FLEXIBLE GALLERY SPACES | as strategy to improve user experience and sociability

To my dearest parents, Tamrulan Bin Sukhairi and Siti Dahniar Binte Sahdan, family, friends and lecturers And to all art lovers and people who care for the built environment

Book Cover design by Faisal Bin Tamrulan.

Software use from; Microsoft Word, Adobe Photoshop and Adobe InDesign Book size; A5, Font: Century Gothic 10pt, 9pt, 6pt

Lemon / Milk 48pt, 24pt ,18pt

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Flexible gallery Space

A R T S PA C E

‘improving art experience and sociability for community’

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Information A dissertation submitted in partial fulfilment of the requirement for the award of the Degree Master of Architecture

Authors Faisal bin Tamrulan Ar Samsiah binti Abdullah Prof. Dr. Syed Ahmad Iskandar bin Syed Ariffin Faculty of Built Environment Universiti Teknologi Malaysia

Declaration I declare that this dissertation entitled “Flexible gallery Space : as strategy to improve user experience and sociability” is the result of my own research except as cited in the references. The dissertation has not been accepted for any degree and is not concurrently submitted in candidature of any other degree.

Signature: …………………………………………….

Name : Faisal bin Tamrulan 7/1/2019 Date : …………………………………………….

For information contact: Faisal Bin Tamrulan.

MBE161072 Master of Architecture Faculty of Built Environment & Surveying Universiti Teknologi Malaysia Published First Published in January 2019 in Johor Bahru, Johor Copyright © 2019 Universiti Teknologi Malaysia.

Copyright of images is copyright © of each respective owner unless stated otherwise.

All rights reserved. No part of this publication may be reproduced, reprinted or stored in retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher.

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ACKNOWLEDGEMENT Alhamdulillah, I am eternally grateful to the God Almighty with the completion of this research study and dissertation that has been produced. With His blessings and provided me with strength and guidance throughout the whole journey finishing this research. I would like to take this opportunity to thank my parents and family who always being my backbone and give support that I needed.

Secondly, my appreciation goes to my thesis supervisor, Ar Samsiah Abdullah who has been giving me knowledge, ideas, critics and motivation to me in order to finish this thesis. In addition, I would like to thank my second supervisor, Prof. Dr. Syed Ahmad Iskandar Syed Ariffin and his assistance, Jamilia Binti Marsin, for their dedication, guidance and advice in order to fulfil my dissertation writing. Not forgetting my appreciaton goes to the other lecturers in the Envi-Vector Workbase, Dr. Khairul Anwar Bin Mohamed Khaidzir and Dr Roshida Binti Abdul Majid, for their constructive comments and inputs during crit sessions. Last but not least, to my fellow friends, especially studio mates, who had shared together the tear and joy in this thesis study, whether directly and indirectly.

Thank you.

Author, Faisal Tamrulan December 2018

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#flexiblegallery #artspace

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ABSTRACT The research is basically about to improve user experiences in a visual arts gallery journey and enhance sociability among community through flexibility approaches as strategies that suitable to context of the local community. The demand for flexibility of architecture has been increasing as recent social needs are also changing. However, most buildings designed with the intention of flexibility are blocky, boring, and quite inflexible because of incomplete systems or poor design planning. As a result, there will be lack of space for art display, like the case at Sarawak Museum Art Gallery that been closed because of this issue ((Lee, 2018). In addition, some gallery has the issue of underutilize space at some time which will be unsustainable to the economic aspects. The visual arts gallery as a node for the community integrating proper space planning will be able to enhance the social interactions and sociability within them. In order to derive a set of architectural programs that related to visual arts, it is important to understand the needs of its users. For example, temporary exhibition space is suitable for organizing art events and festivals which displayed artworks from local artists will then give community art experience and knowledge.

Thus, events like this will eventually attract the visitors to enter the gallery (Axelsen, 2006). Therefore, the visual arts gallery should be as a centre for community and is designed for the local community. The research will be using Brooke Dockyard, Kuching as study subject which will be applying flexibility strategies and approaches identified based on the user preferences.

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CHAPTER 1: INTRODUCTION

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CHAPTER 2: LITERATURE REVIEW

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CHAPTER 3: RESEARCH METHODOLOGY

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CHAPTER 4: CASE STUDIES

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CHAPTER 5: RESULTS, FINDINGS AND DISCUSSIONS

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CHAPTER 6: CONCLUSION AND RECOMMENDATIONS 80 LIST OF TABLES 86 LIST OF FIGURES

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REFERENCES 88 APPENDICES 89

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CHAPTER 1

INTRODUCTION 1.1

Background Study

1.2

Problem Statement

1.3

Research Issues

1.4

Research Aim

1.5

Research Questions and Research Objectives

1.6

Significance of the Study

1.7

Scope of the Study

1.8

Research Methodology

1.9

Research Framework

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1.1

Background Study

The introduction chapter is discussing on the importance of choosing this subject by highlight on the analysis background and problems arise that associated with the subject. This chapter also introduce the research aim and objectives, and scope of analysis as a tenet to attain the required outcomes from this analysis. Additionally, the final plan of this research is being explained through the research methodology and therefore the research framework.The spark of this research is due to the current typology of visual arts centre in Malaysia and user perceptions towards it.

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1.1.1

Visual Arts Centre in Malaysia

A visual arts centre is public places that promote and support creativity of artists; and also provide amenities such as gallery space, event space, workshop areas and many more. It is a community centre where public can access and learn about cultural arts of a certain place. The centre plays a big role in exhibiting and promoting different art scenes, especially in Malaysia which consist of multi-cultural ethnics living harmony together. It is essential for gallery to provide options and various spaces for events and exhibitions besides the permanent exhibition in the building. Hence, the gallery have good potential when it can serve different visitor that surely have different needs when entering the gallery spaces (Axelsen, 2006).

Nonetheless, exhibition space is one of the main spaces that should be carefully considered when proposing visual arts centre. It is because the gallery will become a space to exhibit the artworks from artists and should have more impact towards the public that come to see it. However, some art gallery nowadays cannot held art exhibitions due to lack of space to do so. Hence, there are cases whereby art exhibitions been held in shopping malls or hotel, these uncertain scenario leads to art experts gave statement that art gallery is a magical place where public will visit it to appreciate and give more attention towards the artworks itself rather than having it at other places (Friedland and Shoemaker, 2008). Therefore, art gallery is the proper place for art exhibitions.

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1.2

Problem Statement

Usually, typical visual arts gallery is designated with every spaces has its own function and most of the spaces are fix to a certain program that eventually cannot be used for other activities such as for community gathering . Other than that, some of the spaces in visual arts centre will become ‘dead’ and underutilized at certain time which will affected the public perception of overall function of the gallery.

Furthermore, some of the mentality of certain people that assume art gallery is for artists only and that visitors usually can only just looking at the art masterpiece without have a chance to experience the process of art making. These issues had led to the core of the problem, which is inflexibility in the visual arts centre.

1.3

Research Issues

i. ii. iii.

Flexibility in gallery space Lack of social integration in gallery space Lack of user experience in visual arts through gallery space

1.4

Research Aim

The research aim is to derive flexibility approaches in gallery spaces in order to enhance user experiences through public participation and interaction with visual arts

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1.5

Research Questions and Research Objectives

1.5.1

Research Questions

i.

ii.

iii.

What are the potential that typical visual arts centre that can be transform into?

What are the strategies to enhance sociability with in local community?

How flexibility can increase user experience in visual arts centre?

1.5.2

Research Objectives

i.

To investigate the concept of flexibility in gallery spaces ii.

To identify user preferences of preferred programs

in gallery spaces and materials displayed iii.

To derive strategies of flexible gallery spaces that

can improve user experience

1.6

Significance of the Study

This study can contribute to better understanding on the importance of flexibility concept that can be apply not just in art gallery, but other building typology as well. Hence, it will be beneficial towards developing a new standard for art gallery spaces which can avoid underutilized spaces by applying flexibility approaches.

1.7

Scope of the Study

The research will explain on visual arts gallery including the categories, functions and user perceptions about it. The research also included the application of flexibility as strategies in gallery spaces with some study from both local and international relevant buildings.

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1.8

Research Methodology

The research will consist of four phases or stages. The stages are as the following:

i) Data collection (from primary data: case studies and questionnaire) The first stage of the study includes data collection; however the method used was totally different from second stage, that the limitation of the study is shown here. The case studies are completed to support and critically analyse the approach and strategies that had been applied to the related buildings. The buildings are selected from both local and international area which can help to achieve the objective of the research. On the other hand, the questionnaire survey is created via online using Google Form to collect information from the general public views associated with the study that eventually will also assist to accomplish other research objective .

  ii) Data collection (from secondary data: literature review and references studies) The second stage is the data collection in numerous forms and from numerous sources. The data are obtained from literature review from reliable resources such as books, newspaper, magazine or interview on relevant people, obtainable statistics and analysis, and from the survey on linked samples. The literature review is completed as the guideline in conducting the study.

This includes the library and web site research grounded on the purpose and space demands for the project. This study at the initial phases will give an overall summary of the subject before it is additional researched. The reference study is the next step in collecting the data information. This could be gained from sources such as the books, journal, magazines, internet sources and etc.

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iii) Data analysis Based on the previous stages, this data analysis stage is to seek out and acknowledge the issues and to seek out the means of explaining them and perceive the problems of the study. This stage can determined the effectiveness of the proposed project applied on the respective site. Furthermore the method been used to analyse the data are differ based on the results that intended to achieve and objectives of the research study.

iv) Findings (the result, hypothesis and the conclusion) The last phase is findings which all the information is concluded.

During this phase, the hypothesis and the aim of the research will be agreed whether it is possible or not. Besides that, some recommendation and thoughts will be highlighted to improve and develop the effectiveness of the project. This may help in answering the issues that arise within the initial stage.

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1.9

Book Structure

The book fundamentally is organized into six chapters and the overall structures of the book are listed as per below:

Chapter 1 This chapter introduced the purpose of the study, issues related and briefly on steps of the research been conducted

Chapter 2 This chapter focused on visual arts including types and elements; and also concept of flexibility

Chapter 3 This chapter explained briefly on the research methodology been used in order to achieve the research aim and objectives

Chapter 4 This chapter focused on the selected case studies related to flexible gallery spaces are compared to identified the design strategies been used that will be helpful in developing proposed design

Chapter 5 This chapter discussed in depth based on the results and findings derived from data collected method explained in previous chapter. The explanation of data will be assisted in the form of bar and chart diagrams that can easily understand.

Chapter 6 The final chapter concluded the research study accomplishments in fulfil the research aim and answering the research objectives. This chapter also will describe the limitation of the research parameter and suggestion for future research related to this study area.

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Table 1.1: Research Paradigm

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CHAPTER 2

LITERATURE REVIEW

2.1 Introduction 2.2

Art Gallery

2.2.1

Etymology and Morphology of Art Gallery

2.2.2

Types of Art Gallery

2.3

Visual Arts

2.3.1

Main Types of Visual Arts

2.3.2

History of Malaysia Modern Art

2.4 Exhibition 2.5

Flexibility Architecture

2.5.1 Adaptation 2.5.2 Mobility 2.5.3 Transformation 2.5.4 Interaction 2.6

Importance of Flexible Spaces in Art Gallery

2.7

Relation between Flexibility and Sociability

2.8 Summary Flexible gallery Space

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2.1 Introduction This chapter is discussing on the meaning and the theoretical portion of art gallery and correlated topics. Furthermore, the definition of visual arts and exhibition will also be studied through the literature assessment. A part from that, the affiliation between flexibility architecture and art gallery will be well-defined together with its importance.

2.2

Art Gallery

In general, art is the implementation of mankind creativity and imagination skills that usually portray in visual form, while art gallery is defined as a room or building for the display or sale of works of art (Oxford Dictionary). Typically, public define art gallery as a place to keep and exhibit artworks that had been made by selected artists through various medium and creativity.

Some of the art masterpiece will be selling to the public and some will permanently be kept in the gallery for future reference. Eventhough the main spaces to consider in art gallery is to display product of visual arts, it is sometimes act as a place to held artistic programs, such as performing arts through singing and dancing, and also poetry readings. Hence it is a place for gathering community.

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2.2.1 Etymology and Morphology of Art Gallery The word ‘gallery’ have been used since 1400 and has some different meaning with different spelling. Figure 2.1 display the different meaning related to the root of this term. Basically the term gallery relates to public and private institutions.

A public art museum or art gallery is an environment designed to show artworks for public viewing which might contribute to a bigger understanding and appreciation of art. Meanwhile, a private art gallery may also show artworks for public viewing but their primary focus could also be commercial instead of civic or educational.

Table 2.1 show the difference between these two types of institutions.

Figure 2.1: Etymology of art gallery (Source: Oxford English dictionary)

Table 2.1: Morphology of art gallery

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2.2.2

Types of Art Gallery

There are actually several types of art galleries that some of it is combination from other types.

Currently, the art gallery can be break down into four major types which are commercial gallery, non-profit gallery, cooperation gallery and vanity gallery (see Table 2.2).

Table 2.2: Types of art gallery (Source: https://artscenetoday.com )

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2.2.3

Architecture of Art Gallery

The architectural form of the art gallery was established by Sir John Soane together with his creation for the Dulwich gallery in 1817. This established the gallery as a series of interconnected rooms with for the most part uninterrupted wall areas for hanging photos and lighting feature from skylights or roof lanterns.

The late nineteenth century saw a boom within the building of public art galleries in Europe and America, changing into a necessary cultural feature of larger cities. A lot of art galleries rise against on-board museums and public libraries as a part of the community engagements for knowledge and public learning.

In the middle and late twentieth century, earlier architectural styles used for art museums (such as the Beaux-Arts form of the Metropolitan depository of Art in New York town or the Gothic and Renaissance Revival design of Amsterdam’s Rijksmuseum) transcending to modern designs, like Deconstructivism. Samples of this trend represent the Guggenheim museum in New York town by Frank Lloyd Wright, the Guggenheim Museum Bilbao by Frank Gehry, Centre Pompidou-Metz by Shigeru Ban, and therefore the redesign of the San Francisco Museum of Modern Art by Mario Botta. Several critics claim these galleries did not represent their main functions as a result of their dramatic interior areas distracts the attention from the artworks displayed to be witnessed by the public.

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2.3

Visual Arts

Basically visual arts are the arts that use the eyes to appreciate. Visual arts can be presented in many forms such as drawing, painting, digital art, sculpture and many more. These different forms are made from different skills, technique and medium that artist has to trained until they had mastering it. Sometimes it takes years of practicing and failure to produce that perfect artwork. Other than that, the workspace for the artists to engage their work also may vary depends on the form of arts that they made. This factor will determine whether the workspace will be indoor or outdoor, small room or big room.

2.3.1

Main types of Visual Arts

Visual arts mainly can be divided into three types, which are representational art, abstract art and non-objective art (Fussell, M, n.d). The details for each types of it are explained in Table 2.3.

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Table 2.3: Main types of visual arts (Source: https://thevirtualinstructor.com)

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2.3.2

History of Malaysia Modern Art

Table 2.4 explained the overview history of modern arts in Malaysia. It is the history that had started from British colonial rule era until the present day (Lin, R 2016). It is valuable information to see the evolution of arts movement between different time and the pioneers in the industry that helped shaped the identity of this country.

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(Source:

Table 2.4: History of Malaysia modern art https://www.star2.com/culture/arts/2016/05/12/mapping-an-art-exhibition-charting-the-evolution-of-art-in-the-country/ http://www.arts.com.my)

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2.3.3

Visual Art Not Shown Inside Gallery

There are some visual art works that is not display inside the gallery but suitable to be placed outdoor due to its large scale, working space and method to showcase. Table 2.5 shows example for this form of visual arts that preferred to be outdoor.

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Table 2.5: Form of visual arts not shown inside gallery

2.4 Exhibition In general, exhibition is defined as a public display of artworks or items of interest that are showcase in an art gallery or museum or at a trade fair (Oxford Dictionary). In addition, exhibition main aims are to educate the public, to spread information and awareness, and to entertain the visitors as well.

Table 2.6: Types of exhibition (Source: www.hamiltongallery.org)

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2.4.1

Space and Design in Exhibition

Other than that, there are six basic elements that essentially apply in designing exhibition space which is layout, colour, flow, display, sound and light (see table 2.7).

Table 2.7: Design elements in exhibition (Source: www.hamiltongallery.org)

In addition, there are also some considerations to be taken in the exhibition design process. There are three basic considerations which is height, space and balance. Table 2.8 explain each of those considerations

Table 2.8: Display consideration for exhibition (Source: www.hamiltongallery.org)

The layout of the exhibition plan will also plays an important role that can affect the visitor experience when go to the gallery. Table 2.9 briefly describe the difference types of layout that can apply in gallery that bring each own impact to the visitors journey of discovery.

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Table 2.9: Layout strategies for exhibition (Source: Hughes, 2010, ‘Exhibition Design) Flexible gallery Space

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Last but not least, usually exhibition applied these basic types of installing and exhibiting arts Table 2.10 explain each of those types with descriptions.

Table 2.10: Basic types of art exhibits Source: (Adler, 1999)

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2.4.2 Management Space

of

the

Exhibition

Each exhibition event will be held by a team of management that is responsible towards the successful of an exhibition throughout the whole period of event. Table 2.11 explain each roles and responsibilities of the management team that in charge of an exhibition.

Table 2.11: People involved in exhibition (Source: www.hamiltongallery.org)

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The exhibition usually will undergo four stages of process which is starting with the planning stage, followed by production stage, and then operational stage and finally termination stage (see Table 2.12).

Table 2.12: Stages of exhibition process (Source: www.hamiltongallery.org)

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2.5

Flexibility Architecture

The term “flexibility” has been often used in architecture nowadays since the movement of modernism architecture. Ludwig Mies van der Rohe, one of the renowned architects at that era, started the open plan theory and less is more which consist of flexible plans and multifunctional spaces within simple rectangular forms (D. Kim, 2005). Meanwhile, Walter Gropius in year 1950’s acknowledged one of the initial opinions of flexibility that is architecture needs to be fully flexible in order to adapt the vital characteristics of modern life (Y. Kim, 2001).

The demand for flexibility had increased since then that had become essential to architects implement flexibility towards producing and exploring in designing their buildings. Yona Friedman even added that flexibility as key concept of architecture and he also introduce 1st manifesto in 1958 called ‘mobile architecture’(Motisi, Nannini, & Torino, 2017). The mobility that been referred to is not for the building, but for the occupants who are provided freedom to utilize the building the way they wanted.

According to Professor Robert Kronenburg, flexible architecture can be defined as fluid architecture that becomes absolute once mankind occupy it and utilize it. He also listed that there are four characteristics for this architecture which is adaptation, mobility, transformation and interaction (Kronenburg, 2004).

Therefore, in designing for flexibility, firstly it must correlate each type of flexibility into the building design, planning the project at early stage in order to reduce cost and adding opportunity for positive result. Otherwise, while the project started growing, it becomes tough applied these flexibility approaches (Alaraji & Mohd Jusan, 2010).

Figure 2.2: Etymology of flexibility (Source: www.etymonline.com )

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2.5.2

Principles of Flexible Architecture

1) Adaptation The first characteristic for flexibility is the ability for adaptation.

The building design in such way can have multiple plans that can turn to different layouts. It is sometimes named open building with large space that can be easily utilize anytime (Acharya, 2013).

This is the strategy that can be used to promote adaptable building to the visitor or user of the spaces which can host a variety of events and functions. For instance multipurpose hall that can be used to organize wedding, but can also held badminton tournament and even school graduation day.

Figure 2.3: Example of adaptable architecture e, Schaulager with combination of storage and exhibition space.

(Source: www.schaulager.org, 2003)

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2) Mobility Other than that, mobility which allows building to physically changes locations, while this not suits to the gallery purposes. It is possible that this kind of architecture will be applied at gallery in the future if there are demands from the dynamic community in the future.

Figure 2.4: Example of Mobile architecture, Halley VI Antarctic Research Station, that become mobile home for 50 scientist at Antartic (Source: Slavid, R, 2010, www.architectural-review.com)

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3) Transformation The next one is transformation that is the ability to changes form, volume, shape or appearance with tangible modification of structures, skin or internal space without construction occurs.

While transformation refers to gallery space in terms of its ability to change its form or appearance such as expands or contracts

Figure 2.4: Example of Mobile architecture, Halley VI Antarctic Research Station, that become mobile home for 50 scientist at Antartic (Source: Slavid, R, 2010, www.architectural-review.com)

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4) Interaction Finally, interaction that correlates with application of technological system utilized within the design of the interactive gallery space. In an architectural world interactive architecture positioned as a type of architecture that performs interaction between the building, people and appliances.

Buildings “interact” when they respond to the user’s needs in automatic or intuitive ways, and when people become participants instead of users (Acharya, 2013).

Figure 2.6: Example of Interactive architecture, Kiefer Technic Showroom with facade itself is functioning as a shading device however given the users to manage the angle of the panel, and quantity of sunlight transmitted into the interior space.

(Source: www.arch2o.com )

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2.6

Importance of Flexible Spaces in Gallery

To increase the lifespan of usage of the building related and future usability in terms of ability to exhibit the artworks and give options to the artists to freely organize the spaces. This is crucial because the artists’ vision to exhibit their masterpieces are varying from each of them. Thus, flexibility approach will help to fulfil the needs and desire of the artists to display their creativity optimally. Another point is flexibility space reduce accessible space and avoid underutilize spaces that resulted to more sustainable impacts to the built environment as a whole.

2.7

Relation between Flexibility and Sociability

Figure 2.7 show the diagram art gallery and effects to society that can help to boost in terms of economic, social, cultural and political aspects.

Figure 2.7: Diagram of A modified diamond model public art gallery and effects (Source: Adapted from Gandhi (2008)

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2.8 Summary The core of this chapter is to explore and understanding the development of visual arts, art galleries and concept of flexibility in design that has been highly demand in the architecture field, especially in this millennial era. The importance to apply flexibility design must be taking consideration from an early design stage so that throughout the design development this concept will bring a cost efficient and systematic affect towards the final output of the overall design scheme. Hence, flexible architecture will become tools for architect to design innovative and creative spaces that can adapt and transform to suits the demands and needs in terms of social, economic, cultural and political throughout time.

Table 2.13: Author and topic related

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CHAPTER 3

research methodology 3.1 Introduction 3.2

Data Collection

3.2.1 Observations 3.2.2 Questionnaires 3.2.3

Case Studies

3.3

Data analysis

3.3.1

Content Analysis

3.3.2

Descriptive Statistics

3.4 Summary

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3.1 Introduction This chapter is discussing on the research method that will be applied to achieve this research study based on following the research framework.

Research is conducted with the assist of study, experiment, observation, analysis, comparison and reasoning. It is also can be explained as the ways to receive knowledge and have systematic plan to conduct a research (Rajasekar, Philominathan, & Chinnathambi, 2013). Therefore, the procedures taken in the study include data collection, data analysis and synthesis the data that brings to recommendation and suggestion. The implementation of these research procedures are further explained in the following sections.

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3.1.1

Research Framework Flowchart

Figure 3.1: Research Framework Flowchart

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3.2

Data Collection

According to Mclaughlin (2016), data collection is the steps of assembling and evaluating information by using the research instruments (quantitative research method and qualitative research method) chosen. It is a vital phase in the research study due to inaccurate and misleading data collection may resulted invalid outcome in the end of the research. The methods applied in this study involved observations and questionnaires. The observations had been done at the proposed site which is in Kuching, Sarawak and the data obtained will be referred for the design proposal in the following chapter. Meanwhile, questionnaire survey had been distributed with respondents from Malaysian via online.

3.2.1 Observations

The observations analyses are done in the context of Kuching Waterfront, Sarawak facing the Sarawak River. The observations basically been conducted daily from morning till night for five days to identify and witness the human behaviour patterns, daily routines and activities happen around there.

3.2.2 Questionnaires

The questionnaire survey had been distributed online via various social media. The structured questionnaires with close-ended questions using Google Survey had been answered by 60 respondents in total. There are 9 questions in the questionnaires which had been divided in three sections. This online survey is used due to its ability and capability of gathering data and produces the results instantly that can save time for the data collection stage.

3.2.3

Case Studies

Multiple buildings from local and international that had similar building typology and programs had been selected as case studies. The case studies been conducted to understand the building’s design strategies and approaches in related to gallery spaces. The comparisons between these buildings were done in order to analyse and understand different design strategies to apply in different environment and context in designing flexible spaces for gallery. Hence, this will support the development of design proposal for visual arts centre that applying flexibility that improves arts experience.

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3.3

Data Analysis Plan

3.3.1

Content Analysis

3.3.2

Descriptive Statistics

The quantitative data and qualitative data collected were analysed using different techniques. Content analysis was used to analyse the qualitative data obtained from site observation studies and case studies, meantime the descriptive statistics were used to analyse the quantitative data obtained from online questionnaires survey. The mixed methods were used from both data to develop strategies of flexible gallery spaces.

The content analysis was done to analyse the qualitative data obtained from site observations and case studies. The data collected are field notes from site observations and flexible gallery approaches that are relevant from selected buildings. Therefore, the content analysis is useful for the breakdown of human behaviour data, program activities classifications and building design approaches and strategies.

The descriptive statistics is chosen to be used for managing a big scale of data obtained from a total of 60 respondents via online Google Survey. The results statistics are simplify in form of diagrams that can ease the data analyse and interpretation which leads to relevant discussions. The methods involved including the numerical counts or frequencies and percentages. Numerical counts served as a base for percentage calculation while the percentages are useful to show relationships, comparisons and frequencies spreading of the group data. The inferences and conclusions are obtained based on the findings of the surveys once the raw data had been summarized.

3.4 Summary

The research method helps the researcher to arrange the research according to the hierarchy from the beginning to the finish of the chapter. The collection of data from the research will help to figure out what are the issues, the finding and the suggestion to the design thesis. Lastly, the data collection and recommendation will become part of the supportive study for the design thesis.

The research is using both qualitative and quantitative analysis that help me to achieve research aim and objectives.

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CHAPTER 4

case studies 4.1 Introduction 4.2

Case Studies

4.2.1

National Visual Arts Gallery, Kuala Lumpur, Malaysia

4.2.2

MJH Gallery, Guangdong, China

4.2.3

Bangkok Art & Cultural Centre, Bangkok, Thailand

4.2.4

The Shed, New York, Americav

4.3

Comparison of Case Studies

4.4 Summary

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4.1

Introduction

4.2

Case Studies

In this chapter, the selected case studies related to the flexible approaches in gallery spaces are analysed and compared in order to identify their strategies and approaches that had been applied. By researching based on case studies, the strategies and approaches can assist in developing the flexibility design in the proposed building and achieving the first objective. Basically, the case studies involved are existing and on-going projects that including both local and international buildings.

For this topic, there are 4 case studies of public art galleries from local and international were chosen in order to study their design strategies and approaches in emphasizing flexibility in each gallery design. From that case studies, a table of comparison been conducted to investigate and understand more on various design strategies applied in various environment in achieving flexibility for public art gallery.  

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4.2.1 National Visual Arts Gallery (NVAG), Kuala Lumpur, Malaysia The National Visual Arts Gallery (NVAG) is located at Jalan Temerloh, Titiwangsa, Kuala Lumpur.

It is function as an art gallery with main objective to present the art displays from local and international level, organize seminar, workshop, competition and other art activities. The main feature of the building is the spiral ramp at central atrium which connected to other floors. This provides a temporary exhibition space that is flexible in terms of the scale of the display and can be seen by the visitors that uses the ramp to go to other floors. Hence, this strategy creates continuous visual connectivity between the public and the exhibition display

Figure 4.1: Exterior view of National Visual Arts Gallery (Source: http://www.malaysia.my/article/off_the_beat/the_art_of_conservation_at_balai/)

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Figure 4.2: View of central atrium of National Visual Arts Gallery (Source: http://www.malaysia.my/article/off_the_beat/the_art_of_conservation_at_balai/)

Figure 4.3: longitudinal section drawing and first floor plan drawing of NVAG (Source: http://www.artgallery.gov.my/)

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Figure 4.3: longitudinal section drawing and first floor plan drawing of NVAG (Source: http://www.artgallery.gov.my/)

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4.2.2

MJH Gallery, Guangdong, China

The MJH Gallery which is located at China was originally an old packing workshop of Honghua Dying Factory with applying adaptive reuse approach to give a new life to the building. The building was conceptualized from (re-)structuring the spatial narratives of this empty building.

The ground floor of it can be access from various directions that will lead to the original ground of the factory and also to the landscape that surrounding the site. The main exhibition hall in black steel box is lifted and received diffused natural light under its special double roof skylight. The box connected to the ground floor through two semi-glass halls. Ramp is installed to linked ground floor and first floor and resulting user friendly circulation especially to wheelchair users.

Figure 4.4: view towards entrance of MJH Gallery (Source: https://www.archdaily.com/587142/mjh-gallery-of-id-town-o-office-architects)

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Figure 4.5: corridor that separates the gallery spaces and landscape surrounding MJH Gallery (Source: https://www.archdaily.com/587142/mjh-gallery-of-id-town-o-office-architects)`

The corridor surrounding the building is shed under the roof and within existing curtain walls; thus, creates options and control to the flow of the gallery journey. Moving walls and doors are applied as strategies to create flexible spaces in the gallery that can be change to adapt various functions and spaces that required for exhibition purposes.

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Figure 4.6: Diagrams of different spatial layouts that can be change in MJH Gallery (Source: https://www.archdaily.com/587142/mjh-gallery-of-id-town-o-office-architects)

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4.2.3 Bangkok Art & Cultural Centre (BACC), Bangkok, Thailand The Bangkok Art & Cultural Centre (BACC) is a centre for contemporary arts that is situated in Bangkok, Thailand.

The building function as exhibition and performance spaces which include events related to art, music, theatre, film, design and cultural education. The architect, Robert G. Boughey and Associates, had designed BACC around four major considerations that were; flexible space, inspired Thai architecture and culture, high and ventilated spaces, and controlled natural light into gallery spaces. The main feature of this building is the central atrium that connects all levels to held variety of events and exhibitions at the space. The core is circular in layout plan and top with a skylight as sustainable approach. Thus, allow the visitors to witness other activities of the building. A large, open atrium with a ceiling height spanning multiple storeys, a typical feature of many museum buildings, is an example of an unbound environment. It is one that is intended to communicate a sense of arrival, gravitas and grandeur (Forrest, Packer, & Ballantyne, 2015).

Figure 4.7: Exterior view of BACC (Source: http://en.bacc.or.th)

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Figure 4.8: Central atrium that can be seen from every level (Source: http://en.bacc.or.th)

Figure 4.9: Open plaza outside BACC allow outdoor activities such as film screening and concert to be held (Source: http://en.bacc.or.th)

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Figure 4.10: Section of the BACC showing connection of spaces and zoning of programs (Source: http://en.bacc.or.th)

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4.2.4 The Shed (formerly known as Culture Shed and Hudson Yards Cultural Shed), New York, America The Shed is currently under construction in Hudson Yard area, west side of Manhattan, New York. It will be a place for commission, produce and present all types of performing arts, visual arts and popular culture. This unique building with flexible approach can physically transform to support artists vision and creativity in exhibiting various art forms, and also welcoming difference range of audiences all under one roof.

The Shed most significant feature is the movable shell structure that covered the open plaza when needed to become 120 foot high and 17,000-square-foot area shaded plaza.

Thus, it function as various configurations of events such as large scale exhibition, concert, theatre performance and many more.

Figure 4.11: The Shed building current progress (Source: dsrny.com/project/the-shed)

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Figure 4.12: Movable shell structures that using mechanism that can shed the open plaza into shed plaza.

(Source: dsrny.com/project/the-shed)

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Figure 4.13: Section of The Shed showing .different configurations that allowing multiple events (Source: dsrny.com/project/the-shed)

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4.3

Comparison of Case Studies

Table 4.1: Comparison of Case Studies

4.4 Summary Besides that, the selected case studies findings through analysis had shown that all the gallery had the intention and approach of flexibility in the design that really optimize the function of the building to adapt to various forms of exhibition from time to time. Therefore, this will decrease the possibility of underutilize spaces and lack of social interaction between visitors with the exhibition in the gallery that will eventually made the gallery lack of sense of place, that is a place not just appear tangible but must also occur psychological or interactional (Cross, 2001).

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CHAPTER 5

RESULTS, FINDINGS and DISCUSSIONS 5.1 Introduction 5.2

Questionnaires Analysis

5.3

Summary and Synthesis

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5.1 Introduction This chapter is discussing in depth on the results based on the data collected of questionnaires thru data analysing. The results of this will complete the second objective of the research. Furthermore, the data also help to justified to the data analysed in selected case studies that will synthesize on the third research objective

5.2

Questionnaires Analysis

A list of questionnaires were made in Google form format and distributed through media social via Facebook and Whatsapp. The surveys had been answered to a number of 60 respondents. The purposes of doing this questionnaire surveys are to understand public interests and preferences towards visual arts centre and programs activities spaces in gallery.

The questionnaires are divided into three main sections, starting with respondent’s demographic profile, following with visiting visual arts centre and lastly, current condition of visual arts centre. These data are important as it will help to justify and developing suitable programs and spaces with applying flexibility approaches as strategy to increase user experiences.

Figure 5.1: Gender

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Throughout the survey, there are approximately 50% of male and another 50% of female respondents (Figure 5.1). Hence, it’s a balance survey came from both genders that is 25 males and 25 females of respondents.

Figure 5.2: Age group

88% from the respondents are from the age between 15 to 90 years old while remaining 12% are from the age above 30 years old. Meanwhile there are none respondents from the group age of below 15 years old (Figure 5.2).

Figure 5.3: Occupation

From the occupation status, majority of the respondents are students or unemployed group with 43% from the overall respondents and only 5% are from self-employed worker (Figure 5.3).

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Moving to the next section of the survey, this will be related to the Visual Arts Centre and the visitors. From the survey, its convincing to say that majority of 62% knew about the existence of National Visual Arts Gallery (Balai Seni Visual Negara) that is located at Jalan Tun Razak (Figure 5.4).

This is supported due to its location that is visible and permeable to be access which is near Tasik Titiwangsa together with other significant buildings such as Istana Budaya and National Library of Malaysia.

Figure 5.4: Existence of National Visual Arts Gallery

The next question is related to how frequently people visit the National Visual Arts Gallery. Majority of the respondent stated that they never go there; following with some of respondents did go to National Visual Arts Gallery at least once in their lifetime (Figure 5.5).

Figure 5.5: Frequently go to National Visual Arts Gallery

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Results from the next question (Figure 5.6) shown that 33% went to National Visual Arts Gallery to see arts exhibitions, performances and any events that held there. This is why spaces for accommodating programs and events are important to attract people to come to the building.

Figure 5.6: Purposes of going to National Visual Arts Gallery

Based on Figure 5.7, almost all the respondents agreed that the importance of Visual Arts Centre as a place to display, showcase and demonstrate cultural arts that can contribute to the quality of life of the community.

Figure 5.7: Importance of Visual Arts Centre

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On to the third section, the survey required respondents’ preferences that related to spaces and programs in Visual Arts Centre. Through Figure 5.8, most of them chose green landscape feature as the main priority in a visual arts centre. Almost all of respondents agreed that good landscape design will enhance the suitable environment and ambience when going to the building. This is supported with the results from Figure 5.9 that showing half of the respondents prefers green and sustainable approach as architectural style on gallery design.

Other facilities that respondents selected are cafĂŠ which is known to be a space for them to socialize while having their meals, gallery and event spaces are also important as a space for displaying and accommodating events that will be a node for the public to enhance sociability. Other facilities highly preferred are studio workshop and theatrette that can increase the visitors experience when there is an area that they can participate in the art making and demonstrating the visual arts.

Figure 5.8: Facilities or elements that prefer in Visual Arts Centre

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Figure 5.9: Architectural style to be apply on Visual Arts Centre

Figure 5.10 displayed the result of preferred form of visual arts from the respondents. The top 3 popular form of visual arts are painting, digital art and drawing. These findings will more or less support to justify purpose of space programs for variety form of visual arts that will be proposed.

Figure 5.10: Prefer form of visual arts to be learn or display

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On to the final section, the questions given were based on the importance of Visual Arts Centre (VAC) and flexibility. The answer were based on rating scales form which are number 1 is strongly disagree and up to number 5 that is strongly agree. The question from this section started with public perceptions about flexibility approach can save time and space in gallery space preparations and exhibitions.

Figure 5.11: flexibility can save time and space in VAC

Based on the results shown in Figure 5.11, majority of respondents agree on the ability of flexibility to reduce the time and space taken when doing exhibitions, demonstrations and events at VAC. Next question was regarding flexibility that can accommodate and enhance performance in showcasing and demonstrating visual arts.

Figure 5.12 shows the results and as expected almost all of them agree on this statement. This result is supported with the case studies conducted on previous chapter that showing flexible space in gallery is essential to held visual arts events.

Figure 5.12: flexibility enhancing visual arts events

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On to the following question was about getting the public opinion on VAC that can be a platform for artists to showcase their talents to the community. Through Figure 5.13, only 3 respondents disagree on this statement, meaning that public realizes that VAC is a place to experience visual artworks displayed by artists especially masterpiece from local artists itself that can preserve the local identity and historical values.

Figure 5.13: VAC as platform for artists to showcase their talents

The last question from these questionnaires was a survey about the importance of public participation in learning visual arts can enhance social interaction among local community. The results obtained can be seen at Figure 5.14 showing that 58 respondents agree that by participating in learning visual arts, they can also increase the social interaction within other visitors of the gallery by exchanging thoughts, skills and knowledge regarding visual arts experiences

Figure 5.14: Enhancing social interaction by public participation in learning visual arts

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5.3

Summary and Synthesis

The results and finding of the data collection through observations and questionnaires surveys online had brought to the expected and some unexpected outcomes. The human behaviour and daily activities will justified the programs that will be arranged and proposed later on.

Most of the respondents preferred a gallery that have a green environment and integration with sustainable technologies. Thus, this will create a relaxing and peaceful ambience when going to the gallery that will affect their mood and experiences as a whole.

5.3.1 The Flexibility Strategies The strategies that have been derived from synthesizing previous results and findings from questionnaires and selected case studies are listed as below. Refer to Appendix B to see the implementation of these strategies to a proposed visual arts gallery which is located at Kuching, Sarawak.

Figure 5.15: Flexibility strategies as design approach

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Figure 5.16: Experimental gallery

Experimental gallery that is the gallery other than permanent gallery uses adjustable movable wall which can change to different configurations layout with grid tracking technology.

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Figure 5.17: Walkway gallery

Circulation ramp that will act as walkway gallery which is flexible for the artist to display their artworks with a sense of street arts environment.

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Figure 5.18: Art plaza

People plaza that function as temporary exhibition space and also as a node for community gathering. At centre of plaza is a platform that apply mechanism that can retract up and down. This will transform the platform from stage to become amphitheater according to the public needs for performing visual arts space

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CHAPTER 6

conclusion and recommendations 6.1 Introduction 6.2 Conclusion 6.2.1

Investigate the concept of flexibility in gallery spaces

6.2.2

Identify user preferences of preferred programs in

gallery spaces and materials displayed 6.2.3

Derive strategies of flexible gallery spaces that can

improve user experience 6.3 Limitations 6.4 Recommendations 6.5

Summary

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6.1 Introduction This chapter is concluding the overall research from the previous chapters. It will respond to the research aim and the architectural research objectives in Chapter 1. The limitations for the research study are stated for future research. This chapter will also conclude suitable implementations to be recommended.

6.2 Conclusion The aim of the research is to develop flexibility approaches in gallery spaces in order to enhance user experiences through public participation and interaction with visual arts. The next sub-chapter will conclude the results and findings of the study based on the research objectives, which are; to investigate the concept of flexibility in gallery spaces, following the second objective that is to identify user preferences of preferred programs in gallery spaces and materials displayed and last objective which is to derive strategies of flexible gallery spaces that can improve user experience.

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6.2.1 Investigation of the Concept of Flexibility in Gallery Spaces Understanding the concept of flexibility is achieved at literature review chapter where basically consists of four characteristics which are adaptation, transformation, mobility and interaction. Following with that data is the selected gallery building as case studies to understand flexibility approaches applying on it. Adaptation related to the ability of gallery space to changes to fit different events. While transformation refers to gallery space to change its form or appearance such as expands or contracts. Next is mobility which allows building to physically changes locations, while this not suits to the gallery purposes. Finally, interaction that correlates with application of technological and sustainable system engaged in the design of the interactive gallery space.

6.2.2 Identification User Preferences of Preferred Programs in Gallery Spaces and Materials Displayed The visual arts gallery basically function as a place to celebrate arts and it actually give impact more than that. It also acts as a community space for the local and it is important that the space programs implemented on it suits to their needs. Hence, it will make the community feel the sense of welcoming when entering building that respond to their interests. It also will make it easier for them to participate on the programs been held like handcraft workshop or learn cultural dance. The arts displayed will somehow bring back the memories and reflect back the history toward the local audience. Above all else, the findings from survey conducted revealed that good green landscape design also essential to attract public to go to gallery. It is due to the peaceful and relaxing environment as part of the elements they are looking for when visit the gallery besides observing the artworks and art events.

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6.2.3 Deriving Strategies of Flexible Gallery Spaces That Can Improve User Experience The development of the flexibility strategies to be injected in gallery is based on the results and findings of survey questionnaires and case studies. Proper site planning and design development are important to ensure identified spaces can be applied the flexibility approach. The outputs such as enable continuous visual connectivity, transformable space and multi-purpose space will increase user experience after going to gallery. But these strategies may vary according to the local context and needs.

6.3 Limitations This research was more focused on the study of flexibility that can be applied on gallery spaces. Hence, the other elements in gallery like the lighting quality and material used were not studied in depth besides the flexibility spaces. Apart from that, the data collection based on online survey may vary when conducted on site survey and with more respondents that take part. Furthermore, the same issue on data collection during field observation that been conducted in one week may differ if take on longer time period at the Kuching Waterfront development area.

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6.4 Recommendations The future research on this flexible architecture on a gallery can be further developed by focusing new technology and innovation that is more efficient and sustainable towards the environment for example using recyclable materials or customize furniture for art display. The application of these approaches will safe more time in the preparation and spaces in a gallery. It is also somehow will prepare for the function of the gallery that is more timeless design and flexible for the future dynamic generations to enter it.

6.5 Summary Visual arts gallery is a place where community can gather and participate in art appreciation and art making. On the other hand, flexibility has been used and highly demands in building design in this modern days because of its ability to adapt, transform and interact for different purposes and functions. Furthermore, with the integration of modern and sustainable technologies with flexibility approaches will bring more impactful and meaningful architecture that will also contribute to the better quality of life and built environment. Therefore, by deriving flexibility as part of strategies in designing spaces in gallery will help to improve visitor experiences and cater the needs to increase social interactions especially for the local community.

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LIST OF TABLES

LIST OF FIGURES

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REFERENCES Acharya, L. (2013). FLEXIBLE ARCHITECTURE FOR THE DYNAMIC SOCIETIES Reflection on a Journey from the 20, 1–94.

Adler, D. (1999). Metrick Handbook : Planning and Design Data. Metrick Handbook : Planning and Design Data, 53, 748. https://doi.org/10.1017/ CBO9781107415324.004

Rajasekar, S., Philominathan, P., & Chinnathambi, V. (2013). Research methodology. Studies in Systems, Decision and Control, 60, 111–127. https://doi.org/10.1007/978-81-3222785-4_4 Holsworth, M. (2010). Types of Art Galleries. Retrieved from www.melbourneartcritic.com

Alaraji, K. A. M. H., & Mohd Jusan, M. (2010). Flexible Architectural Design and User Participation, (2006).

McWilliams, A. (2010). Different Types of Gallery. Retrieved from www.jahya. net/blog

Axelsen, M. (2006). Axelson, M. & Dr. Charles Arcodia ’New Directions for Art Galleries and Museums: The use of special events to attract audiences, A case study of The Asia Pacific Triennial, (Schuster).

Curatorial Practice and Exhibition Design (2015). Retrieved from www.hamiltongallery.org

Cross, J. E. (2001). What is Sense of Place ? What Is Sense of Place?, (3), 1–14.

MJH Gallery of iD Town. (2015). Retrieved from www.archdaily.com

Forrest, R., Packer, J., & Ballantyne, R. (2015). Design factors in the museum visitor experience. School of Business, 282. https://doi.org/10.14264/ uql.2015.296 Kim, D. (2005). A Study on Mies van der Rohe ’ s Wall as “ Objet ” and its Spatial Characteristics, (May), 9–16. https://doi.org/10.3130/jaabe.4.9 Kim, Y. (2001). Organism of Options : A Design Strategy for Flexible Space, (2001).

Kronenburg, R. (2004). Flexible Architecture: The Cultural Impact of Responsive Building, 1–10. Retrieved from http://www.irbnet.de/daten/ iconda/CIB12025.pdf Motisi, E., Nannini, S., & Torino, P. (2017).

Yona Friedman . Mobile Architecture , People ’ s Architecture Review of the Exhibition Curated by Gong Yan, 1–4.

National Visual Arts Gallery (2000). Retrieved from www.artgallery.gov.my

Bangkok Art & Cultural Centre (2017).

Retrieved from en.bacc.or.th.com The Shed (2018). Retrieved from www. dsrny.com Fussell, M (n.d). Types of Visual Arts.

Retrieved from thevirtualinstructor. com Lin. R (2016). See the history of art in Malaysia at this exhibition. Retrieved from www.star2.com M+ Museum (2013). Retrieved from www.designboom.com Halley VI Antarctic Research Station (2005). Retrieved from Slavid, R (2010), www.architectural-review.com Schaulager (2003). Retrieved from www.schaulager.org Kiefer Technic Showroom (2007). Retrieved from www.arch2o.com Flexible gallery Space

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APPENDIX A

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APPENDIX B

JANUARY 2019