Studio 36 Reflective Journal

ABPL90142 MArch C 2020 SM2 NGV - Studio 36 Georgia Honan Student no. 831427

Image Sourced : https://www.abc.net.au/news/2018-06-03/melbourne-to-build-largest-art-gallery-in-australia/9829344

Task One : Design Iterations The design cycle is often a repetitive process which involves numerous iterations of form expressing numerous techniques. In my journal, I enter into an exploration of these techniques to understand their meaning and capacity to be developed into structural design.

Folding

Precedent : Jolson Architects, Pt Leo Estate In this iteration, I explored the concept of folding a surface so that the form extends itself open for entry and compels a subject to enter it. As it extends its arms out to welcome something in, the form grows from its base up in order to form a connection from the ground to the volume behind it in. The form behind these arms complements their fold and wraps itself around.

Folding This example is an exploration into forming a connection from the ground to a higher level as one continuous surface. A thin plane is folded and manipulated to create a rigid yet uninterrupted form.

Distortion Precedent : Annish Kapoor Distortion is explored through this iteration inspired by Annish Kapoor’s artwork. My research aims to show the confusion between if the distortion in the wall defines the art or if the wall is in fact part of the art. I experimented with the concept of a metal cube being beaten in, or what it would look like if there was something on the other side of one of the faces trying to push through and escape from the cube.

Distortion Precedent : Crone Architects, One Circular Quay This iteration was inspired by Crone Architect’s ‘One Circular Quay’ where the module pixelates and twists around itself in an attempt to allow the ground to climb the building itself.

By distorting the form, I was able to create a volume that looks like it is slowely rotating away from the viewer. In order to achieve this, I used grasshopper to create an algorithm that distorts modules.

Fragmentation I had quite a bit of fun playing around with the concept of fragmentation.

By extruding and recessing cubes that make up a larger cube, I was able to explore the idea of modules fragmenting away from its larger form. Could these be rooms with a set program? Could these fragmentations be what defines its program?

By fragmenting a traditional cube, I was able to create interest from such a simple form while also creating alcoves that could allow for vegetation, set functions and interesting scenarios for interaction.

In order to achieve such random fragments, grasshopper was able to randomly populate points where I could create cuboids and negative volumes.

Transparency Precedent : Kengo Kuma Chidori Furniture Repitition is a reoccurring element throughout Kengo Kuma’s design, and here I aimed to explore how this can contribute to a form’s transparency. I have created an array of negative spaces to create translucency in its facade.

Blur As it is difficult to achieve a blur without movement, I wanted to explore how lighting can react with materials and shapes to create the illusion of a blur. In this example I spaced apart and cut into rods to confuse the eye and appear blurry. Similar to 3dhl Architects Croatia, this attempt strategically assembles materials to blur one’s eyesight.

Folding The reduction of materiality was researched here in that I aimed to demonstrate the ability of one continuous surface (of piece of material) has the ability to create a complete abstract form.

By folding the base of the structure inwards, I aimed to create a welcoming entrance for the user of the space. I also tried to manipulate the form to give the user a sense of climbing the structure, while always remaining in contact which the same, continuous fabric they approached on entry.

Inspired by Steven Holl’s recent proposal for Dublin, I created a iteration that is symptomatic of architects’ obsession with fake meanings. A variety of different forms stem from a common plane and shape (being a cube) and develop into their own meanings.

While this model is more abstract and has no functionality to it, it explores the concept of collage in that it shows an understanding of how pieces of a building can take on its own unique form while still complementing a common idea.

Collage

Precedent : Steven Holl proposal for Dublin

Repetition Precedent : Melbourne Arts Centre This iteration plays tribute to the triangular pattern of the adjacent Arts Centre to the NGV Contemporary site proposal. With the use of Grasshopper, I have pannelled a 3D form of a triangle onto a fabric that looks as though it is draping over another form.

Repitition is not only evident here through the reproduction of geometric triangles, but also the undulations of the fabric. What I found interesting in this iteration is the form’s ability to control and filter light flow (as shown in the image below). In turn, this not only filters the light’s passage, but also creates a distortion of the repitition pattern on the floor of the model.

Anamorph Precedent : Sonoma Coast Project Inspired by Brit and Daniel Epperson’s Sonoma Coast project, I explored the concept of Anamorph and how something that looks completely random where its meaning is unclear, can make sense from a particular angle.

Here, a rigid form with what seems to be arbitrary with its extrusions, comes together in the form of a traditional house (like the ones we would learn to draw in primary school). This concept pays tribute to the playful instincts of children.

Fragmentation Precedent : International Museum of the Baroque The Museum of the Baroque demonstrates curved, breathable spaces. Here, however, I wanted to prototype what would happen when the consistency and smoothness of these walls was fragmented, or in a sense, broken to pieces.

What experience would this have for the user of the space? Would this impact on the continuity of their breathing or raise any anxiety as their world around them appears to be breaking a part? I wanted to explore the unexpected. Too often in architecture, a user can anticipate the space they will enter if it follows a clear progression of the spaces in the building they have previously been in. But what happens when you take that sense away from them?

Folding Precedent : Kengo Kuma Paris Metro Proposal This iteration doesn’t portray a specific space, but rather models a proposal for flow. This abstract diagram draws on Kengo Kuma’s Paris Metro proposal, and highlights the folded pathway that a user may travel through a building.

It is also a nod to the stairs in the MSD building, where random, folded pathways aim to create interaction between students. Here, I think about the benefits of confusion in a space and how they can influence a positive reaction from those using the space.

Folding Expanding on my research of ‘breathable spaces’, I wanted to explore this with the technique of folding in mind.

How can a space welcome someone into it? How can the curves and contours of a wall lead someone through an exhibition? And can these curves be bent to also provide shading?

In this example, the walls aim to grab someone into the space and then open them up to the exhibition, followed by showing them the path to the next exhibition within the form (building).

Folding Precedent : Michael Epstein’s Sarasota School Midcentury Influenced by Michael Epstein’s Sarasota School Midcentury, I explored the technique of rigidly folding a surface to give a twist on a traditional housing space.

My aim was to portray a form that almost looks like paper being folded and to explore how character can be added through bending a form and creating sharp angles within a space.

Folding This iteration explored the concept of curving walls to suggest a path of circulation. The walls cascade inwards to welcome the visitor into the exhibition space and direct them into the following room.

Positive and Negative The concept of removing a volume and extruding it on top is explored through the use of stairs. Here, I wanted to physically delete the negative volume of a staircase and repeat it above. Although this would create a very dark environment for circulation, I quite liked exploring the simplicity of this technique.

Positive and Negative I mainly explored possibilities of a label for the structure here and how the positive / negative technique could complement this. The NGV letters have been removed from the overall mass and shifted to the side to reveal the negative space. In addition, the negative space creates a shaddowing effect which accentuates the NGV letters.

Positive and Negative Positive / negative is a strategic way to exhibit art in a gallery space.

Here, a dynamic object in three parts consisting of frame and infill which remakes the space into various scenarios for possible exhibitions.

This iteration takes on an abbreviation of the tradition arc, distorting it and creating a corridor with separate rooms in between which would allow space for exhibitions.

Order and Disorder Inspired by the complex relationship between the order and disorder found in Chaos, this iteration investigates the notion that simplicity gives rise to complexity through the act of mixing up an expected structure.

In this case, the simple grid is overshadowed by a messy and random experiment behind it.

I see this iteration as a potential facade, where the grid like structure performs as vertical and horizontal shading.

Jump Cut In this example, I understood jump cut to be the extraction of a logic and representing it elsewhere. In this case, I deleted geometric shapes (mainly triangles) and extruded them elsewhere within the cube.

Although I’m unsure if I have really achieved the concept of jump cut, I am really pleased with how this iteration looks as a whole and want to experiment translating it across to a massing.

Georgia Honan, 831427

Design Statement : Iteration 1

NGV Contemporary Design Statement (First Iteration)

Located within Melbourne’s iconic arts and entertainment precinct, NGV Contemporary rises from the ground as an abstract architectural gesture. The design brings together built form, contemporary art, landscape and creativity, contextually framed by a multi-cultural urban Australian city.

NGV Contemporary aims to be a multi-sensory sequence of spaces that exhibits internationally renowned installations to evoke a sense of creativity and dynamic social interaction from its visitors.

The two distinctive sites are bound together by a highline forming a connection in vertical layers between Southbank Boulevard, City Road and St Kilda Road in order to blend it into its surrounding Melbourne context. This promotes the notion that art should be accessible to everyone and uniquely forms part of the Melbourne landscape.

By drawing on this concept of art in the everyday, the design encourages visitors to access their inner creativity. In turn, features of the buildings will enable visitors to express this creativity using novel mediums. This seeks to revolutionise the concept of galleries as we know them by creating a sense of community where art brings people together and allows them to unleash their inner artist.

Design Statement : Iteration 2 Studio C_NGV Contemporary_Georgia Honan_831427 Studio C_NGV Contemporary_Georgia Honan_831427 NGV Contemporary Design Statement (Second Iteration) NGV Contemporary Design Statement (Second Iteration) Question: Question: If culture is a stand-alone, tangible thing comprising of music, art, language and customs, people have their own relationship to culture as it changes, dies andofemerges.

Andlanguage if one canand argue that we people are currently If culture is a stand-alone, tangible thing comprising music, art, customs, have going through a culture crisis where social and physical distancing between us,we what does their own relationship to culture as it changes, dies and emerges.

Andisif forced one can argue that arerole currently architecture have to playcrisis in thiswhere forced renaissance in a post COVID-19 world?between us, what role does going through a culture social and physical distancing is forced architecture have to play in this forced renaissance in a post COVID-19 world?

Thesis: Thesis: Everyone has their own relationship with culture and when people feel welcomed and protected in a space itEveryone creates an where ideas can be explored freely which enriches a community’s future hasenvironment their own relationship with culture and when people feel welcomed and protected in aculture space as well asan protect its indigenous past. can be explored freely which enriches a community’s future culture it creates environment where ideas as well as protect its indigenous past.

Notions: Notions: George Tjungurrayi’s artwork is a testimony to the importance of crossing cultural boundaries capturing its mesmeric conundrums.

Hisisartwork is a celebration of the ever-evolving Australian culture and proves George Tjungurrayi’s artwork a testimony to the importance of crossing cultural boundaries capturing our ability to surpass this current culture crisis, as we have done so before. its mesmeric conundrums. His artwork is a celebration of the ever-evolving Australian culture and proves our ability to surpass this current culture crisis, as we have done so before.

NGV Contemporary facilitates this by rising from the ground as an architectural gesture that doesn’t compete with its surrounding built bringsas people together gesture through that builtdoesn’t form, NGV Contemporary facilitates this by environment, rising from thebut ground an architectural contemporary andbuilt socialenvironment, interaction, contextually a multi-cultural Australian city. compete with art, its landscape surrounding but bringsframed peopleby together through built form, contemporary art, landscape and social interaction, contextually framed by a multi-cultural Australian city.

Located within Melbourne’s iconic arts and entertainment precinct, NGV Contemporary is a multi-sensory sequence of spaces that wraps itsarts arms around visitors from all walks life and creates for Located within Melbourne’s iconic and entertainment precinct, NGVofContemporary is aopportunity multi-sensory education.

For instance, the blurring of the gallery’s cladding not only serves as a functional response to sequence of spaces that wraps its arms around visitors from all walks of life and creates opportunity for Melbourne’s climate, but the alsoblurring blurs the social and physical boundaries that exist the current climate to of education. For instance, of the gallery’s cladding not only serves as ainfunctional response our city, especially in abut COVID-19 world.

Melbourne’s climate, also blurs the social and physical boundaries that exist in the current climate of our city, especially in a COVID-19 world.

As Kengo asserts that architecture provides opportunity to restitch the social fabric, the form of the NGV contemporary uplifts this notion by drawing the surrounding roads laneways andform wrapping As Kengo asserts that architecture providesfrom opportunity to restitch the and social fabric, the of the them NGV together so that a visitor cannot help but feel compelled towards the welcoming and protective space.

In contemporary uplifts this notion by drawing from the surrounding roads and laneways and wrapping them addition, these arebut an feel ode compelled to everyone’s individual relationshipand to culture andspace. suggest together so thatmultiple a visitorpathways cannot help towards the welcoming protective In that therethese is notmultiple one correct journeyare to an take through life, or the gallery. Each person’s experience visit addition, pathways ode to everyone’s individual relationship to culture and and suggest is unique opportunities socialto interaction ariselife, along thegallery. way. Each person’s experience and visit that there yet is not one correctfor journey take through or the is unique yet opportunities for social interaction arise along the way.

The Gallery draws on Bjarke Ingles’ concept of framing the architecture to take advantage of its natural site, and so draws the form its views to theofArts Precinct the Yarra, well as extends to The Gallery onorientates Bjarke Ingles’ concept framing the and architecture to as take advantage of its itsarms natural interact the form lively orientates promenade. two sites are bound together by a as promenade forming a site, andwith so the its The views todistinctive the Arts Precinct and the Yarra, as well extends its arms to connection Boulevard, City Roadsites and St Road. interact withbetween the livelySouthbank promenade.

The two distinctive areKilda bound together by a promenade forming a connection between Southbank Boulevard, City Road and St Kilda Road.

References: References: Blanciak, F. (2008). SITELESS : 1001 Building Forms. Cambridge, USA: MIT Press Ltd. Blanciak, F. (2008). SITELESS : 1001 Building Forms. Cambridge, USA: MIT Press Ltd. Ingels, B. (Director). (2009). 8H - The 8-House [Motion Picture].

Ingels, B. (Director). (2009). 8H - The 8-House [Motion Picture].

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

Kuma, K. (2008).

Anti-object: the Dissolution and Disintegration of Architecture. London, UK: Architectural Association Publications.

Utopia Art Sydney. (2020). george tjungurrayi. Retrieved from Utopia Art Sydney: https://www.utopiaartsydney.com.au/artworks.php?artistID=21-George-Tjungurrayi Utopia Art Sydney. (2020). george tjungurrayi. Retrieved from Utopia Art Sydney: https://www.utopiaartsydney.com.au/artworks.php?artistID=21-George-Tjungurrayi

Notions Weaving Concept Kengo Kuma notices that architecture can be used as a means of restitching the social fabric of a community. Now more than ever, Melbourne is deeply divided to the extent where there are physical and mental barriers keeping people apart and this is causing a ‘culture crisis’ where people feel more isolated than ever. Through the concept of weaving, NGV contemporary aims to mend these relationships and culture in a harmonious environment to make sure everyone feels safe and a feeling of warmth within the gallery.

Circulation Concept A huge part of Melbourne’s culture are laneways. I thought about ways to incorporate these within my gallery massings such as drawing them into the interior of the spaces to create a continuous path from the exterior to the inside of the gallery. This uplifts the notion that everyone has their own experiences with culture and therefore are free to take their own pathway through the exhibition spaces. These laneways wrap themselves around the exhibition spaces to form a protective container around the art.

Notions 8 House Concept Bjarke Ingles responds to the notion of ‘building as landscape’ with extremely thoughtful intent.

Every step of his form finding techniques form an immediate response to the climate and environment of the site. I want to use this concept to purposely orientate views to frame an ‘Arts Hub’, where every aspect of the gallery responds to its exterior environment and precedents so that the architecture does not compete with its surroundings, but sits in harmony with it.

Origami Concept Inspired by Kuma’s origami artwork, this technique can complement my interest in using a folding technique to merge my gallery with the natural landscape and create an open space that is in harmony with its natural environment. Origami can be used to fold Melbourne’s laeways on top of each other as well as important aspects of the site such as the Yarra River where the creases can reflect the flow of the water stream along the promenade, for instance, along with geometric folds of the structure to allow for the natural environment and the promenade to climb the massings.

Glasgow Riverside Museum of Transport

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.

Zaha Hadid : Glasgow Museum of Transport

In addition, the curves of the form emulate driving down a windy road which is reflective of the museum’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 upperfloor 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.

Circulation Circulation is through the main, open and columnfree 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.

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.

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 museum’s overall form to guide you through the space.

Task Two : Urban Massing Keeping the site in mind, the aim of this task was to create massing iterations that reflected our previous abstract explorations and the key concepts of urban massing in mind.

These are: Figure-Ground, Abstract objects in landscape, Building as Landscape, Building as a diagram of its function and Building as an abstract shape (container or tower).

Serra’s two tilted, snaking passages aim to capture motion and instability. People are encouraged to move around and throughout the work to capture it from multiple and unanticipated perspectives.

The artist has arranged his steel works to move the viewer through them and their surrounding space. This creates a passage and directs the viewer through distinctive spaces to capture different experiences (both narrow and wide) in each.

Source: https://www.guggenheim.org/artwork/21794

Precedent : Steel Installations by Richard Serra

Building as landscape & Figure Ground Technique: Folding This iteration explored the idea of having these ribbon like forms welcoming you into a very simplistic form and space. I wanted to encapsulate Serra’s technique of directing people through unanticipated experiences, through the breathing-like forms of the walls.

I quite liked how it reflected the simplicity of the current NGV however I didn’t like the overall form in plan view.

Building as landscape & Figure Ground Technique: Folding This is a iteration I am quite pleased with. In order to match the ground plan of the existing NGV, I thought about building underground with an above ground monumental form to direct people into the space. I would need to resolve issues of sunlight and ventilation, however this seems like an exciting way to build up the public park space of the site.

Object Building Technique: Distortion In this attempt, I tried to branch off the idea of Serra’s steel installations and gently guide people towards the opening of the gallery through subtle distortions and inflections in the form. I like the subtlety of this massing and how the roof gently slants downwards to control the passage of sunlight, however see these techniques more used for the interior of the gallery.

Precedent : Arts Centre Melbourne by Sir Roy Grounds Initially, Sir Roy envisaged the entire site topped with a 126-metre Spire. Sir Roy explored the possibility of an open-lattice space-frame design, however this coincided with technological developments of the time.

With technology’s development as we know it, I wish to investigate how I can use parametric design to optimise space and strength through an abstract netting.

Sir Roy’s design included spectacular gold webbing around its lower section, simulating the flowing folds of a ballerina’s tutu.

Source: https://www.artscentremelbourne.com. au/about-us/our-history

Building as an abstract shape & Container Technique: Repetition Although I don’t like the overall look of this massing iteration, I attempted to reflect the adjacent Arts Centre in order to create cohesiveness within the landscape.

The existing spire was built to resemble a ballerina skirt, so how can I create a form that reflects the program of the NGV contemporary?

As this looks like an octupus, this could definitely be explored further.

Precedent : 8-House by Bjarke Ingels

The 8-House is an example of a design that has been successfully integrated with its landscape.

Programs are situated in order of convenience in order to maximise profits from its retail function, absorb natural light from its residences and outdoor areas to encourage kids and families to interract with each other.

A traditional form of figure-ground is taken and manipulated to maximise its natural environment, for instance two sloping green roofs reduce the heat-island effect, and visually reference adjacent farmlands to the south.

Source: https://www.architectmagazine.com/project-gallery/8-house

Building as landscape & Figure Ground Technique: Distortion Using the trangular perimetre of the site, I extruded the edges to create a form that represented figure-ground and bent, twisted and distorted the arms of the form, similar to the 8-House.

I wanted to create a complex geometry from a simple form, I feel as though I am on track to achieving this however feedback was to push this massing further.

Building as landscape & Figure Ground Technique: Distortion This is the result when I took my previous iteration and pushed it further. I included more distortions to the form and eliminated the ‘austere’ feeling that the north facade gave to the viewer from my previous attempt.

I tried to make this form as dynamic as possible, including twists and turns where least expected.

Precedent : Kengo Kuma, Kyushu Geibun Museum

The low, angular profile of this museum was created to emulate the mountainous landscape and the flow of nearby Yabe River. Kuma merges origami with the natural landscape to create an open space that is in harmony with its natural environment.

I thought that this was a relevant example for our site given the neighbouring Yarra River, I can use origami to reflect the flow of the water stream, along with the geometric folds of the structure to allow for the natural environment and the promenade to climb the mass.

Building as Landscape & Abstract Object Technique: folding

Object Building & Abstract Object Technique: folding

Building as Landscape & Abstract Object Technique: folding

Building as an abstract shape & Building as Landscape Technique: Folding Still drawing on the concept of oragami, I attempted to define the volumes of gallery spaces some more to make sense of my previous massing. I did not include a courtyard in the centre of the massing, but instead twisted geometries to represent different functions inside the building and blur the interface between inside and outside.

Precedent : Paris Metro Proposal by Kengo Kuma

Kuma attemps to create a complex station that brings in streets in a vertical layer. Steel frames that evoke rail tracks are used in the curtain wall and many other parts of the structure which emphasizes the passage of time and history. This approach aims to connect people to the surrounding urban environment of Paris.

Source:https://www.archdaily.com/612370/kengo-kuma-winscompetition-to-design-metro-station-in-paris

Building as landscape & Figure Ground Technique: folding

Building as landscape & Figure Ground Technique: folding and blurring

Building as landscape & Figure Ground Technique: folding I really like the concept of including curved walls in the massing and this is my attempt at curving my previous massing while still incorporating Kuma’s precedent. Although unsuccessful in that this looses the emotion of my previous massing, I think that the smoothness and curvature of the walls can be translated to the interior spaces of the gallery.

Building as landscape & Figure Ground Technique: folding

Precedent : Michael Staniak, Untitled, 2014

In order to appreciate Staniak’s work, one must view his pieces up close to experience the unique textures that resemble the glitches of technology.

The artist’s works explore an entirely new direction in painting which is strongly influenced by current technologies, such as touch pads, smart phones, personal computers and of course the omnipresent Internet.

Object Building & Abstract Object Technique: fracturing I do notice blurring from above however.

Precedent : Lab Architecture Studio & Bates Smart, Federation Square This design is made up of different tectonic plates to represent the meaning of unexpecting connections. The design aimed to bring together the disparate parts of Australia into one united nation.

I drew on this precedent for inspiration in that I created a massing to represent a community coming together to celebrate art.

This is especially relevant in Melbourne today as the fabric of the community has become fractured by the COVID-19 pandemic.

Building as a diagram of its functions & Figure Ground Technique: fracturing

Precedent : Gloria Petyarre - Bush Leaves

Most famous for her rythmic depictions of the rushing movement of the falling leaves, Petyarre is considered a monumental contemporary Indigenous artist.

I wish to emulate this dynamic yet gentle movement through a ‘blurring massing’ and assert the idea that the NGV contemporary has been constructed on Indigenous land.

Building as an abstract shape & Container Technique: blurring The idea of ‘falling leaves’ is most evident in plan view. I also attempted to make some areas more dense than others in order to separate the functions within the massing and filter the entry of light.

Southbank Sun, Shadows & Wind

SUN & WIND PATH Aim : to filter light within the gallery spaces yet optimise natural daylight through public spaces such as cafes & the members lounge.

BUILDING HEIGHTS & VIEWS Aim : to orientate NGV contemporary to frame views and create an Arts ‘hub’. There are extremely tall buildings to the West of the gallery which overshaddows the afternoon sun that the building receives. The NGV contemporary will be 24m high to complement the Australian Ballet school and not overshaddow the existing NGV. Most of the shading will come from the western side of the building, with no major blocks coming from the East and so it may be beneficial to locate most of the administrations services along here.

Melbourne Arts Culture The Australian Ballet The Australian Ballet is the largest classical ballet company in Australia. It exists to inspire and delight and challenge audiences through the power of performance. The ballet performs a mix of classical ballets and commissions new work annually, presenting over 250 shows and 1700 education and audience engagements every year.

Melbourne International Film Festival The film festival is the largest in Australia and one of the oldest globally. It exhibits a curated selection of innovative screen experiences from all over the world and exceptional examples of Australian film making. This is an iconic cultural event that draws people from all over Australia to experience.

White Night & Melbourne International Arts Festival A now combined experience to form ‘Rising’, is a 12 night musical and visual spectacle. The festival exhibits the depth of artistic talent in Melbourne and showcases 50 acts to perform live. Unbound to certain venues, the festival attracts people from all over Australia and disperses them all over Melbourne to experience the artistic culture the city has to offer.

Melbourne Symphony Orchestra Resident at Hamer Hall, the Melbourne Symphony Orchestra is the oldest professional orchestra in Melbourne. It aims to bring people together through meaningful musical experiences by inspiring audiences across Australia and internationally. The orchestra often collaborates with internationally renowned guest speakers to create a cultural experience through music. They most recently collaborated with physicist, Brian Cox. Melbourne Comedy Festival The Melbourne International Comedy Festival is the largest stand-alone comedy festival and the second-largest international comedy festival in the world. Each Autumn, an enormous amount of stand-up comedians perform comedy, cabaret, theatre, street performance, film, television, radio and visual arts. Tickets are extremely affordable making the festival accessible to everyone and Melbourne is transformed into a comedy hub, with acts performing all over the city.

Melbourne Fashion Festival The Melbourne Fashion festival takes place for a week over Spring, presenting world-class runways featuring established and emerging Australian designers. The festival is also a celebration of production, beauty workshops, retail events, industry seminars, forums and live entertainment. It is a celebration of arts, fashion, ideas and creativity targeted towards all Australians to enjoy. The main location is Mitchell House and visitors also enjoy visits to the NGV during this time.

Vegetation Aim : to orientate views towards the Yarra River and embrace the site’s natural systems within the gallery (could nature climb the gallery walls, for instance?)

The site has a strong Indigenous natural history and it is important to incorporate as many indigineous plants as possibel to not only pay tribute to the traditional owners of the land, but also protect endangered plant species to in turn protect this component of Australian culture and ensure it has a future.

Southbank Circulation Diagrams Aim : to draw people towards this hub and embrace them through ‘laneway concept’.

BUS ROUTES

CARPARKS

WALKWAYS

TRAM ROUTES

Massing 01 Diagrams

LANEWAY CONCEPT Collecting all of the site’s neighbouring roads and laneways and wrapping them around the NGV Contemporary site.

LANEWAY CONCEPT In turn, it creates an entrance in every direction so that everyone from everywhere feels drawn to the building.

EXTRUDE THE LANEWAYS To define the spaces of the museum within.

RESPONSE TO THE NGV Orientate views towards the Arts Hub and create artistic opportunities within.

WEAVING CONCEPT Create cladding and thread it throughout the massing to represent the coming together of cultures past and present.

Massing 01 Floor Plans / Functional Arrangement

A

B

FIRST FLOOR PLAN

B

No matter what pathway the visitors choose to take throughout the space, all paths wrap themselves around the Indigenous gallery. Public spaces such as exhibitions are mainly ‘contained’ within these laneways and private spaces such as administration are kept to the side of the layout in order to maximise natural daylight intake and control noise levels.

A

B

GROUND FLOOR PLAN

B

Numerous entrances provide opportunity for more people to enter the space. Circulation within the spaces emulate the exterior of the massing, encouraging people to take their own individual pathway throughout the space.

Massing 01 Sections

MEMBERS LOUNGE

PERMANENT GALLERY INDIGENOUS GALLERY MEMBERS LOUNGE

KIDS LEARNING PERMANENT GALLERY

KIDS LEARNING

BASEMENT

CAFE / RESTAURANT

TEMPORARY GALLERY INDIGENOUS GALLERY

TICKETING

TEMPORARY GALLERY

TICKETING

CAFE / RESTAURANT

BASEMENT

CAFE

DIGITAL MEDIA GALLERY

CAFE

RESEARCH LIBRARY DIGITAL MEDIA GALLERY

BASEMENT / DIGITAL MEDIA GALLERY RESEARCH LIBRARY

BASEMENT / DIGITAL MEDIA GALLERY

A large void on entry opens people up to the space and gives them an immediate understanding of the gallery.

SECTION B

MEMBERS LOUNGE PERMANENT GALLERY GIFT SHOP

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The cafe sits on the promenade to feed the massing into the Arts Hub some more. The members lounge receives more natural daylight being situated on the top level.

SECTION A

Massing 01 Renders (with morning sun)

The main material in this massing is concrete due to its visual simplicity. I chose this material because it does not compete with the materiality of the weaving which is steel.

That way the eye isn’t too overwhelmed with too many busy materials and textures at once.

Massing 02 Diagrams

LANEWAY CONCEPT Collection of surrounding roads and laneways and folding them on top of each other to create origami.

LANEWAY CONCEPT Once again, create more opportunities for entry into the gallery.

DEFINE THE INTERIOR SPACES In order to make sense of the origami, define the gallery spaces within the laneway concept.

EXTRUDE THE LANEWAYS To create straight walls to contain and hang the artwork, while retaining the origami form on the ceilings and floors.

RESPONSE TO THE NGV Create opportunities on the promenade for art installations and performances, create open air cafes that frame the views and filter light where appropriate through voids and openings.

Massing 02 Floor Plans / Functional Arrangement

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FIRST FLOOR PLAN In some cases, the origami blurs the interface between outside and inside, most noticably in the outdoor cafe.

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GROUND FLOOR PLAN Room shapes that emulate the form of the massing and encourage separate circulation paths throughout the gallery spaces.

Massing 02 Sections

MEMBERS LOUNGE MEMBERS LOUNGE

CAFE / CAFE / RESTAURANT RESTAURANT

PERMANENT COLLECTION PERMANENT COLLECTION

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BASEMENT BASEMENT

BASEMENT BASEMENT

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DIGITAL MEDIA GALLERY DIGITAL MEDIA GALLERY

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SECTION A

This illustrates the interior experience of the gallery and shows how the exterior floor is reflected through the interior spaces without disturbing the straight walls that artwork requires.

MEMBERS LOUNGE

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PERMANENT COLLECTION

MEMBERS LOUNGE

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FOYER STAFF ADMIN PERMANENT COLLECTION

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OUTDOOR CAFE

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KIDS LEARNING SPACE

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BASEMENT RESEARCH LIBRARY

ENTRANCE

On the promenade level, visitors walk down a ramp and have the opportunity to view part of the temporary collection for free until they arrive at the main foyer to purchase BASEMENT tickets.

SECTION B

Massing 02 Renders (with morning sun)

I chose to use concrete as the dominant material here as I love the simplicity of it and how versitile it can be in creating organic forms such as this massing. In addition, it links the massing to the materiality of the existing NGV. I can imagine nature such as vines and leaves climbing up the facade of the gallery too.

Koskela discuss their on going collaboration with the Yolngu weavers from Elcho Island Arts and the integration of their traditional techniques in contemporary design practice. The Yolngu women describe the emotional and communal experience intertwined with their weaving process.

Koskela discuss their on going collaboration with from Elcho Island Arts and the integration of their tra contemporary design practice. The Yolngu women de and communal experience intertwined with thei

MoMA by OMA

Program The program for the Diller + Scofido extention features a series of interwoven functions that create an interactive environment. The galleries are placed at varying levels that allows for views into galleries below and above them, allowing users to have an understanding of the space that they are in as well as view the activity occuring in other spaces. Whilst this interaction occurs, areas such as the gift store are configured so that it is visually visible from the street with a dedicated entrance so that visitors can bypass the museum and use the gift store if desired.

Form The form of the gallery was created to better connect the museum to the urban fabric, as well as increase the existing gallery space and complement the existing MoMa. The form is interpreted as a negative volume with the intrusion of positive volumes to define the museum spaces, creating a simplistic yet metaphorically deep form.

Diversity of Galleries The MoMa extension features a series of vertically interlocking galleries of varying heights. Galleries such as contemporary design, film, performance and studio spaces are woven together to create a diverse gallery with spaces that speak to each other.

Circulation Whilst the flagship store is lowered to the ground level to integrate the function into the city of Manhatten, the predominant mode of circulation was the staircases of the gallery. It acts as a palette cleanser for the spaces in that it is aesthetically intangible and has minimal expression unlike the art installations. In this way, visitors may not even notice that they are moving throughout the space but they are doing so by being taken away by the art and the gallery conforms to their desired passage of movement.

Gallery Heights As already mentioned, the gallery features a stacking of vertically interlocking galleries to intertwine the funtions of the space. As a result, each gallery space has varying heights enabling visitors to realise a series of interconnected narratives of contemporary art across all mediums. The gift store is double height allowing for the lobby to be visually connected to the space and for easy access for people who just wish to visit the retail of the gallery without entering exhibition spaces.

Lighting By inserting the gallery spaces into a negative volume, it allows for the protection of art pieces against harmful daylight. These exhibition spaces are contained by the existing MoMa gallery along with public programs of the space, such as the lobby and retail facilities. These functions are located towards the front of the form, to intertwine it with the streetscape and allow for views and light to and from the city.

Example of a daylit space with programs set at 1/2 height to allow for views into other functions of the space.

In my gallery, I would love to be able to exhibit work that requires double height, particularly on entry to give the visitor an immediate sense of space and program.

An illustration of the functions that are injected into the space at varying heights to interlock the exhibitions and public / private spaces.

Floorplan Iterations These were some of my first iterations of floorplans.

My logic behind these was to create a disruptive pathway, much like a weave however this was not the way to go. The promenade entrance stairs need to wrap around the main foyer to intersect with the entrance off Southbank Boulevard and interweave this traffic.

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Temporary Collection

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In addition, programs need to be woven together to create a sense of controlled confusion.

Gift Store

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Floorplan Iterations In this later attempt, I made changes to the staircase to weave the ground floor and promenade traffic, however the walls in the gallery spaces were way too harsh, with too many of them. I created these plans by overlaying a herringbone weave and tracing the walls on top of the pattern. These plans are more on track to achieving what I need to weave the program together, however there needs to be more logic to them.

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In addition, the shape of the voids weren’t reflective of my concept. On the first and second floor, the linear, rectangular shaped voids aren’t showing the origami concept of my form.

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Week 8

Perspective Iterations These are some renders of my preceeding plans, and as you can see there is a lot of chaos within the internal spaces. There are a lot of walls in place which can weave together different art collections, except there isnt a clarity to these renders and the spaces feel chlostrophobic.

Instead, the studio investigated the benefits of modelling in 3D and how that can help our plans develop.

Shifting of floorplates This is a very conceptual diagram of how I am trying to visually weave programs together. After analysing Diller + Scofidio’s MoMA expansion, I noticed how my shifting floorplates up 1/2 a level can visually interweave gallery spaces. I attempted to split up gallery spaces and locate them throughout the massing so that there is not one collection that is all together, however I was still being far too polite in achieving this. In addition, a cube diagram was not the way to go about presenting this weave.

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Floorplan Iterations

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These plans are some early iterations of how I attempted to break up the floorplates and shift the gallery levels up half a level to achieve this visual weave.

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I chose to incorporate a circular desk because at this stage I had multiple entries and so this shape of a desk would allow for easy access to purchase tickets coming from all sides.

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Floorplan Iterations

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Upper levels of the same plans. In this iteration I am closer to achieving my concept however I am still missing the margin in terms of weaving together the program.

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INDIGENOUS INDIGENOUS COL LECTION GALLERY

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I like that I have located the restaurant to the East of the gallery so that it maximises its views to the promenade and natural daylight intake, however I don’t like that this function is isolated from the rest of the gallery.

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Lookout Bridge

Floorplan Iterations These are some early plans of my North Building.

I followed the same logic as my south building however incorporated a ‘lookout bridge’ to visually weave the ground floor gallery to the promenade level. This is because I haven’t allowed for space on the first floor, it is mainly taken up by administrative functions. This is completely ineffective though.

Entrance / Foyer

Research Library Kids Learning

In addition, I have located a cafe to the South of the building to allow patrons to view dancers at the neighbouring ballet school.

Perspective Iterations The following renderings are attempts at interior perspectives. Inspired by Kuma’s photoshopped and unrealisticly rendered Paris Metro proposal, I also wanted to create a collage feel to these renderings.

However, the spaces don’t look as warm as what I had hoped to achieve and the interior spaces look really sterile. In addition, I don’t think that the hand painted plaster was the best way to go about rendering plaster.

This was the first time I rendered in artworks too, and feedback was to do a lot more investigation on how to curate a gallery because the artworks I placed together would never be curated together in real life.

Perspective Iterations I really like the slanted walls I have in the gallery and the openings that allow for natural daylight intake.

Promenade Development Over the mid-semester break, I needed to focus a lot more on my promenade development. I used the same logic as I did when form-finding to create an organic-like promenade.

I folded the promenade downwards in front of the Ballet school to create an ampi-theatre and spaces to gather. I really liked the entrance up the promenade which folds the ramps into the stairs. In this iteration I feel as though I creates the bones of my promenade.

Section Development These were some early iterations of sectional styles that I may want to persist with. I believe that I have cut through the building in a really good place, however the sections are a little too sketchy and the linework needs some cleaning up.

Members Lounge

Permanent Collection

Temporary / Indigenous Collection

Indigenous Collection Temporary Collection

Entrance / Foyer

Temporary / Indigenous Collection

Permanent Collection Indigenous Collection Temporary Collection

Section Development What this section really showed me was how illogical my staircases were. The places they are leading are not the best places to gather and dffuse traffic. However, I love the folded walls within my gallery spaces.

Gallery Space Gallery Space

Staff Admin

Entrance / Foyer

Gallery Space

Gallery Space

Staff Admin Indoor / Outdoor Cafe

Research Library

Kids Learning

Diagrammatic Weave Inspired by Zaha Hadid’s MAXXI diagram, I also attempted to diagram the weave that my circulation creates.

I really love this style diagram and definitely want to carry it through to my final presentation.

Diagrammatic Weave My vertical weaving lines need some cleaning up to make the diagram look softer and more fluid.

Vertical Circulation Horizontal Circulation

Perspective Iterations An early iteration of me trying to render in context.

Following Di Hu’s tutorials, I photoshopped a perspective of the NGV context in with my NGV contemporary gallery.

I really like this type of a perspective to illustrate a locality plan, however my skills still need a lot of work in terms of blending the two in with each other and making this look more realistic / nice to look at.

Perspective Iterations

Some attempts at realistic renderings. These were created soon after I shifted the floorplates up 1/2 a level as I wanted to illustrate what kind of visual weave this would create.

I do prefer this type of realistic render so I think that I will persist with these.

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These plans did not show much progress from my previous iterations as I still haven’t woven together my programs effectively and achieved my concept.

3m 6m

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Indigenous Collection

A major issue with my ground floor is that administration is taking up 50% of the ground floor, which is inappropriate for a gallery. Instead, admin should be pushed to the east, almost underneath the promenade to free up this space for artwork and circulation.

Indigenous Research Library

WORKSHOP

LOADING DOCK

3m 6m

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Workshop

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Gift Shop

ENTRANCE / FOYER

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Cloak

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GIFT SHOP

CLOAK ROOM

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After speaking with Shaw, a 12 x 12m grid was the best way to continue with my gallery and so I have incorporated these columns into my plan. These will be steel columns, encased in concrete with a plaster finish.

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Floorplan Iterations Temporary Collection

As this plans follow the same logic as my south building, the same feedback applies.

Administration is taking up way too much space in such a critical place in the gallery and should instead be free’d up for artwork.

After the studio investigated likely circulation patterns for this building, it was discovered that people won’t be entering the space from the ground floor and only from the promenade level, so these types of private functions such as admin and storage could be located on the ground floor.

Permanent Collection

Viewing Bridge

Indigenous Collection Entry / Foyer Staff Admin

Indoor / Outdoor Cafe

Kids Learning Centre

Entry / Foyer Research Library

Perspective Iterations The staircase design here was far to commercial (like a fire escape) and needs development.

Perspective Iterations These renderings are more on track to the style I want to achieve. My main findings from these were that there is way too much use of glass which is creating a really sterile and uncomfortable feeling, my window frames are far too thick and the floor pattern I have selected it too residential.

Instead, I was encouraged to look to Diller + Scofidio’s MoMA expansion as material inspiration. Perhaps wood on the ceiling would make these better and tie the floor to the ceiling together.

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Indigenous Research Collection

STORAGE

Temporary Collection Permanent Collection

STAFF ADMINISTRATION

Lookout Bridge

Indoor / Outdoor Cafe

Artist in Residency

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KIDS LEARNING CENTRE

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STAFF ADMINISTRATION

Floorplan Iterations

Kids Learning

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Workshop

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Loading Dock

These floorplans are closer to what I am trying to KIDS RESEARCH achieve with my weave, however I am still not there.LEARNING CENTRE LIBRARY I really like the angled walls that disrupt circulation and that I have reconfigured the top floor, however I need to weave the program some more. In addition, the circulation diagram that I have mapped out with red pen is unrealistic because no one walks like this.

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For further inspiration about how I can achieve my concept, I turned to the Farshid Moussavi reading.

STAFF ADMINISTRATION

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Gift Shop

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Perspective Iterations These are my best renders yet. I really love that the timber ceiling balances the flooring and gives the eye a break from all of the white plaster. I think that these best represent the warmth from the weave.

In addition, my welcome desk is much better than the circle one I previously had.

However, the ceiling above the welcome desk comes across as really low.

Some of my camera angles need to be shifted some more, the camera is sitting 1.5m off the floor (similar to the height of a person), however the camera needs to be rotated some more to crop and frame the views more strategically.

Floorplan Iterations

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These are some of my best floor plans yet. The spaces are more effectively woven together, however I need to give each program more thought in terms of their location. For instance, I could split up the Australian Art collection into two rooms and place a temporary collection in between, so that the user can thread through the spaces and end up in the same gallery theme they came from.

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gift shop

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My main intention here was to create a series of ‘choices’ within each space. At each junction, the user is provided with a series of options as to what gallery they can proceed to enter. This to me clarifies my weaving concept.

perm. collection

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North building follows the same logic as the south building.

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Floorplan Iterations

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I mainly focused here on my administrative spaces and how to make it an interactive working environment. I created a shape that encompasses all the staff with a central meeting table, however the shape came across as very 1970s.

Instead I had a look at precedents such as how Bates Smart plans out office buildings. However, I knew that I needed to include large meeting tables and maybe even a separate room for private meetings.

STORAGE

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My floorplans need to be more consistent with my exterior form and sharp right angle turns aren’t the way to go about this. I drew a red line across my plan here to suggest a better second floor shape.

MEMBERS LOUNGE

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Floorplan Iterations

Detailed Section Iterations After my consultations with Shaw, a steel structure with concrete cladding was the way to go. I envision my concrete to be poured in-situ which would require highly skilled workers to create appropriate formworks.

I have indicated a space frame here as this is a structure that is traditionally used for a roof, continuing down the sides of the gallery to create a continuous and seamless form.

My internal walls are 500mm thick, allowing durability for artworks to be hung and taken down and a thicker wall just gives a more overall feeling of confidence to the internal partitions.

The floors are reinforced concrete, clad with timber.

Detailed Section Iterations These are two more options that demonstrate my detailed section, they have the same structural configuration however are presented differently.

At this stage, I think that the most important way to show a detailed section is slight rendering with a lot of labelling to demonstrate my understanding of how the gallery will be constructed.

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Floorplan Iterations I need to simplify the office layout with more shared desks, and reduce the opacity of the- furniture so that it doesn’t stand out as much and distract from the architecture.

There isn’t much space for the loading dock and I need to consider the circulation of the lifts and how artwork will be transported throughout the gallery spaces.

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Site Analysis Development

Existing Arts Programs

Upon feedback that my site analysis needs to be presented in a more sophisticated manner, I thought that an exploded diagram would be more consistent with my weaving diagram and simply diagram the important parts of what I am trying to communicate.

I can diminish what is less relevant to my design to still show that I have undertaken an analysis, but then enlarge what I would like to talk to.

Shadows

Wind Path

Sun Path

Vegetation

Circulation

For instance, circulation and existing arts programs in the urban context are most important to my concept.

Perspective Development

External Perspective Development I realised that I had focused a lot on my internal renderings and neglected my external renders. These are some examples of how I am trying to position my camera to best capture the essence of my form. I acknowledge that these are some terrible renderings that need development.

150mm concrete cladding

timber floor lining steel stud suspended ceiling ceiling insulation reinforced concrete slab steel channel (anchored to concrete slab) 2 layers of timber stud wall with insulation plaster

1m

Detailed Section Development I decided to incorporate a very close up construction section of the junction between my gallery walls and foors as I believe that it is important to understand how this will happen.

I confused myself here between a suspended ceiling or the space frame that I will need to incorporate and have changed this in further iterations.

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Peter Atkins

Dale Harding

Tracey Moffat

Claudia Moondoonuithi

Louise Forthun

Rose Nolan

This is a collection of contemporary artworks that I love and have decided to incorporate in my gallery. The artists are predominantly Australian, and I have selected very bright and vibrant colours to pop against my simplistic gallery materials.

I also selected artworks that personally evoke a sense of playfulness and joy, to demonstrate the benefits of weaving together art collections to create a positive culture and sense of place.

Artists to include in my gallery

David Hockney

Jon Campbell

Reko Rennie

Clement Meadmore

Howard Arkley

Pippolotti Rist

Design Statement Question: What role can architecture play in weaving the social fabric together to create a renaissance of culture?

Thesis: If culture is a stand-alone, tangible thing comprising of music, art, language and customs, people have their own relationship to it as it dies, changes, and emerges. Now we are experiencing a culture in crisis where social and physical distancing is forced between us, however NGV Contemporary can provide people will an environment where ideas can be explored freely. This enriches a community’s future culture as well as protects its indigenous past.

Notions: Southbank has a lively arts scene that has been engrained into the city fabric over generations of Melburnians.

NGV Contemporary is an architectural gesture that interweaves itself with its surrounding arts programs, bringing people together through built form, contemporary art, landscape, and social interaction, contextually framed by a multi-cultural Australian city.

NGV Contemporary is a multi-sensory sequence of spaces that wraps its arms around visitors from all walks of life and creates opportunity for a woven sense of culture. Internal spaces are a reflection of interlaced program, blending together different art collections to inspire a new sense of culture that is inclusive and enriched by unique experience.

As each person’s experience with culture is unique, numerous gallery junctions provide visitors with endless opportunity to explore artworks with moments for social interaction along the way through lawless circulation.

The gallery draws on Diller Scofidio + Renfro’s concept of phenomenal transparency by dividing floor plates and shifting them up half a level to visually interweave gallery spaces and create a sense of continuous connection to all parts of the gallery.

The two distinctive sites are bound together by a promenade forming a connection between Southbank Boulevard, City Road and St Kilda Road.

Detailed Section Development 150mm concrete cladding

I corrected my research here and incorporated a space frame as a steel structure. I like that I have created an overall 1:50 section, however as this is not detailed enough I have also created a 1:5 section of the junction. timber floor lining

steel stud suspended ceiling ceiling insulation reinforced concrete slab steel channel (anchored to concrete slab) 2 layers of timber stud wall with insulation plaster

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space frame

steel channel (anchored to concrete slab)

steel stud

timber floor lining suspended ceiling

2 layers of timber stud wall with insulation

reinforced concrete slab

plaster 150mm concrete cladding

reinforced concrete slab

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Section Development I didn’t receive the best feedback on these sections, and I have to agree with it. They appear to be very ‘dollhouse’ like and I think it’s because of the immature colour selection. Instead, my sections should be of the same feel as my detailed section.

I really love how I have incorporated artworks into my section to show the interwoven exhibitions. The main things that I need to communicate here are the voids, transmission of light and shifting of floor plates.

Section Development The linework in these sections is much nicer than my previous sectional iterations so I will continue with these ones in my presentation.

Phenomenal Transparency Diagrams Would these diagrams look nicer if they were hand drawn?

These are my diagrams that map out the phenomenal transparency that I am trying to achieve (much nicer than my earlier colourful cube diagrams) and it is a good place to bring up my precedent of MoMA (however the image has been altered by me).

Shifting of Floorplates creates Phenomenal Transparency I much prefer the aesthetic of hand drawn diagrams for my final presentation.

Weaving Concept applied to Floorplans Through the simplification of a traditional Herringbone Weave, I mapped out how I would like my gallery spaces and program to interact with each other.

In turn it created these junctions (as highlighted in yellow) that presented the user with a plethora of choice of which circulation path to take to exhibit art.

Floorplan Development 14

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Gift Shop Storage Temporary Collection Australian Art Collection Archive Permanent Collection Digital Media Gallery Print Collection Kids Learning Space W/C

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Entrance Foyer Gift Shop Cloak Room Staff Administration Workshop Storage Delivery Ticketing Temporary Collection Australian Art Collection Emergency Exit

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Australian Art Collection Permanent Collection W/C

I decided that for my final presentation the most important things for my to discuss in my floor plans were how I achieved my weaving concept in terms of circulation and program. The following diagrams map out my circulation which can seem quite chaotic, however I really like the linework in these final plans.

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Temporary Collection Emergancy Exit Digital Media Gallery Kids Learning Space Research Library Indigenous Research Library Promenade Entrance Lookout

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Temporary Collection Digital Media Gallery W/C Restaurant / Cafe Kitchen Members Lounge Check in

Floorplan Development These diagrams articulate my woven programs, with each colour representing a different type of gallery that has been broken apart and restitched into other gallery spaces. I will mainly talk to my gallery spaces here instead of functions such as staff administration, bathrooms and delivery.

Important things to note: my double height gift store, exposed workshop, promenade circulation meeting southbank boulevard circulation and gallery locations.

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Floorplan Development

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Storage Temporary Collection Australian Art Collection Permanent Collection W/C

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Entrance Staff Administration Delivery Archive Research Library Artist in Residency

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Cloak Room Ticketing Temporary Collection Australian Art Collection Permanent Collection W/C Promenade Entrance Lookout Cafe

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Digital Media Gallery Print Collection

Floorplan Development Functional Arrangement Diagrams

Exterior Rendering Development Although there is a lot of improvement here with my external renderings, they still aren’t the best and what I would be happy to present. The colour of the concrete looks to bronze and does not read as concrete and my aerial perspective loses itself in its context and doesn’t stand out too well. In the bottom render, there needs to be more context behind the building however making it transluscent will not detract from the design.

Exterior Rendering Development In the top render there is too much sky and even though I was planning on using this as my hero shot, my internal perspectives are still much nicer. In the bottom perspective, the camera needs to be angled higher to show more of the building and the promenade and in both renders the building could be made lighter to make them stand out some more.

The focus needs to be taken off the ballet school and onto my buildings. The overall renders needs to be animated some more.

Exterior Renders These renderings are much more successful. I have changed the colour of the concrete to be white to make the building feel more friendly and less brutalist, and made the sky less of a statement.

I feel as though the bottom render is a very important perspective to show how by lowering the gift store to the basement, it not only allows light to be transmitted down to the bottom level and capture that afternoon sun, it interweaves the foyer with the promenade.

Exterior Renders I brightened my locality perspective render and diminished the importance of its context so that the building glows and stands out some more. I decided not to proceed with my bottom image in my presentation as the angle didnt capture important aspects of my design such as the skylight and the journey of the promenade.

Interior Renders

Interior Renders I really love how my internal renderings came out. I love how colourful the artworks are and how the simplistic materials of the gallery coupled with the gallery form really complements a playful internal experience.

The main things I wanted to communicate in my internal renderings were the gallery junctions providing the user with multiple opportunity of circulation, the shifting of floorplates that interweave vision between levels and the meeting of circulation from the promenade to the ground floor entrance.