G A L L ERY
C ONT ENT S
a) Contemporary Art gallery b) Precedents c) Initial site analysis d) AGNSW History
a) Abstract b) Extended site analysis c) Time vs art d) Art as Pleasure e) Forms of pleasure
a) Parti revisited b) Structural intervention c) The panoramic reference d) The art â€˜bandâ€™ e) Drawings f) Smart illustration g) Model photos h) Perspectives
Br ief & Res e arch
T h e Re ver s a l of t he G a l ler y
Fi na l S c hem e
1 Br ie f & R es earch a) Contemporary Art gallery b) Precedents c) Initial site analysis d) History Contemporary Art Galleries perceived within the framework of Klonkâ€™s Spaces of Experience and Bourriaudâ€™s Postproduction. Taking precendent from Bernard Tschumi and Julius Buch and finding inspiration from how their transformative architecture creates new interdisclipinary spatial experiences. A brief history of the Art GAllery of New South Wales.
On Art Museums, Experience & Non-Places
he notion of the Contemporary Art Museum must first be discussed within the wider definitions of ‘art’ and how it has been experienced throughout history. This report will explore how the very nature of ‘art’ has changed, and how concepts of identity, culture and ‘pvlace’ have evolved in the constantly shifting, amorphous landscape of supermodernity. In her book Spaces of Experience, Charlotte Klonk writes on evolving attitudes to the Art Gallery ‘experience’. The European conception of the Art Gallery in the 18th to 19th centuries stemmed from a desire to use art as tool to instil certain values and morals to its viewers.1 The ‘experience’ of art was as a prescribed curation of artworks sorted by historical chronology, country and school of painting. The viewer is immersed within an athropological place, where historicity, and national culture are intrinsically linked.
The turn of the 20th century brought with it the first truly modern mechanics of a capitalist economy and with it, the adaption of experience as a commodity. The latest material advancements of the time – steel and glass facades – began blurring the distinction between the interior and exterior. Klonk draws parallels between museums and the development of the shopping mall, in which art’s moralising intent fell away in favour of indulging in spectacle. Artworks hung on a wall became no different to the wares displayed on new shopfront windows; they arouse within the viewer a want; a “visual stimuli, titillating [one’s] desire for possession while remaining forever elusive in their promise of fulfillment”.2
and all cultures and objects, the curated museum can be seen as restrictive as a result of its self-prescribed genres. Art becomes a matter of creating singularity from an already existing, chaotic mass of content from all periods and histories. As Bourriaud writes, “The artistic question is no longer “what can we make that is new”? But “how can we make do with what we have”.4
The Contemporary Art Gallery
As the definition of art has changed, so must the architecture of the place that contains it. How does one remix a building? In a post-postmodern era of Auge’s ‘Supermodernity’ such buildings with no historicising elements define themselves as non-places; that which have no sense of ‘anthropological place’.5 The building itself becomes purely transitionary: its architecture transcends the physical realm to one concerning abstract interactions between the ‘average person’ and semiotics. Where the ‘white-box’ has become the standard convention for the contemporary art museum, one can argue that the works display become ‘siteless’; They are forcibly removed from context, viewed in vacuum in which contextual and historical relationships exist only with the other works beside it. The remixed building of today is a chance to create a new singularity of histories and meanings; an aesthetic and architectural collage of history and art.
Nicolas Bourriaud in his essay ‘Postproduction’ notes how the appropriation of, re-use and re-mixing of pre-existing art has proliferated since the early nineties. Catalysed through the Internet, the onset of a truly global culture comes with it an overwhelming volume of commercial and artistic content.3 As pluralism becomes the zeitgeist, the role of the museum as a historicising, curatorial entity becomes irrelevant. A discourse emerges between the eclectic and the anti-eclectic on what can or cannot be considered ‘canon’ in the realm of art and cultural history. Where eclecticism welcomes any
1. Charlotte Klonk, Spaces of Experience: Art Gallery Interiors from 1800 to 2000, (London: Yale University Press, 2009). 2. Klonk, Space of Experience, 28. 3. Nicolas Bourriaud, Postproduction, (New York: Lukas & Sternberg, 2002). 4. Bourriaud, Postproduction, 17. 5. Marc Auge, Non-Places, (London: Verso, 1995).
Le Fresnoy Precedent
Le Fresnoy, located in Northern France, was originally a derelict leisure complex of the 1920s—a bizarre combination of movie houses, an ice skating rink, horseback riding, and ballroom dancing just to name a few. Tasked with designing a national contemporary art studio, Tschumi proposed a counterproject to the traditional partitioning of artistic disciplines in order to support an increasingly fluid art scene. Rather than follow Modernist methodologies of substitution (replacing the old with the new) the buildings were restored, and sheathed by a new roof.
The roof hovers above as “a new plane of reference”6 that delineates a blurred space of interiority and exteriority —the in-between. Suspended from it are new circulation paths that haphazardly stitch the disparate disciplines together whilst simultaneously carving into the thickness of this residual, indeterminate space.
Fig. 01 (left) Bernard Tschumi, Le Fresnoy : architecture in/between, (New York : Monacelli Press, 1999), 98. Photograph. Fig. 02 (below) Ibid., 97. Photograph. Fig. 03 (below) Ibid., 154-155. Photograph.
Tschumi’s deconstructivist techniques not only dismantles the status quo of design and program but becomes a site of production through multiplicity of meanings. He utilises artistic lens outside architecture (cinema, photography, montage) to design without preconceived Formalist notions of the past and ultimately results in “an exploded image…a series of deliberately contradictory elements.”7
Purposeful collisions between forms and spaces spark new conditions. New dialogue and charged events awaken between the redoubling of roofs, and “in the interstices of these boxes, the unexpected can occur.”8
6. Bernard Tschumi, Le Fresnoy: architecture in/between, (New York: Monacelli, 1999), 13. 7. Tschumi, Le Fresnoy, 40. 8. Tschumi, Le Fresnoy, 110.
new â€˜electronicâ€™ roof generates an inbetween space with the roofs below
plane of the new
b cutouts highlight important circulation nodes and bring light below
interections of axes generates leftover space and dead ends
paths become ampitheates, blurring between circulation and event, active and passive
circulation suspended from the roof, floating in the in-between space
plane of the old
original surfaces recontextualised
student housing cinema
ampitheatre photo department
live performances workshops media centre exhibitions
electronic image department sound department film studio
rental space terrace
school bar/restaurant admin
Exploded Axonometric Fig. 04 (right) Ibid., 59. Illustration.
Bibliography Tschumi, B. (1999). Le Fresnoy: architecture in/between. New York: Monacelli Press.
Fig. 05 (left). Ostrava, Colours of Ostrava, 2014. Photograph. https://commons.wikimedia.org/wiki/File:Colours_of_Ostrava.jpg
Völklinger Hütte Precedent
Volklinger Hutte is an old ironworks complex in Germany that ran continuously from 1873 to 1986. It enjoys provenance as one of the last remaining examples of early European pig-iron foundries and 19th century state-of-the-art achievements in iron production.9 For those reasons, Volkinger Hutte was added to the UNESCO world heritage list10 in 1994 and now functions as a museum and event location.
Fig. 06 (ottom). mbell1975, Völklingen Hütte Ironworks Blast Furnaces, 2010. Photograph. https://www.flickr.com/ photos/99117185@ N00/5130178992
Designed by engineer Julius Buch, Volklinger Hutte is a compelling atmosphere resulting from the pragmatic requirements of iron production. Towering blast furnaces, smoke stacks and sinter plants exist beyond human scale, dominating the surrounding landscape in a brutal fashion. Walkways and conveyor belts that once serviced these giants weave between the giant pipes and plants, and now serve as circulation for the new museum inside.
An example of conservation and re-use, music festivals are now held in the courtyards between the old coal bunkers. Sounds of music now echoe off the towering stacks, pipes and machinery, whose obsolescence transforms them from industrial machines to ornaments and artefacts. They replace the clanking din of industry and breath new life into the old complex.
9. “World Cultural Heritage Site Völklingen Ironworks”, Weltkulturerbe Völklinger Hütte, accessed March 5, 2019, https://www.voelklinger-huette. org/en/world-cultural-heritage-site-voelklingen-ironworks/ 10. “Völklingen Ironworks”, UNESCO World Heritage Convention, accessed March 5, 2019, https://whc.unesco.org/en/list/687?fbclid=IwAR1brm0baSyS16xYEaAHhskBea98Akc2ziORv8ADw1fPnczc0ZKS1BhuW3Q 06
b Völklinger Hütte
Fig. 07 (eft). UrbanArt Biennale, Völklingen Ironworks Night View, 2015. Photograph. http://newsroom.itb-berlin.de/sites/ newsroom.itb-berlin.de/files/field/image/gesamtansicht_ nacht_totale.jpg Fig. 08 (below). Weltkulturerbe Völklinger Hütte, WVH Plan Flyer, 2017. Illustration. https://www.voelklinger-huette.org/fileadmin/ allgemein_huette/Flyer_und_PDFs/2017/Allgemein/ WVH_PlanFlyer_2017_deutsch_Screen05.pdf
4. Blast furnaces: Re-adapted walkway
6. Ferrodrom and Coal Track: Working space for the Hochschule für Bildende Künste Saar School
7. Blower hall: Exhibiton and event space
3. Burden Shed: Exhibition Space
5. The Paradise: Adapted garden space and outdoor art installations
ted p cura
a curated journey
1. Sintering plant: Multi-media tour
2. Ore Shed: Exhibition Space 08
Galleries / Museums
Initial Site Analysis
Lane Cove River
X North Sydney
Proposed Light Rail Cremorne Point
Existing Light Rail
Paddington Chippendale Centennial Square
garden palace (1879-1882)
Fig. 09 (above).Clark’s Assembly Hall, Art Gallery of New South Wales, 1875, Drawing on paper. https:// www.flickr.com/photos/artgalleryofnsw/3075947672/in/album-72157610561797005/ Fig. 10 (left).New South Wales. Surveyor-General cartographer lithographer, The International Exhibition of 1879. Lithograph, 45cm x 53cm, accessed March 7, 2019, https://www.sl.nsw.gov.au/collection-items/ international-exhibition-1879-sydney-new-south-wales-lithographed-surveyor-generals.
Site History From 1875 to 1879 the first home of Sydney’s Art Collection was a rented room in Clark’s Assembly Hall on Elizabeth Street (fig. 09). Once used for dance, the architecture was deemed unfit and thus was re-established within the gates of the picturesque Botanical Gardens.11
fine arts annexe (1879-1885)
Initially, it was to be housed inside the Garden Palace. However the unsatisfactory lighting and display conditions demanded a different alternative. The ‘Fine Arts Annexe’ by William Wardell was proposed, and became the first ‘Architecture’ solely dedicated to Sydney’s Art collection. The wooden ‘Fine Arts Annexe’ was eventually dismantled in favour of a more permanent and secure location (fig. 10), especially in the wake of the fires that ravaged the timber Garden Palace. This secured the final location of the gallery in the Domain, executed with more rigorous construction.
art barn (1885-1972) agnsw (1885 - current)
11. “History of the building”, Art Gallery of New South Wales, accessed March 7, 2019, https://www.artgallery.nsw.gov.au/about-us/history/history-of-the-building/
The first architectural identity for the AGNSW sited on the domain was designed by architect John Horbury Hunt in 1885 (fig. 11). Temporary in its function, the thick walled sawtooth building acclaimed negative critisicm, and was ultimately nicknamed the ‘Art Barn’.12 The strategy implemented by the Academy of Art trustees was for Hunt’s design to be the beginning foundations for the future scheme. When the time came in 1889 for Hunt’s three schemes to be reviewed, it was apparant an architecture that diverged from ornamentation was sought after; the Trustees desired a “classical temple to art”, simple and unrestrained.13
Although there is no concrete evidence, it is interesting to note that Hunt’s tainted reputation may have been considered a factor when his schemes were judged. If so, the architecture of the AGNSW could have pivoted to three completely different directions (fig.12 - rejected Hunt schemes).
12c Fig. 11 (below). Henry King, New Galleries, 1889. Photograph, https://www.flickr.com/ photos/artgalleryofnsw/3075939348/in/album-721576105617970 Fig. 12a - c (above) John Horbury Hunt, Three rejected schemes by John Horbury Hunt, 18801890, Drawings on Paper (from left to right), https://architectureau.com/articles/history-2/ Fig. 13 Philip Thalis & Peter John Cantrill, Public Sydney: drawing the city, 2013. Art Gallery of New South Wales, Drawings, Walter Liberty Vernon, 137.
12. “History of the building”, Art Gallery of New South Wales, accessed March 7, 2019, https://www.artgallery.nsw. gov.au/about-us/history/history-of-the-building/ 13. Ibid.
d Gallery Alterations With a large remnant of Hunt’s Art Barn still present, Vernon’s architectural concealment sufficiently inaugurates AGNSW’s perception as a “rich promise for a future beauty”. Completed in 1909, this new front facade encompasses the architectural strategy planned by the Trustees as it currently remains unchanged. With new additions respecting the now historically embedded icon of AGNSW, Andrew Anderson’s east addition and redevelopment of Hunt’s Art Barn from 1972 - 1988 introduced the first contemporary blank canvas interiors to the AGNSW. Doubling the space for expanded collections, temporary exhibits and a new asian art gallery, cultures from afar compelled every one of its rooms. It was not until 1994 that the indigeneous culture the AGNSW stood on was acknowledged and provided with devoted space.
4. Bicentennial Wing Fig. 16d 1988 - Andrew Andersons (Addition)
As art veered away from storage of historical pieces to temporary vistas of mobile international artworks, another extension was completed in 2003 by Richard Johnson, featuring multi-function areas and another temporary exhibition space. Architecture of the AGNSW is not an articulation of one master architect, rather, it is reflective of society’s changing engagement and consumption with art. It began as a ‘vault’ of precious European art, but each addition/alteration is in line with an art scene that is no longer confined to Western borders. The definition of art has changed overtime, yet the model of the gallery has not. AGNSW flaunts a remixed facade. However, inside, it still follows the typology of a classic ‘white box’. How can a new gallery space support a changing art scene, and how can architecture foster the experience of architecture and invigorate new ones?
3. Captain Cook Wing Fig. 16c 1970 - Andrew Andersons (Addition and Demolition)
5. Asian Wing Fig. 16e 2012 Richard Johnson, JPW (Alterations and Additions)
1. ‘Art Barn’
2. Vernon Wing
Fig. 16a 1885 - John Horbury Hunt
Fig. 16b 1909 Walter Liberty Vernon (Addition)
Fig. 14a-e (above) Philip Thalis & Peter John Cantrill, Public Sydney: drawing the city, 2013. Art Gallery of New South Wales, Drawings (from top to bottom) 1895 - Hunt, 1904 - Vernon, 1970 - Andersons, 1988 - Andersons, 2012 - JPW, 137.
2 A Re v e r s al of the C onte mporar y Ar t G alle r y a) Abstract b) Extended site analysis c) Time vs art d) Art as Pleasure e) Forms of pleasure
hen Klonk draws parallels between museums and the development of the shopping mall, the artworks hung on wall becoming no different to wares of desire/want of shopfronts; the artwork becomes a spectacle. It is the idea that the pursuit for pleasure is motivated by the spectacle - Forms of pleasure which attract desire and attention. The Gallery of Structured Pleasures is a tongue and cheek reversal of the current contemporary art gallery using pleasure as a medium. An escape from the city, the Gallery of Structured Pleasures is a retreat where you shall indulge in Art whilst simultaneousley Dining, Bathing and Reading. Three program - Restaurants, a Bath House and a Garden Library are chosen purposely to prolong an audiences exposure to an artwork as a means to enrich and heighten their experience. Prompted by a 2015 study where million dollar artworks of Gerhard Richter where on display, each painting was viewed for an average of 33 seconds – A gaze, a stare nothing more or nothing less. The three programs - Restaurants, a Bath House and a Garden Library are chosen to purposely as a means to prolong an audience’s exposure to an artwork. To have an extended time with an art piece enables the potential for an enriched experience of that artwork.
With each program contained beneath the vast plane of the existing Domain carpark rooftop, the idea of attraction and desire to the site emerges through the use of architectural follies.
Taking inspiration from Bernard Tschumi’s Parc de la Villette, the deconstructivist techniques frame structure as ornamentation - A folly. The architectural follies of structured pleasures take use of existing waffle slabs, entrances, lifts, columns, beams and materials as a means for pure decoration – forms which appeaer to provide no function. The once blank canvas of the domain carpark rooftop has been transformed as curated paint strokes of architectural follies. Laying curiously amongst the flat plane, some act as portals into the Gallery as their form takes on wholly different spatial and materialistic qualities once a threshold has been passed. To experience the Gallery of Structured Pleasures is about more than experiencing forms pleasure, let that be through food or hot baths - it is about indulging in forms of pleasure whilst concurrently being exposed to pleasurable vistas of Art. Reversing the model of the modern contemporary Art Gallery is the enables a wholly different approach to experrience art, whereby induging in simultaneous forms of pleasure, the audience is provided an enriched and intimate experience.
Extended Site Analysis
Public Art Vehicular Access Pedestrian Access Railway Bus Stops
Public car parking - to be obsolete
Museums/Galleries Restaurants Workshops
Key Moments of Experience
The Flatness, The Entrances, The Horizontality and The Unexpected
a) Approaching the Domain Carpark from the AGNSW, a large flat plane reveals itself, exposed for all the urban and city structures to gaze down on - the vast flat plane acts as a blank canvas from above. b, c) Entering the carpark via two sculptured entrances, the initial attractions are in complete contrast to the program it functions for- beautiful leafy timber cladd entrances which lead to the concrete carpark dungeon. The reverse experience coming from the carpark to the domain is comical in a sense that loking behind where we came from, the existence of a dark underground and artifically lit carpark is questioned upon its two extravagant exits.
d) The carpark is for pure function. The long efficient corridors go as far as the eye can see - the horizontality in a sense seems endless.
hat we often find is that people depict artworks as ‘magnificent or ‘ingenious’, as if the art had deeply pleasured the observer/s. Results of a detailed 2015 study in Chicago exhibiting the famous works of Gerhard Richter found that the mean viewing time for 6 studied artworks was 33.9 seconds.1 In the gallery space, artworks are stationary. We often curate our own paths according to what artworks may pleasure us the most. We view an artwork for seconds or maybe skip it entirely, potentially missing out on the arworks underlying intent or detai
Decke, 1988 View time - 41 seconds
Abstraktes Bild, 1988 View time - 39.2 seconds Abstraktes Bild, 1989 View time - 29.6 seconds
Blumen, 1994 View time - 36.1 seconds
Time vs Art
Krems, 1986 View time - 30 seconds Abstraktes Bild, 1999 View time - 25.7 seconds
Art as Pleasure
Curated or the Curator?
How we experience Art in the Contemporary Art Gallery The curating of artworks in Galleries where art lays stationary and the audience determines their own path according what pleasures their gaze. We are in a Gallery for artworks and also a Gallery for Pleasure. Art = Pleasure
Pleasure by Architectural Follies Veering away from Galleries, we come to other forms of literal pleasures - dining in expensive restaurants and hot bath houses. To come to terms to an architectural sense we look at pleasures witnessed in landscapes - Architectural Follies.
Forms of Pleasure
Forms of Pleasure
It is not just about having a pleasurable bathing experience, but more so to have pleasurable view whilst doing so.
Architectural Follies We now look towards architectural follies - a building on the purpose of pure pleasure and no appearing function. Taking inspiration from Tschumiâ€™s deconstructive techniques of applying ornamentation to structural elements - making structure as non-functional but built for visual pleasure.
3 Final S che me a) Parti diagrams b) The panoramic reference c) The art â€˜bandâ€™ d) Materials e) Drawings f) Smart illustration g) Model photos h) Perspectives -
GALL E RY
PLEASUR ES 23
Form to Site
1. Retain Top Slab 2. Above and Below Threshold 3. Art Band inbetween
Remove Existing Level 1 and Level 2 Slabs. Retain roof slab - forest of columns revealed.
The existing Domain Park acts as a threshold. Above is a playful curatiion of Follies. Below lays unexpected function or functionless forms.
Follies now define the inbetween space. Follies below threshold are used to guide the Art ‘Band’
The Panoramic Reference
Lyme Smiths idea of a double-act, where â€œmimicry and diversion, of appearing and dissapearing, of being part of a building and part of a landscape. It is to celebrate and reveal the built forms as part of the park and city infastructure.
Lyme Smith - Chimneys, Prince Alfred Park Pool
To explore these sets of dualalities the use of an existing simple yet strong gesture of the flat rooftop plane of the domain carpark will be ised as a threshold between these dualalities.
Folly’ing the Cityscape
A Dip in the urban fabric
The Domain carpark grass roof acts as an un-natural setting admist its surrounding context. The vast plane of this grass field acts against its towering neighbours from Sydney central business district from the North/West and Woolomaloo’s densifyied apartment blocks from the East. Looking from the Domain outwards to these neighbours, a panoramic view demonstrates the urban contextiering towards us. Flatness as a relief from the city, but simultaneousley create a proposal which also responds to its urban-scape. Flatness is juxtposed by structures of desire - Architectural Follies. The height of these built forms are reciprocals to their urban backdrop. They provide a sense of direction on the flatness of the site and act as forms of navigation through the use of directional signage and waypoints.
‘Panoramic’ overlooking from site. The Domain dip in urban fabric.
‘Panoramic’ urban skyline used to create drape over site. Establishing new datum.
Perspective from Domain Carpark centre Showing Follies referencing ‘Panoramic’ urban context
Follies of random heights
eye level from centre of domain rooftop
28 White fyrecheck plasterboard panels
Artwork Mounted on hooks
Frameless double-glazed window system
Concrete off form tile wall
The Art Band and its Contruction and Materials
Artwork Mounted on hooks
Steel interlocking hooks with in-built wheels for movement.
Steel I-beam as hanging rail for mechanical ‘art-band’.
13mm white plasterboard ceiling finish. Double glazed alumnium frame skylight exit.
110mm foam insualtion screwed to underside of slab
300mm steel reinforced Concrete slab with white powdercoated alumnium panels angled for directing skylight.
Weather and insulation barrier stainless steel sheet.
50mm Gravel bed.
150mm Soil depth for low height landscaping.
35mm Trimmed grass. White powdercoated aluminium frame with single glazed 15mm toughened glass for skylight entry.
The Art ‘Band’
Exploded Detail Axonometric
Polycarbonate Sheet - Facade and Art Band
Red Aluminium Panels - Folly Exterir
Concrete Off form Tile pattern - Art Band
Polished Concrete - Existing Flooring Cleaned
3m height x 1.5m width Polycarbonate sheets
Aluminium framing channels for polycabonate sheets
White fyrecheck plasterboard panels
Concrete column and arch
Steel I-Beams with 6m span
Structural triple-glazed toughened glass flooring system
Main Art-Band mechanical Rail system
Steel I-Beam mounted fibre cement tile for sculptures
Steel furring channels for artwork to hook onto
Roof Plan (Level 2) 1:750
402 LEVEL 1 FLO OR PL AN a1
b3 f5 f4
Level 1 Plan 1:750
Reception Office / Admin M Restrooms Art ‘Band’
M Powder R
M Locker & Change room
Obersvation Deck New Entry from Travelator
F Restrooms F Powder Room
Art ‘Band’ Collects and rotates works from AGNSW
F Locker & Changeroom
f3 Restaurant A
c1 Bath A
Bath B f5
L oading Z one
f5 Restaurant B
Ground Level Plan 1:750
Library Shelving Book store
a2 f2 b2
f1 Function Hire Area
E N T RY
Ar t Storage
Wate r f iltrati sy ste m
S i r J o h n Yo u n g
brary Shelving ok store
AGNSW Extended Office
Art ‘Band’ Services
L oading Z one
Bath House Services
Gallery B Gallery C
B ee r & Wine C ellars
Long Section 1:750 Facade Elevation (To scale)
Garden Gallery 1:375 a3
a3 E xhibit i on Sky lig ht
a1 Indoor G ard e n G all e r y
a2 Pr iv ate Librar y
a4 C our t y ard Sky lig ht
f1 Main Ent r y f rom St reet / R ece pt ion
f2 Sky lig ht
Bath House 1:375
b2 Bath A b3 b1 Bath B
Bath C f5
b3 Wa shing Area
b1 B ath Hou s e Ent r y
b1 Pr ivate B ath Hou s e
f5 Waf f le Sky lig ht s
f6 W HI T E HOU SE
f3 S ky lig ht
f6 D irec ted S c ulpt ure Sky lig ht s
b3 f5 c3
c1 S ky lig ht for R estaurant Ent r y c2 Sp ec i alit y C of fee C afe
c3 F OL LY ME A ROU ND - BA R
f3 Sky lig ht
Bath house Entry Art Band
Art Band Above
Bath House A
3. Bath House - Short Section
Cellar Gallery A
3. Restaurant - Short Section
Cellar Restaurant A
3. Smart Illustrations
A Material Deconstruction Existing Follies
North park entrance
North park entrance
East park entrance
Glass pitched roof
The Domain rooftop park has two carpark
entry structures purposely designed to enchance the parks large, flat uninspiring field . With the domain carpark to potentially become obselete, the external park entrances and its dissasociation to the carpark will become an ornamental structure existing only for aesthetic pleasure. With these considerations the carpark entrances act as Architectural Follies. Inspiration will be taken from examining the materials of these existing follies and used to create new follies along the site.
Follies above and below the Threshold. An abstract illustration deconstructing Follies, the Art Band and the facade.
3. Model Photos
Folles, Thresholds and the Subterranean - A Puzzle Physical Model (For ages 5 and above)
A place for lounging and prolonged relaxation, the Garden Gallery functions as a Library, Zen Garden and Art Gallery. A Zen Rock Garden acts as a central courtyard space for Library and Gallery. With existing columns clad in red, they house books for a public Library’s shelving space.
Lighting Strategy 3
There are two main souces of light in the Garden Gallery - The Folly Skylight and the Art Band. With the Folly skylight acting as the main source of direcct sunlight, its central location s surrounded by library lounges. Wrapping around these spaces of relaxation is the Art band. With its artificial soft diffused white light, it frames moments of art to gaze upon and pockets of light towards the Library.
1 Waffle Skylight Direct Light softened by depth of waffle and timber material choice 2 Art ‘Band’ Soft Diffused light for even ditribution. 3 Sliver Skylight Long Streaks of Direct Daylight which are used at corners to guide people
Bath House A
Taking the idea of the subterranean, the Bath House provides opportunity to gaze upon artworks whilst submerged in a heated body of water. The Art Band is fully exposed as to showcase all artworks without obstruction - with the exception of structure. Polished concrete walls and floors establish consistent lighting reflections and illumination, allowing water to be the ever-changing reflective and illuminating element.
Lighting Strategy The Bath Houses are intended to be dark intimate areas allowing the art band to be the major lightsource. The purposeful juxtoposition of light and darkness creates an almost ‘movie’ environment, where people observe a film of moving artworks.
1 Waffle Skylight Direct Light softened by depth of waffle.
2 Art ‘Band’ Soft Diffused light for even ditribution. 3 Sliver Skylight Long Streaks of Direct Daylight which are used at corners to guide people 4 Steam Clouds Naturally occuring fog creates areas of ‘fading’ art. Drifting slowly above the waters horizon, the movement of people in the bath passively creates different areas of fading.
Folly Me Around - Bar and Gallery 2
A private Jazz Bar tucked away in the corner of the site, Folly Me Around is is a place to drink, chat and watch. With purposely framed art band windows, customers are enouraged to stay and spend a little on cocktails. Unlike the contemporary art gallery, conversations are encouraged by alcohol and music is turned up in Bar Folly Me Around,
Lighting Strategy A dim environment where portals of framed art act as a main source of light. During the day, the spiral staircase entrance is lit highlighting the red folly above the ceiling (threshold) and emanating a red hue to the interior.
1 Red Tile Cladding Reflections Direct Light from above is reflected and given an atmospheric red hue. 2 Art â€˜Bandâ€™ Soft Diffused light for even ditribution. 3 Sliver Skylight Long Streaks of Direct Daylight which are used at corners to guide people
Foyer to Exhibition Spaces
The main circulation space is guided by the Art Band’s lighting. Outside the Garden gallery, Bath house and Restaurants, the Art band showcases its wrapping of rooms and follies. The removal of existing level 1 and 2 carpark slabs reveals moments of verticality and a new observation deck level.
Lighting Strategy 2
Brightly lit is the Art Band. It provides an orientation and an axes in which guides people to program spaces. Lit from underneath in certain areas, they allow people to obersve the movement of art in a multiplicity of viewing angles.
1 LED Strip Lighting Essential lighting to areas which lead to other programs such as the Art Shop and Restrooms. 2 Art ‘Band’ Soft Diffused light for even ditribution.
White House - A Mini Gallery
Walking down the stairs of a Folly called the White House, a small and intimate gallery showcases a panoramic display of moving white canvases filled with art. A moment where the observer is stationary once again, but in this space artworks are moving all around in 360 degrees. It is taking the idea of oberserver now being the observed to the ultimate.
Lighting Strategy Only the Artband and its illuminating walls act as lightsource. Here the light and a sense of being within a void is explored.
1 Art â€˜Bandâ€™ Soft Diffused light for even ditribution.