National Gallery of Australia Extension - Jeffrey Blewett

AN GELO CAN DALEPAS

National Gallery of Australia Entrance and main Galleries Reflected Ceiling Plan [RCP] Original Architect: Edwards Madigan Torzillo and Partners - 1968-1982 1:250 at A1 / 1:500 at A3 Drawn By: JB 0

NATI ON A L G A LL E RY O F AU STRAL IA E XT E NSION J EFF R EY B LE W E T T | 2 0 2 1

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SITE & LAN DSCAP E P L A N

In 1934, the Russian composer and virtuoso pianist Sergei Rachmaninoff would compose the Rhapsody on a Theme of Paganini, a single movement for piano and orchestra made up of a set of 24 variations of Niccolò Paganini's 24th Caprice for solo violin, the composition is widely considered as a masterpiece and emblematic of the late romantic period of the 20th century. The piece opens with a brief yet dramatic orchestral variation which follows with Paganini's original theme played on strings with piano playing the leading notes. Once the theme is introduced, a series of variations unfold and sill into each other, whilst the composer interjects eclectic references including intones of the latin sequence Dies Irae (1200–1265) "the Day of Wrath" played on the piano and classical melody in the spirit of the free flowing style of American jazz pianist Art Tatum. The eighteenth variation provides a beautiful moment in the piece. Paganini’s fast and energetic melody in inverted as a slow, longing melody. The key is changed from A-minor to D-flat major, played in reverse, slowed down and harmonised – providing a point from which music then builds and builds via fantastical technical and layered arrangement to a symphonic crescendo that is quietly followed by a repetition of the original theme on piano.

Despite his virtuosic talent and famed success Rachmaninoff suffered through periods of immense anxiety and depression throughout his life and fear would continue to riddle him on the world première performance, questioning his own ability to perform his own composition. Approaching the National Gallery of Australia in similar way as Rachmaninoff did of Paganini - an examination of the original architects’ intentions and the practice of repeatedly re-drawing the historical work was the starting point to create a new composition from original architects themes, composition, space, scale, procession, structure and materiality leaving one restless and self-critical in presenting an extension worthy of standing next to original.

The National Gallery of Australia (1968 – 1982) designed by the Australian architect, Col Madigan as director of Edwards Madigan Torzillo Briggs forms part of a highly sensitive historical precinct made up of the gallery, the surrounding sculpture gardens and the adjoining High court of Australia . It was added to the Australian National Heritage List on November 2007 . Approaching the design for an extension to a building of such national and cultural significance and with a clear and enduring design intelligence necessitated a careful and precise approach to the existing fabric. The extension proposed involves minimal intervention to the existing building, retaining 90% of the existing building in opposition to a new build.

In a similar way to Rachmaninoff’s 18th variation, a new architecture is are created from existing themes and reworked and played upon in ways that both directly and also less obviously recall the original gallery. Madigian’s colonnades provided that resonance to start thinking about a new extension. The colonnades of the existing building are at first sight a dramatic part of the front façade, providing a double high open air portico that then continue into to the inside orientating and ordering the procession of movement though the gallery whilst working structurally to bind the large building together.

The new gallery wing introduces a new colonnade to the south of the building, maintaining original circulation paths. The colonades takes one outside of the interiority of the gallery to covered logia space whilst still offering a continuity of the tria grid ceiling that soars 9m high above head leading one to the foyer space of the temporary exhibition galleries with a ticket and information desk, accessible lift and stair access as well as amenity and restrooms.

The foyer is a hexagonal space with a balcony on the two sides that one faces when entering – to the east, a new glazed colondade is angled framing views of the sculpture garden beyond whilst light penetrates into the cathedral like space with triagrid ceiling above – to the south a balcony peers down to a double height void – which orientates the patron to enter by a ramp the descends into the vast new gallery space. A simple rectangular room is provided offering a non-prescriptive space for gallery curators to work within. Yet differentiating the space – walls with trembling stratified layer in them and a subtle golden glow emitted from wall with light cast from unsealed organic brass light fittings tells one these walls and this new gallery space is something natural and handmade. The effect is distinct, yet subtle enough for a gallery setting liken to a natural stone wall like travertine.

These wall, like Madigan’s concrete are intended for artwork installation, but in instances where a blank wall is needed – painted ply mounts recycled from the formwork can be installed.

Context plan study & Composite Sketch Plan Parliamentary triangle informing reorientation of the columns directed towards the sculpture garden and Carillon

A simple circuit of this spaces takes one again past the double height void which offers a different view of the centrepiece work from a different angle. The patron is then lead down again via a ramp that takes one past the angled colonnade – where dynamic shadows penetrate though the space offering a release from the enclosed windowless gallery space. The windows are operable, providing the gallery with the option of natural ventilation. The ramp takes one down to the lower gallery space, which is partly below ground level – a large and expansive space but with a more compressed and intense interior for exhibitions.

Emerging back up – a new exit at the level of the sculpture garden is provided. Or taking the lifts or the grand stair – one is invited to the roof top sculpture terrace, a semi outdoor space for the gallery offering elevated views above the trees of the sculpture garden and over lake burley griffin. The space may be used by the gallery for artist talks, lectures, as a dining hall or for members and philanthropic events and the like. A lookout tower with bladed walls at 60 degrees that angle towards the sky at the end of the terrace frames the patron towards a view of lake burley griffin and aligns with the Cameron Chisholm Nicol’s 1970 carillon tower, a dialogue with geometry of the parliamentary triangle.

The question of materiality for the new gallery extension can only be met with apprehension given the physical and emotional power of Madigan’s bush hammered concrete. The naivety of proposing poured insitu concrete at 70mpa with bush hammered finish to match existing must be acknowledged in regard to the history of challenges faced in the construction of the original building as well as the labour, financial and construction timeline constraints that exist when building today as opposed to the 1970s. The choice of off-form concrete, an obvious one for a building of this scale has been marred by the disappointment surrounding the Andrew Andersons 2010 additions and would stand out against the bush hammered as something similar rather than complementary and simply as material of a lower standard.

As the Nation’s gallery, one of the most important public institutions and place for exhibitions of an international standard attracting a wide audience - the new extension has the capacity to say something of our time and values looking towards the future by building more sustainability acknowledging the climate crisis and also responding to societies increasing call for more authentic, locally crafted, organic and natural materials, products and experiences. The ancient method of rammed earth provides such a building method with qualities that complement the existing gallery with perceptive and physical mass and weight likened to a concrete or stone wall as well as subtly in texture that recalls the hand made quality of the bush hammered texture.

Although there are precedents of tall rammed earth structures in ancient times, a prefabricated block system provides quality assurance and streamlined construction methodology more feasible in today’s age. Rammed earth has also been selected for its high thermal mass qualities, reducing the load of artificial heating and cooling, is highly durability and has low maintenance.

As rammed earth is not suitable for suspended structures, slabs and the ceiling are to be constructed in a low carbon concrete with low cement content , minimising the key carbon emitting step in concrete production and integrating recycled aggregate from the demolished service rooms and toilets concrete and brick walls and floors - lowering extraction, transportation and construction emissions whilst embodying part of the old building in the new works.

Like the existing building’s original state, the slabs, walls and ceiling will be constructed and left as exposed structure without finishes or linings, reducing the material use, labour cost of finishing trades and VOC emissions in the construction. Formwork from the rammed earth and concrete construction will be reused in the joinery and lightweight partitions of the new exhibition space. The relocated toilets and services rooms will include upgraded fixtures, services and rainwater retention tanks - reducing the water use and energy consumption of the building.

E N T R A N C E & M A IN GA LL E RY L E VE L P L A N | 1:500

I b e l ieve that a b uild ing should n’t b e such- that it is d e man di n g you r attent io n . T he b uild ing should b e the b a ck ground to your li fe. i t s h ou ld al low yo u r life to b e com for ta b le in a se nse of it b e ing a b le to rel ax an d remove f ro m the stre sse s. S o I love a rchite cture that is stron g bu t al s o qu i et . Gle nn M urcutt

25

1:250 at A1 / 1:500 at A3

National Gallery of Australia Lower Galleries Level Plan Original Architect: Edwards Madigan Torzillo and Partners - 1968-198

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Drawn By: JB 0

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1:250 at A1 / 1:500 at A3 Drawn By: JB 25

National Gallery of Australia Upper Galleries Level Plan Original Architect: Edwards Madigan Torzillo and Partners - 1968-1982

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SECTION AA

SO U TH W EST CO LON A D E MOD EL

RE F LECTE D CE IL IN G P LA N | 1:500

1:250 at A1 / 1:500 at A3 Drawn By: JB

National Gallery of Australia Entrance and main Galleries Reflected Ceiling Plan [RCP] Original Architect: Edwards Madigan Torzillo and Partners - 1968-1982

NORTH EAST ELEVATION

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National Gallery of Australia Entrance and main Galleries Level Plan Original Architect: Edwards Madigan Torzillo and Partners - 1968-1982

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National Gallery of Australia Upper Galleries Level Plan Original Architect: Edwards Madigan Torzillo and Partners - 1968-1982

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National Gallery of Australia Entrance and main Galleries Level Plan Original Architect: Edwards Madigan Torzillo and Partners - 1968-1982

a-fl_wall_12 a-fl_wall_15 a-fl_wall_18 a-fl_wall_25 a-fl_wall_35 a-fl_wall_50 a-fl_wall_70 a-fl_wall_demo_05 a-fl_wall_demo_15 a-fl_wall_hidden_05 a-fl_wall_hidden_15 a-furn_05 a-furn_09 a-furn_12 a-furn_15 a-furn_25% a-furn_35% a-furn_50% a-gr-fl_12 a-hatch_05 a-hatch_10% a-hatch_25% a-hatch_35% a-hatch_50% a-hatch_65% a-hatch_80% a-hatch_wipeout a-join_18 a-join_hatch a-land_05 a-land_15 a-land_25 a-land_25% a-land_35% a-land_veg_tree a-land_veg_bush a-land_veg_grcover a-note_txt_small

National Gallery of Australia Upper Galleries Level Plan Original Architect: Edwards Madigan Torzillo and Partners - 1968-1982

a-note_txt_large a-note_txt_color a-note_sym_gen_15 a-note_sym_door_15 a-note_sym_win_15 a-note_dim_20 a-note_dim_50 a-note_dim_100 a-rf_over_18

1:250 at A1 / 1:500 at A3 Drawn By: JB

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glass timber

219,255,255 255,236,209

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255,255,240 243,252,252

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240,235,220 a-hatch_25%

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227,218,191 a-hatch_25%

a-hatch_65%

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PANTONE 16-5109 TPX PANTONE 17-0215 TPX

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In 1934, on the shores of Lake Lucerne the Russian composer and virtuoso pianist Sergei Rachmaninoff would compose the Rhapsody on a Theme of Paganini, Op. 43 at his summer home, the Villa Senar in Switzerland. A single movement for piano and orchestra made up of a set of 24 variations of Niccolò Paganini's 24th Caprice for solo violin, the composition is widely considered as a masterpiece and emblematic of the late romantic period of the 20th century. The piece opens with a brief yet dramatic orchestral variation which follows with Paganini's original theme played on strings with piano playing the leading notes. Once the theme is introduced, a series of variations unfold and sill into each other, whilst the composer interjects eclectic references including intones of the latin sequence Dies Irae (1200–1265) "the Day of Wrath" played on the piano and classical melody in the spirit of the free flowing style of American jazz pianist Art Tatum.

The eighteenth variation provides a beautiful moment in the piece. Paganini’s fast and energetic melody in inverted as a slow, longing melody. The key is changed from A-minor to D-flat major, played in reverse, slowed down and harmonised – providing a point from which music then builds and builds via fantastical technical and layered arrangement to a symphonic crescendo that is quietly followed by a repetition of the original theme on piano.

A simple circuit of this spaces takes one again past the double height void which offers a different view of the centrepiece work from a different angle. The patron is then lead down again via a ramp that takes one past the angled colonnade – where dynamic shadows penetrate though the space offering a release from the enclosed windowless gallery space. The windows are operable, providing the gallery with the option of natural ventilation. The ramp takes one down to the lower gallery space, which is partly below ground level – a large and expansive space but with a more compressed and intense interior for exhibitions.

Despite his virtuosic talent and famed success Rachmaninoff suffered through periods of immense anxiety and depression throughout his life and fear would continue to riddle him on the world première performance, questioning his own ability to perform his own composition. Approaching the National Gallery of Australia in similar way as Rachmaninoff did of Paganini - a careful examination of the original architects’ intentions and the practice of repeatedly re-drawing the historical work was the starting point to create a new composition from original architects themes, composition, space, scale, procession, structure and materiality leaving one restless and self-critical in presenting an extension worthy of standing next to original.

The question of materiality for the new gallery extension can only be met with apprehension given the physical and emotional power of Madigan’s bush hammered concrete. The naivety of proposing poured insitu concrete at 70mpa with bush hammered finish to match existing must be acknowledged in regard to the history of challenges faced in the construction of the original building as well as the labour, financial and construction timeline constraints that exist when building today as opposed to the 1970s. The choice of off-form concrete, an obvious one for a building of this scale has been marred by the disappointment surrounding the Andrew Andersons 2010 additions and would stand out against the bush hammered as something similar rather than complementary and simply as material of a lower standard.

The National Gallery of Australia (1968 – 1982) designed by the Australian architect, Col Madigan as director of Edwards Madigan Torzillo Briggs forms part of a highly sensitive historical precinct made up of the gallery, the surrounding sculpture gardens and the adjoining High court of Australia . It was added to the Australian National Heritage List on November 2007 . Approaching the design for an extension to a building of such national and cultural significance and with a clear and enduring design intelligence necessitated a careful and precise approach to the existing fabric. The extension proposed involves minimal intervention to the existing building, retaining 90% of the existing building in opposition to a new build.

In a similar way to Rachmaninoff ’s 18th variation, a new architecture is are created from existing themes and reworked and played upon in ways that both directly and also less obviously recall the original gallery.

Madigian’s colonnades provided that resonance to start thinking about a new extension. The colonnades of the existing building are at first sight a dramatic part of the front façade, providing a double high open air portico that then continue into to the inside orientating and ordering the procession of movement though the gallery whilst working structurally to bind the large building together.

The new gallery wing introduces a new colonnade to the south of the building, maintaining original circulation paths. The colonades takes one outside of the interiority of the gallery to covered logia space whilst still offering a continuity of the tria grid ceiling that soars 9m high above head leading one to the foyer space of the temporary exhibition galleries with a ticket and information desk, accessible lift and stair access as well as amenity and restrooms.

The foyer is a hexagonal space with a balcony on the two sides that one faces when entering – to the east, a new glazed colondade is angled framing views of the sculpture garden beyond whilst light penetrates into the cathedral like space with triagrid ceiling above – to the south a balcony peers down to a double height void – which orientates the patron to enter by a ramp the descends into the vast new gallery space. A simple rectangular room is provided offering a non-prescriptive space for gallery curators to work within. Yet differentiating the space – walls with trembling stratified layer in them and a subtle golden glow emitted from wall with light cast from unsealed organic brass light fittings tells one these walls and this new gallery space is something natural and handmade. The effect is distinct, yet subtle enough for a gallery setting liken to a natural stone wall like travertine. These wall, like Madigan’s concrete are intended for artwork installation, but in instances where a blank wall is needed – painted ply mounts recycled from the formwork can be installed.

Emerging back up – a new exit at the level of the sculpture garden is provided. Or taking the lifts or the grand stair – one is invited to the roof top sculpture terrace, a semi outdoor space for the gallery offering elevated views above the trees of the sculpture garden and over lake burley griffin. The space may be used by the gallery for artist talks, lectures, as a dining hall or for members and philanthropic events and the like.

A lookout tower with bladed walls at 60 degrees that angle towards the sky at the end of the terrace frames the patron towards a view of lake burley griffin and aligns with the Cameron Chisholm Nicol’s 1970 carillon tower, a dialogue with geometry of the parliamentary triangle.

As the Nation’s gallery, one of the most important public institutions and place for exhibitions of an international standard attracting a wide audience - the new extension has the capacity to say something of our time and values looking towards the future by building more sustainability acknowledging the climate crisis and also responding to societies increasing call for more authentic, locally crafted, organic and natural materials, products and experiences. The ancient method of rammed earth provides such a building method with qualities that complement the existing gallery with perceptive and physical mass and weight likened to a concrete or stone wall as well as subtly in texture that recalls the hand made quality of the bush hammered texture.

Although there are precedents of tall rammed earth structures in ancient times, a prefabricated block system provides quality assurance and streamlined construction methodology more feasible in today’s age.

Rammed earth has also been selected for its high thermal mass qualities, reducing the load of artificial heating and cooling, is highly durability and has low maintenance.

As rammed earth is not suitable for suspended structures, slabs and the ceiling are to be constructed in a low carbon concrete with low cement content , minimising the key carbon emitting step in concrete production and integrating recycled aggregate from the demolished service rooms and toilets concrete and brick walls and floors - lowering extraction, transportation and construction emissions whilst embodying part of the old building in the new works.

Like the existing building’s original state, the slabs, walls and ceiling will be constructed and left as exposed structure without finishes or linings, reducing the material use, labour cost of finishing trades and VOC emissions in the construction. Formwork from the rammed earth and concrete construction will be reused in the joinery and lightweight partitions of the new exhibition space. The relocated toilets and services rooms will include upgraded fixtures, services and rainwater retention tanks - reducing the water use and energy consumption of the building.

National Gallery of Australia Entrance and main Galleries Reflected Ceiling Plan [RCP] Original Architect: Edwards Madigan Torzillo and Partners - 1968-1982 1:250 at A1 / 1:500 at A3 Drawn By: JB 0

5

10

25

5

10

25

STAGE 3: REFINMENT OF FINAL DESIGN

National Assembly Building of Bangladesh, Louis Kahn, 1982

The Incredulity of Saint Thomas, Caravaggio, 1601

STAGE 2: MID REVIEW: DESIGN AND STRUCTURAL DEVELOPMENT

REC O N S I DE R AT ION OF T HE N ORT H E AST FACA DE FOLLOWIN G MID REVIEW FEED BACK C L AS S CON T IN U ES VIA ZOOM DES P IT E A N GE LO FA LL IN G S ICK FOR TH E FIRST TIME

K E Y P R EC E DE N T : JA M ES S IM ON GA L E R IE / DAVID C HIP P ERFIELD ARCH ITECTS

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a-hatch_05 a-hatch_10% a-hatch_25%

a-furn_35% a-furn_50% a-gr-fl_12

brick concrete

aluminium fc sheeting

schematic new

255,255,209 218,246,246

a-hatch_65%

glass timber

internal plaster internal tiles

stone existing

231,231,223 218,251,218

227,218,191 a-hatch_25%

219,255,255 255,236,209

229,240,229

da colours - sections [use match properties]

236,218,207

a-area a-bdy a-fl_wall_05 a-fl_wall_09 a-fl_wall_12 a-fl_wall_15 a-fl_wall_18 a-fl_wall_25 a-fl_wall_35

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PANTONE 16-5109 TPX PANTONE 17-1134 TPX

a_z-landscape colour H a_z-landscape colour J

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a_z-landscape colour A

PANTONE 16-5109 TPX PANTONE 17-0215 TPX

PANTONE 17-0235 TPX PANTONE 16-0233 TPX

PANTONE 12-0435 TPX PANTONE 16-5109 TPX

PANTONE 16-5815 TPX

PANTONE 13-0442 TPX PANTONE 13-6107 TPX

PANTONE 16-5109 TPX

landscape

aluminium fc sheeting

internal plaster internal tiles

stone existing

a-hatch_65%

add. linetypes

255,255,240 243,252,252

240,235,220 a-hatch_25%

244,244,240 246,254,246

248,251,248

248,255.255 255,249,240

245,235,229

small text - 150 - shr

descriptive text - 180

room name text - 250

1:100 presentation text

A

A

scale 1:100

plan

19850 9840

19850 9840

240

240 34590

34590

24510

B

24510

B

29760

15455

29760

1725

A

A

0

0

5

10

25

25

N ATI O N A L G A LLE RY O F AU STRA LI A

5 10

1:250 at1:250 A1 / 1:500 at A1 at / 1:500 A3 at A3 Drawn By: Drawn JB By: JB

NationalNational Gallery of Gallery Australia of Australia EntranceEntrance and main and Galleries main Galleries Level Plan Level Plan Original Original Architect: Architect: EdwardsEdwards MadiganMadigan Torzillo and Torzillo Partners and Partners - 1968-1982 - 1968-1982

B

B

15455

5960

4540

1480

PL A NS O F THE E N TRA N C E & M A I N G A LLE RY LE V E L + U PPE R G A LLE RY LE V EL TERRACE EX TEN S ION | 1:5 0 0

28200

1725 1480 2100

1480 2100 925 2100

925 2100 240 19850 1100

240 19850 1100

4540

28200

23895

A

28200

A

A

19850 9840

240 34590

24510

B

B

1725 1480 2100 925 2100 240 19850 15455

29760

B

B

5

10

1:250 at A1 / 1:500 at A3 Drawn By: JB 0

A

A

0

A

0

5

5 10

10

1:250 at1:250 A1 / 1:500 at A1 at / 1:500 A3 at A3 Drawn By: Drawn JB By: JB

25

25

25

NationalNational Gallery of Gallery Australia of Australia Upper Galleries Upper Galleries Level Plan Level Plan Original Original Architect: Architect: EdwardsEdwards MadiganMadigan Torzillo and Torzillo Partners and Partners - 1968-1-

B

B

National Gallery of Australia Entrance and main Galleries Level Plan Original Architect: Edwards Madigan Torzillo and Partners - 1968-1982

1100

3710

5960

3710

5960

3710

N ATI O N A L G A LLE RY O F AU STRA LI A

N ORTH E ASTE R N E LE VATI O N | 1:5 0 0

S OU TH E ASTE R N E LE VATI O N | 1:5 0 0

S OU TH WESTE R N E LE VATI O N | 1:5 0 0

LO N G I TU D I N A L S ECTI O N A A | 1:1 0 0

N ATI O N A L G A LLE RY O F AU STRA LI A

C R O S S S ECTI O N BB | 1: 5 0

N ATI O N A L G A LLE RY O F AU STRA LI A

K E Y P REC E DE N T : TA LL M AS S U N A RT IC U L AT E D WA LL R A M M ED EARTH STRUCTURE - RI COL A K R ÄU T E R ZE N T R U M / HE R ZOG & DE M E U R ON W ITH MARTIN RAUCH

Week 10 - Imagining the circulation path

Week 9 -Structural Plan development with Andrew Johnson of Arup

Week 9 -Structural section development with Andrew Johnson of Arup

Week 9 -lower ground floor plan design development

Week 9 - section development with Andrew Johnson of Arup

Week 9 - elevation development

Week 8 - lower ground floor structural plan

Week 9 - plan and section development

Week 9- plan development

Week 9 - plan development

Week 9 - Preliminary Sections

Week 8 - Preliminary Sections Week 9 - Refinement of plan proportions based on existing sizes in the gallery

Week 8 - Preliminary Sections

Week 8 - Preliminary Sections

Week 7- Preliminary Sections

Week 6 - Triagrid ceiling system formwork model study

STAGE 1: RESEARCH

National Gallery of Australia - Imaginings Angelo Candalepas

Sustainability Statement The National Gallery of Australia (1968 – 1982) designed by the Australian architect, Col Madigan as director of Edwards Madigan Torzillo Briggs forms part of a highly sensitive historical precinct made up of the gallery, the surrounding sculpture gardens and the adjoining High court of Australia. It was added to the Australian National Heritage List on November 2007 .

Approaching the design for an extension to a building of such national and cultural significance and with a clear and enduring design intelligence necessitated a careful and precise approach to the existing fabric.

The extension proposed involves minimal intervention to the existing building, retaining 90% of the existing building in opposition to a new build. A new covered loggia space is proposed, providing a continuity of the existing entry and portico ceiling and wall structure, providing a link to the new gallery space for temporary exhibitions, whilst allowing for improved natural ventilation to the entrance and shaded outdoor areas which engage with the adjoining sculpture gardens.

The construction of the new extension is to be built in concrete to meet the structural requirements of the large spans required for the gallery space and to remain in concert with the existing building. Concrete has also been selected for its high thermal mass qualities, reducing the need for artificial heating and cool, durability and low maintenance. The concrete mix will be a low carbon concrete with low cement content , reducing the key carbon emitting step in concrete production, utilise recycled aggregate from the demolished service rooms and toilets, lowering extraction, transportation and construction emissions whilst embodying part of the old building.

Like the existing building’s original state, the slabs, walls and ceiling will be constructed and left as exposed as 70MPa concrete with bush hammered finish - with no lining, reducing the material use, labour cost of finishing trades and VOC emissions in the construction. Formwork from the new construction will be reused in the joinery and lightweight partitions of the new exhibition space. The relocated toilets and services rooms will include upgraded fixtures, services and rainwater retention tanks - reducing the water use and energy consumption of the building.

Jeffrey Blewett

0

5

10

1:250 at A1 / 1:500 at A3 Drawn By: JB 25

National Gallery of Australia Entrance and main Galleries Reflected Ceiling Plan [RCP] Original Architect: Edwards Madigan Torzillo and Partners - 1968-1982

0

5

10

1:250 at A1 / 1:500 at A3 Drawn By: JB 25

National Gallery of Australia Entrance and main Galleries Level Plan Original Architect: Edwards Madigan Torzillo and Partners - 1968-1982

0

5

10

1:250 at A1 / 1:500 at A3 Drawn By: JB 25

National Gallery of Australia Entrance and main Galleries Level Plan Original Architect: Edwards Madigan Torzillo and Partners - 1968-1982

1:250 at A1 / 1:500 at A3 Drawn By: JB

National Gallery of Australia Upper Galleries Level Plan Original Architect: Edwards Madigan Torzillo and Partners - 1968-1982

0

5

1:250 at A3 Drawn By: JB 10

25

National Gallery of Australia Section through gallery and theatre spaces Original Architect: Edwards Madigan Torzillo and Partners - 1968-1982

Parliamentary triangle informing reorientation of the columns directed towards the sculpture garden and Carillon

Week 5 - Site plan study

Week 5 - Composite Sketch Plan - Variation 3

Week 5 - Composite Sketch Plan - Variation 2

Week 5 - Angelo’s sketch with overliad notes

Week 5 - Composite Sketch Plan - Variation 1

Week 4- markup of existing drawings

Week 4- markup of existing drawings

Week 4- markup of existing drawings

Week 5 - site visit

Week 4- Compositional massing studies

Week 4- Compositional massing studies

Week 4- Compositional massing study

Week 4- Compositional plan study

Week 3 - Sketch plan with left hand

Week 3- Draft existing section drawing

Week 3 - diagrammatic overlay of square spaces

Week 3 - sketch plan

Week 3 - Compositional study - Extension to Georges Braque, Bottle and Fishes

Week 3 - Existing Plan and Section - 1st iteration on computer

Week 2 - Existing Plan & Section without access to published documentation

Week 1 - Smiljan Radic Winery at Vik