hierarchical so visitors can choose their own routes which replicates the notion of a city, The transition from within one of the white exhibition spaces out into the open space under the dome encourages visitors to contemplate the relationship between sea, city and land. filtered natural light can be present in all galleries either from lateral or overhead windows. Glass mirrors are used to capture sunlight and direct it into gallery spaces while also scattering light to avoid glare. The perforated dome sitting above the contrasting white buildings creates a rain of light effect generated by a closely studied geometric design. The museum presents a classical dome that has

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STUDIO 36 RESEARCH TASK:

THE LOUVRE ABU DHABI JEAN NOUVEL

PROGRAM

FORM

FORM DERIVED FRO

The form dictates a cluster of rectangular 1 story forms with varying roof heights that lay beneath the intricate dome structure. The form is founded based on a major symbol of Arab architecture, but here the dome is a modern proposal. The dome acts as a sanctuary for the works of art as it becomes a shelter of light day and night.

OIM INTERSECTION CITY GRIDS.

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STUDIO 36 RESEARCH TASK:

THE LOUVRE ABU DHABI JEAN NOUVEL

LIGHTING TECHNIQUES Natural: The Louvre gallery spaces are naturally lit with glazed Skylights. These glass ceilings incorporate both natural and artificial lighting to provide an optimal lighting system for the artworks on display. Artificial: The Louvre Gallery space employs the use of glass mirrors to capture sunlight and direct it into the gallery spaces while also scattering rays to avoid glare.

STORIES & LEVELS The Louvre Gallery occupies only one story.

CENTRAL ATRIUM A

AND STAIRCASE ALLOWS FOR CONTINUITY ACCROSS THREE FLOORS

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STUDIO 36 RESEARCH TASK: THE LOUVRE ABU DHABI JEAN NOUVEL

ORGANISATION OF SPACES Interior exhibition spaces: The interior exhibition spaces, comprising museum galleries, temporary exhibition spaces and Childrenâ&#x20AC;&#x2122;s Museum, make up 8,600 square meters, with permanent galleries covering approximately 6,400 square meters.

CIRCULATION & ACCESS The Gallery is non hierarchal in organisation which means you can take any route through the displays. This is made possible as the rectangular exhibition spaces are detached from one another which guides visitors to transition out under the dome structure to then back into another exhibition space.

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STUDIO 36 RESEARCH TASK: THE MAXXI BY ZAHA HADID

FLEXIBILITY The Gallery organisation enables the flexibility to have two exhibitions on simultaneously.

DIVERSITY OF GALLERIES Different heights of the gallery spaces accommodate permanent, temporary, large scale and small scale exhibits.

INDOOR & OUTDOOR Transitioning from indoor to outdoor is a key component of the design and is what makes the Gallery so experiential. The experience of the ‘museum city’ is made possible through the cluster form of exhibition spaces that are housed within the intricate steel dome structure that rains light down within the plaza spaces.

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STUDIO 36 RESEARCH TASK: THE LOUVRE ABU DHABI JEAN NOUVEL

CONSTRUCTION & MATERIALS The dome consists of eight different layers: four outer layers clad in stainless steel and four inner layers clad in aluminum, separated by a steel frame five meters high. The frame is made of 10,000 structural components pre-assembled into 85 super-sized elements, each weighing on average 50 tonnes. The dome’s geometric design is from of a highly studied geometric pattern. The eight layers consists of a pattern that is repeated at various sizes and scales. The rays of light penetrates the eight layers creating a cinematic ‘Rain of Light’ effect as the sun’s path progresses throughout the day. SERVICES & VENTILATION The dome roof creates a solar shading effect with optimised roof perforations to allow daylight without excess solar gain. Light colored materials reflect light and aid in cooling.

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BI National Galler

IG ry of Greenland

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Form A simple, functional and symbolic ring shape, forming a courtyard building that combines a comprehensive layout, the centre of the melted ring hosts an internal courtyard and an outdoor sculpture garden. serving as the museum’s focal point. The cyclical shape of the gallery enables a flexible division of the exhibition space according to individual needs. much like the Guggenheim museum’s rotunda layout in new york, a ramp and staircase form a coherent cycle from arrival through mezzanine and auditorium to exhibition loop and back again.

Program and Flexibility of Spaces The circular shape of the gallery enables a flexible division of the exhibition into different shapes and sizes, creating a unique framework for the museum’s art. The building program includes • The main entrance, a foyer and an auditorium at level 0 • Admin and outreach spaces, a library, and building amenities at level -1 • Indoor open-plan gallery space at Level -2 • Workshops (under the Sculpture garden) lit by skylights. • Outdoor exhibition space (Sculpture Garden)

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Circulation A ramp and a staircase form a coherent cycle from arrival through mezzanine and auditorium to exhibition loop and back again. The ramp also functions as a linear gallery similar to the Guggenheim Rotunda in New York. Level -2 is a full loop of open-plan gallery space divided into zones for different exhibition types.

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Lighting With the sloping nature of the site, level -2 (gallery space) offers an open plan exhibiting area with both naturally lit and artificially lit spaces.

Height The gallery spaces are varying in terms of ceiling heights to adapt to larger works and sculptures. All gallery spaces have a minimum clearance of 4m.

EXHIBITION ARTIFICIAL LIGHTING, SIN

N SPACE NGLE HEIGHT CEILING

WORKSHOPS LIT BY SKYLIGHTS IN THE SCULPTURE GARDEN SLOPE

EXHIBITION SPACE NATURAL LIGHTING, DOUBLE HEIGHT CEILING

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Structure and Material

A rough-looking external faรงade of white concrete, while the circular inner glass wall offers natural lighting and view access towards the sculpture garden, and the fjords as well on the higher levels. With this concept, the exterior concrete wall works as the main loadbearing wall, offering a flexible plan without any dividing partitions. The admin and outreach spaces along with the workshops as well are divided with partitions. While the exhibition and gallery spaces are partitions free (Open Plan)

INNERCIRCLE WALL GLASS WALL

PARTITIONS NON-LOADBEARING

EXTERNAL WALL LOAD-BEARING SOLID WALL

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STUDIO 36 RESEARCH TASK:

PROGRAM NMWA is the realization of Le Corbusier’s early concept of the “Growth Art Museum”. Visitors can first enter the center of the museum, and then they will spiral outward to reach every part of the exhibition space. In the future, the museum can continue to maintain this spiral form to expand outward, so the museum is also called “An Art Museum That Can GrowInfinitely” by Le Corbusier.

SPATIAL FORM - Visually transparent ground floor; - The central inner court; - The main entrance is located in the central inner courtyard of the building; - Use a ramp to guide visitors from the central inner courtyard into the exhibition space on the second floor; - The exhibition space can be increased unlimitedly; - The plane order and the four-way opening of the facade; - The exhibition space is planned in a free-plan way.

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STUDIO 36 RESEARCH TASK:

PLANNING The ground floor to the first floor of the building are connected by a ramp, so visitors can walk while admiring the sculptures. On the ground floor, the ceiling of the exhibition hall consists of two different parts, the height of which is 2.2 meters and 4.5 meters. The third floor exhibition hall is equipped with a terrace, and the 19th-century sculpture exhibition hall can be seen on the terrace. This spatial structure allows visitors to feel the rich layers of architectural space. The corridor is compressed to the greatest extent, so the connection between different spaces does not depend on the corridor. For example, located on the north side of the ground floor, the non-display area including reception is closely connected to the display area. However, such plane processing is not common in public buildings, especially for the connection of different spaces.

STUDIO 36 RESEARCH TASK:

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ORGINISATION The bottom of the building is void, leading people to the center of the building so that the visitor's route starts from the center of the building. In this way, the designer changes the traditional logical relationship between the building and the external environment and people. Through this spatial form, a kind of "Centrality" is given to the building. In other words, the order of the spatial composition of the building is "outer half-outer - half-inner - inner - outer". This spatial combination also conforms to Le Corbusier's design techniques.

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STUDIO 36 RESEARCH TASK: THE MAXXI BY ZAHA HADID

LIGHTING In the center of the building is a lighting hall with skylights, which runs through all floors of the building. It is not only the starting point of all lines but also the visual center of people. Corbusier named it the "19th Century Hall". Inside this square box, there is darkness all around, only the triangular skylights on the roof can show sacred light, and the "Cross" formed by the architectural structure makes the vision of visitors more pure and transparent.

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Kukje Gallery by SO-IL Sevona Lopes Oliver Suter

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Planning The gallery is split into two parts, where the ground floor consists of the art gallery, that is a single-story, column-free zone. The 16m long, double height gallery is a flexible space for large installations, events and performances. This arrangement makes the art gallery the focus of the structure. The level below the art gallery has a 60 seat wooden clad auditorium, that is used for lectures in the basement and placed underground due to its low dependency on natural light; along with the administrative areas, catering spaces, restrooms and mechanical rooms. These floors are accessed via a staircase that wraps around the building corner. The second basement consists of storage and other support spaces. It is placed at the bottom-most floor of the building in order to make it the least accessible space for common public. Since the box geometry was too rigid for the historic context of northern Seoul, the structure is draped in a chainmail veil that wraps around the buildings irregular geometry, creating a diffusion around the structure and giving it a soft finish. The drape effect intentionally given to the faรงade, not only gives the building a light appearance, but also helps it blend with the rooflines of the surrounding houses. The hard edged protruding shape of the building is thus blended into the irregular arrangement of the site context.

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Circulation The Entries, elevators, stairs and other circulation elements have been pushes to the periphery of the building, so as to make available optimum functional space of the gallery, in the centre. This gives the gallery maximum height and a clear interior volume.

Lighting Skylights placed at the perimeter of the building help establish a visible connect with the outside. Placed at the edge of the gallery ceiling, these skylights naturally light up the large gallery space.

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Materiality The structure is primarily made of cast in-situ concrete, with steel roof beams and has a secondary structure with a low-iron laminated glass faรงade. Material used: structure in-situ concrete; steel roof beams and secondary structure faรงade curved, bead-blasted chainmail stainless steel mesh roof stone pavers, glass skylights interior wall drywall with plywood backing, floor polished concrete (GF), stained wood (BF1) theatre acoustic materials, stained wood

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Form & Layout The form on the ground floor comprises of a very minimalist rectangular concrete extrusion. A customized chainmail stainless steel mesh drapes over the primary form and aggressive extrusions forming an abstract and ‘fuzzy’ disguise. The Project Architects have further outlined that the skin was developed through parametric means for it to sit tightly and maintain its function as a high-performing façade system. Internally, the building’s ground floor is column-free – which also optimizes its ability to host large installations, performances, and events. The lower under-ground floors act as a 60-person theatre space and further supporting spaces including: offices, art handling facilities and storage.

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Logic/Organisation The Gallery is the existing venue’s third building. The building’s Circulation was pushed to the outer boundaries of the building to minimise the internal circulation disruptions and more effectively branch the broader site circulation paths. The underground placement of the auditorium, offices and storage units also further endorse flexibility on the ground floor. The Underground extrusion also enables the building’s vertical height to align with its surrounding traditional hannok homes. Its grey appearance enables it to exist silently within its context rather than scream for attention. As a contemporary building with state-of-the-art features, SO-IL has really balanced its features well with a historically sensitive area of Northern Seoul.

Gallery

Theatre

Storage

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STUDIO 36 RESEARCH TASK GALLERY: BERKELEY ART MUSEUM ARCHITECT: TOYO ITO LOCATION: BERKELEY, CALIFORNIA, USA, 2007

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STUDIO 36 RESEARCH TASK: THE BERKELEY ART MUSEUM BY TOYO ITO

PROGRAM The Berkeley Art Museum combined the art museum and film archive into a single sturcture and integrate various other functions as well. The art galleries, a theater, a library, a cafe, a shop, and offices will all share functionality and researchers as well as the general public will create a lively space linking inside and outside and the green of the campus with the energy of the city.

FORM Itoâ&#x20AC;&#x2122;s design calls for a three-story building with an unexpectedly fluid steel exterior that curves to meet dramatic, towering windows. The interior will comprise a loose grid of interlocking spaces with gently curved walls that wind and bend throughout the structure. In places, the gallery walls will part, as if pulled aside like curtains, to allow passage between the varied exhibition areas.

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STUDIO 36 RESEARCH TASK: THE BERKELEY ART MUSEUM BY TOYO ITO

ORGANISATION OF SPACES The space is based on a grid drawn of 4 x 4, the edges of the grids curve softly towards the points of intersection and connecting at opposite corners. Ito creates continuity among rooms by peeling back the corners that define each room one by one. Nevertheless, the cecullar arrangement of the galleries allows an intimate and non-heirarchical feeling.

CIRCULATION & ACCESS The museum is arranged on three levels, each level is divided into enfilade of rooms which are accessed via a central circulation core,

ESCAPE DISTANCES Other than the centralised circulation connecting the three levels, the evacuation staircases locate at the West side. The main entrance locates on the South but also having entrances on the East and West, providing several escape routes and exits in case of emergency.

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STUDIO 36 RESEARCH TASK: THE BERKELEY ART MUSEUM BY TOYO ITO

LIGHTING TECHNIQUES Skylights on the third floor provide some of the galleries with natural lighting, the museum can therefore accomodate the exhibition of different types of art and media. Three of the eight galleries on second floor has “vista spaces” which are naturally lit.

STORIES & LEVELS The museum’s first floor houses two theaters; five exhibition galleries, one of which, the MATRIX gallery, will be opened to the public without any charge. Hence, there is the museum store and café, opening onto Center Stree and other visitor amenities. The second floor houses eight galleries, a screening room, the Conceptual Art Study Center, a learning center, and a library. Three of the galleries on the second floor will have ancillary “vista spaces,” two looking east to Oxford Street and the Berkeley campus, the third overlooking Center Street. The top floor includes seven galleries, they will be dedicated to works on paper and to the museums celebrated Asian art collection, and will include an Asian garden gallery.

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STUDIO 36 RESEARCH TASK: THE BERKELEY ART MUSEUM BY TOYO ITO

FLEXIBILITY The museum not only allows different exhibitions to be hosted on different levels but the centralised access to the galleries allow suites of rooms to accomodated and to be dedicated to different exhibitions. The museum therefore has a high degree of flexibility.

INDOOR & OUTDOOR With a plaza-like extension on Center Street, the largely transparent ground-floor facade approahces the visitors through inviting exploration of the museum . The building offers rich opportunities for interactions with the diverse population and institutions of the neighborhood and UC Berkeley community. Outdoor public space is offered in different levels to reinterpret the sensitivity to the scale and fabric of the surrounding neighborhood, at the same time offering a distinctive architectural addition to it.

STUDIO 36 RESEARCH TASK:

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THE BERKELEY ART MUSEUM BY TOYO ITO

SERVICES & VENTILATION The loading dock for services locates near Addison Street, separated from the main entrances for visitors on Oxford Street and Center Street. The storage space is right next to the service route. There is a separated circulation route for staff and services connected with the office on second and top floor, visually isolated from the curved white walls.

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THE MAXXI: ZAHA HADID PROGRAM The museum is described by Zaha as “not a object-container, but rather a campus for art.” The MAXXI is not justa a gallery, but also hosts art, architecture, design photography shows, fashion, cinema, music projects, theater and dance performances, and lectures. MAXXI is more than just a museum it is a multi-purpose campus for all areas of creativity. FORM The design superimposes two intersecting urban grids onto the site, creating a linear framework for building organization. The resultant angle-divergence of 51 degree is mediated by means of curves. The building is defined largel by two principles: concrete walls that define the galleries and transparent roof that modulates natural light. The concrete load-bearing walls eliminate the need for interior columns while supporting the roof structure and forms above it.

FORM DERIVED FRO

Zaha uses concrete curved walls, suspended black staircases, and open ceiling to create: “A new fluid kind of spatiality of multiple perspective points and fragmented geometry, designed to embody the chaotic fluidity of modern life”

CONTINUOUS SPAC

OIM INTERSECTION CITY GRIDS.

CES ARE SHAPED BY CURVED WALLS.

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THE MAXXI: ZAHA HADID LIGHTING The MAXXI gallery spaces are naturally lit with glazed ceilings. Light is diffused through thin concrete beams on the ceiling, together with glass covering and louvre filtering systems. The beams, the staircases and the linear lighting system guide the visitors through the interior walkway. HEIGHT The MAXXI is a three storey mat building that occupies an L shaped site. When the galleries occupy more than one level it normally becomes difficult to create a sense of continuity accross the floors. This is solved by sinuous volumes and gallery wings that merge around a central staircase

CENTRAL ATRIUM A

METAL GRILLES AN

AND STAIRCASE ALLOWS FOR CONTINUITY ACCROSS THREE FLOORS

ND ADJUSTABLE LOUVRES CONTROL SUNLIGHT.

CANTILEVERING GALLERY & VIEWS OF CITY

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THE MAXXI: ZAHA HADID ORGANISATION/CIRCULATION/ACCESS The focus of the space was to create “not a box, but a stream” Walls, beams, and ribs act as linear, streaming elements that accentuate the directionality of the gallery spaces. The walls create major streams and minor streams. The major streams are the galleries, and the minor streams are the connections and the bridges. The curved walls provide shifts in perspective that create an open-ended journey and unexpected routes. DIVERSITY OF GALLERIES Flexibility of space is a key part of the design. The play of parallel walls, branching and intersecting wall trajectories, produce flexible interior and exterior spaces. Different heights accomodate permanent, temporary, large scale and small scale exhibits. Glass, steel and concrete give the exhibition space a neutral appearance, while the mobile panels guarantee the flexibility of the installations.

FLUID FLOOR PLAN S

SHOWING THE INTERSECTING STREAMS THAT CONVERGE AROUND A SYSTEM OF STAIRS AND RAMPS.

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Zaha Hadid : Glasgow Museum of Transport

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Form Positioned on the edge of the river Clyde and Glasgow city, the museum acts as a link between the two systems. The form encapsulates a wave which is reflective of the neighbouring water systems and the flow of the current around it. The structures form can be a sectional extrusion at both ends in that the facade is a section of its form. In addition, the curves of the form emulate driving down a windy road which is reflective of the museumâ&#x20AC;&#x2122;s function.

Program and Flexibility of Spaces This predominantly single-story exhibition allows for extreme flexibility within the space. Most of the exhibition is on the lower floor, however there is an upper-floor that is mainly voided in order to give the viewer a difference perspective and experience of the installations. Most other functions such as office spaces and storage are tucked away to the side in order to create a large and open circulation plan. This column free experience allows for uninterrupted circulation and flow within the space, however the steep bends of the form also breaks up the crowd so that there are never too many people in one space. Although the form of the structure acknowledges the exterior environment, the interior and exterior spaces are clearly defined and separated.

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Circulation Circulation is through the main, open and column-free exhibition space, from which views outward allow visitors to build up a gradual sense of their external context. Circulation flows with the river stream so that the visitor can gradually take this experience in. The endpoint to this journey is at the cafĂŠ where people can stop and take in the views and reflect on their journey

Lighting The only two passages of light to enter the space are at the front and back facing facades, as highighted in yellow in the adjacent image. These entries are extremely large and sufficiently light the space. These windows were strategically placed in order to frame the views, so as to not distract the visitor from the exhibition. In addition, they filtering the light through the curves of the structure also aims to protect the installations

Height The gallery is predominantly single storey, with a bridge that allows people to see the exhibition from a higher perspective. By making the space single-storey, large transport and machinary (such as cars, trams and tall trains) can effectively fit the space, as illustrated in the adjacent image. The single storey also allows the ceiling to mimick the shape of the roof, presenting the form as a single and continuous entity.

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Services In order to achieve a structural form that is a sectional extrusion, the services have been carefully located out of sight. Most services are grouped as vertical risers within the perimetre of the walls and ceiling. From the internal perspective that I have shown adjacent, this technique allows for the lines in the ceiling that reflect the museumâ&#x20AC;&#x2122;s overall form to guide you through the space.

Escape Distances Scottish minimum standards specify that one should not travel more than 30m in distance within a protected corridor to reach an escape. All entries and escapes are represented with a red arrow in the adjacent diagram.

Ventilation The main path of circulation and ventilation is caused by the two large facades of the building. Although there is mechanical ventilation within the structure, the two large openings allow for a controlled cross-ventilation, that is, so that the installations are also permitted. In addition, the curvature of the building is what regulates this air flow.