N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
DESIGN ITERATIONS FRAGMENTATION The following iterations explore the severity of fragmentation where paths and way finding become evident. It is interesting to see the different spatial qualities that present when a curve is used to fragment space as opposed to straight rigid lines and angles. The rigid lines evoke feelings of rigidity and strength while the curved fragment appears more calming.
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
FOLDING The following iteration explores folding through the use of two focal points that each fold unfold to. The spatial qualities that arise in this instance may be difficult to utilise due to their curving nature. However, an almost spiral like quality has arisen that references the natural landscape.
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
TRANSPARENCY This iteration explores transparency through the use of triangulated surface that is divided into diamond shapes where voids have been taken. The geometry serves to guide the user in a particular direction which is a good example of way finding. This iteration could be further developed to explore a range of patterns that play with light and shadow.
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
ORDER AND DISORDER This iteration examines the contrast between order and disorder and examines what is more interesting. It can be argues that the disorderly spaces are just a different spatial presence that vary marginally in size but ultimately are all triangulated. The beauty in this iteration is the union between the order and disorder where the two meet in junction.
POSITIVE AND NEGATIVE The following iteration explores positive and negative space through surface and void. It is interesting to see that the hollow shape with just a frame and no skin still has a substantial presence and form in comparison to the positive forms. This technique could be further explored with facade development to convey different light patterns.
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
BLURRING Blurring is utilised in this instance to convey a differing geometry from different views. As you walk past this structure you see it in a different light thus your experience of the shape is blurred into a movement past or thought the architecture.
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
COLLAGE Here we have a collage where the floor plate of a model is used as a decorative facade device. The pattern almost resembles leaves on an autumn day.
ILLUSION The following iteration alludes the viewer to see an endless hallway that gets smaller and further away however, the structure is closer than one might think and in turn tricks your eye into seeing what it wants to see.
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
JUMP CUT By rotating the skin of the tower and pushing it through the floor plates a new spatial relationship is formed and an external motif is established. This makes for a variety of spaces that range in different geometrical wall heights and angles to make the spaces more interesting instead of just stacked floor plates like most typical towers.
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
DISTORTION Distortion is used in this instance to manipulate the form in different directions to create smooth surfaces. When these spaces are mirrored back on themselves interesting courtyard space can be formed. Moreover, by distorting space upward passages can be made underneath that make unique experiences.
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
OPTICS In this iteration optical illusion is being explored where from a plan view the spirals appear to be moving. This is achieved through repetition and curves that lead the eye to infer that it is in fact in motion.
QUOTATION This form is a quotation of The Louvre Abu Dhabi by Jean Nouvel, where the dome like latticed structure resides above a constellation of cubes and rectangular structures like a city under a sky. This Geometric pattern i used wraps around the dome like and egg.
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
INVERSION/ NEGATIVE This iteration explores an inverted NGV building by Roy Grounds where the structure is upside down. It is interesting to see the spatial qualities that the louvers have at ground level, they begin to resemble that of a column assembly which emphasises the solidarity of the architecture.
SUPER GRAPHIC This super graphic utilises the NGV letters to create space and form that can be inhabited. By rotating each letter and extruding it interesting spaces are created where their relationship to one another can be explored.
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
FIGURE GROUND / COURTYARD
This massing explores figure ground the courtyard and folding. The form is based on Bridget Riley ‘A Summers Day’ where the shapes and placement of the stroked lines create motion to the eye. In this massing i am to embodied this technique within the form on a larger scale.
BUILDING AS LANDSCAPE COURTYARD
This massing is a building as landscape and courtyard, with a cute curved atrium the structure is light hearted and referencing form you might see in the natural landscape.
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
BUILDING AS LANDSCAPE This massing explores building as a landscape and folding. Channeling Zaha Hadid like curves the structure wraps around the site to scoop up people from southbank boulevard where you are taken on a meandering journey through the Gallery and down the new promenade back toward southbank.
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
BUILDING AS LANDSCAPE POSITIVE NEGATIVE This massing explores Building as landscape, positive negative and folding. The form bookends the site at South West end and rises to a point of climax, the journey begins from the ground as you climb up the structure to this point then back down again unfolding onto the promenade.
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
BUILDING AS ABSTRACT SHAPE This massing explores Building as a abstract shape and transparency. Based on Sol LeWitt’s Cube without Cube art work i aim to utilises all the variation of an unfinished cube which could be used to travel through into the main form. The structure will be versatile where new programs can plug into site.
ARTIST REFERENCE: Sol LeWitt ’Cute without Cube’
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
BUILDING AS ABSTRACT SHAPE &COURTYARD
This massing is a building as an abstract shape and courtyard. The stacked cylinders are distorted to create interesting dynamics with the ground plane and street interface. Sculpture like the structure resembles art you might find within a gallery and its emblematic the arts precinct.
BUILDING AS LANDSCAPE FIGURE GROUND This massing is a building as landscape and figure ground, through a large cantilever the structure is bold and interesting to the eyes. The building enable you to stroll up and within it from the promenade creating a welcoming entrance.
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
THE SITE
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N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
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JORJA BOURKE 911636 STUDIO D
THE SITE The site gives way for ample opportunity for greening and light from the east due to low lying height of the NGV and neighbouring botanical gardens. Traveling to the side is easy due to significant tram routes that are available. The site rests right in the hub of the arts precinct surrounded by a plethora of building typologies. It would be interesting to reconnect the site to the natural landscape and expand the reach of the botanical gardens influence to enhance the rather barren area. The surrounding contextual buildings all demand attention and rather conflict instead of compliment one another. The precinct in itself is a collection of objects which im not sure suits contemporary architectural discourse and society.
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N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
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THE CONTEXT NGV INTERNATIONAL The building resembles a forbidding fortress – bluestone walls, high windows, and moat. The iconic archway is inviting and the waterwall is the playful welcome. Six times larger than the Swanston Street gallery, with a floor plan of three inner courtyards, around which different galleries flow in sequence, which can be easily traveled with none of the tiring staircases or endless galleries. Clerestory lighting system which, together with the courtyards, flood the internal spaces with daylight and provide refreshing glimpses of the outside world. A play of different lighting, ceiling heights, and wall and floor treatments had been introduced to mark transitions in space and ambiance, and provide variety for visitors The Great Hall ceiling comprises approximately 10,000 pieces of hand-cut coloured glass. The pieces in their uncut form weigh three kilograms each and are 25 millimeters thick.
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
THE CONTEXT HAMMER HALL
The building represents two artistic discourses in Melbourne: the architectural story of the castle and the mine: the theatrical story of the palace and the cave of jewels. The existing built form of the drum has been retained but changes were made to the riverside section of the precinct. The new form draws its influences from Grounds’ muse, the Castle San Angelo, Rome. Built in off form concrete it recalls the rusticated base of the Roman ruin. The layout reinforces the existing ant tracks around the building.
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
THE CONTEXT THE SPIRE Sir Roy Ground’s spire has been revised to include a gold webbing around its lower section, simulating the flowing folds of a ballerina’s tutu. The spire serves as a symbolic tower for the whole Arts Centre, and acts as a beacon. The spire features an open latticed tensile space frame which was inspired by Frei Otto’s design of Olympia park for the 1972 Munich Olympics.
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
THE CONTEXT
MELBOURNE RECITAL CENTRE Melbourne Recital Centre (MRC) was designed for small ensemble performances from classical to jazz, world music to popular song and chamber opera. MRC is designed to resemble a gift. The exterior is called the Exoderm and resembles polystyrene. The windows are designed to resemble bubble wrap and the hall is the gift that’s unwrapped inside.
Elisabeth Murdoch Hall is lined with plywood panels of Australian plantation Hoop Pine timber, designed to resemble the back of a beautiful instrument and to regulate acoustics across the auditorium.
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
THE CONTEXT ACCA ACCA’s form references the past industrial occupation of the site of warehouses with the rustic corten steel paneling a distinguishable trend of Australian design. The undulating and sharp geometry simulated natural landforms and the industrial age and has significantly influenced my form. The gallery consists of four large spaces that together with the neighbouring Malthouse theatre form a central courtyard which is utilised for performance and exhibition space.
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
THE CONTEXT SOUTHBANK THEATRE The Southbank Theatre employs illusion through the techniques of blurring our perception between 2d and 3d. The angular geometry can be seen as a collection of shapes and the internal architecture expands on this geometry casting shadows of itself within.
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
Phoenix Central Park / JOHN WARDLE
PRECEDENT STUDY
Denver Art Museum / Studio Libeskind
Ordos Art & City Museum / MAD Architects
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
EMULATING NATURAL LANDFORMS
CONCEPT 1 RESEARCH QUESTION: How can the development of the NGV Arts Precinct respond to the current climate crisis and set precedent for a new contemporary culture that values the wellbeing of the environment and people over consumerism and products? DESIGN THESIS: To explore the relationship between art, nature, culture and landscape through the exploration of natural land formations and the Fibonacci sequence.
EMULATE NATURAL LANDFORMS FIBONACCI SEQUENCE
PRESENT PAST FUTURE
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
The present land surface of Melbourne has evolved through the interplay of processes of erosion and volcanic activity. In Melbourne Central historically the Paleozoic bedrock protrudes through the lava to produce an undulating surface. Lava flows once disrupted the previous drainage and the new drainage developed a meandering course on a gently sloping surface. Streams such as the Yarra became entrenched along the boundary between the lava and the softer Silurian bedrock. NGV Contemporary strives to reconnect southbank with its ecological history through the introduction of architecture that references natural landforms. Hammer Hall’s new curved concrete facade facing the river appears as if it was carved from what once was bedrock which emulates Grounds original concept of excavation. NGV C is an extension of the architectural story of the castle and the mine, the palace and the cave of jewels. The Gallery proposes a cliff like structure with cave-like features with interiors that are organised based on the Fibonacci sequence found in nature.
FIBONACCI SEQUENCE FOR SPATIAL ORGANISATION
JORJA BOURKE 911636 STUDIO D
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N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
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This concept explored the Fibonacci sequence through spatial planning and consequently creates a radial circular plan. While the Fibonacci sequence remains an interesting way to explore spatial relationships i do not think its quite successful in this plan. Curved walls can be problematic for artworks and circulation may be too long an arduous for some, therefore opportunities to leave or rest should be considered for vulnerable groups who may wish to visit.
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The curved cave like structure is striking and does connect strongly with Roy Ground design intentions for Hammer Hall and the NGV international, however, i am not sure it is reflective of current societal ideals. The structure would have to be a solid monolithic form which would potentially be very energy intensive and goes against the research questions climate concerns and ultimately the concerns of Youth in Australia.
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JORJA BOURKE 911636 STUDIO D
HISTORY & MEMORY
REFLECT
RECOCGNISE
LISTENING
RESTORE
FOLDING DESIGN PROCESS LEARNING FROM NATURE
RESEARCH QUESTION:
How can the development of the NGV Arts Precinct respond to current climate concerns and set precedent for a new contemporary Gallery that provokes environmental awareness?
DEVELOP
EXPAND GROWING CULTURE
CONCEPT 2: FINAL CONCEPT
RECONNECTING WITH NATURE
DESIGN
FOLDING IN NATURE
DESIGN THESIS OVERVIEW: Peter Eisenman explains the theory of the Fold as being the principle that informs the inside and the outside, the internal and external, body and soul. Contemporary art can be considered a fold that bridges inner and outer social worlds, through geometry conveying at any one time how society feels about itself. The NGV Contemporary will be the metaphysical bridge between people and culture and will celebrate diversity through the nature of the fold. In a dominating virtual world, the role of a contemporary gallery must be reimagined and respond to context, metaphor, history and memory. Paul Virillio writes in the Overexposed City expressing concern for contemporary architecture and suggests that it is being lost to electronic screens, mass media and advertising, where architecture is merely an object to be commercialised over. The Melbourne Arts Precinct proposal will strive to reconnect the city with the context of the natural landscape as it becomes an arterial vein in Southbank’s Urban Forest. The Gallery will act as an anchor for society, anchoring people back to the dimension of time and urban space toward a sustainable future. The architecture will fold in and out connecting art and environment by providing opportunity for contemplation and chance interactions. The promenade will strive to add a new dimension to the urban Fabric of Southbank by celebrating Melbourne’s iconic laneway culture and infusing it with biodiversity. Thus, the Arts Precinct offers a journey of historical significance down St Kilda road and Southbank Boulevard that folds back into a new realm of contemporary life that sets precedent for a new building typology by transforming production and consumption patterns into a more sustainable model that is a part of the urgent action to combat climate change and its impacts. Exploring the relationship between art and nature, culture and landscape.
FOLDING FORM
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
SITE RESPONSE ITERATION 1 This massing explores building as landscape and figure ground. Through the use of folding in and out the structure draws people in from southbank boulevard while angled in directions to orient you to other buildings within the arts precinct.
ITERATION 2 This massing is a building as landscape and figure ground, through folding and positive negative the structure is origami like and light weight where permeability and visibility is evident. The sharp triangulated edges are bold and angle toward interesting views like the spire.
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
SITE RESPONSE This massing progress from mid semester shows promise with the roof line. The angular roof lines that point out at all directions creates some interest but we lose this interest at ground level with very little of this visible. It would be useful to try and carry the angularity of the roof line throughout the geometry of the facades which are quite flat at the moment.
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N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
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SITE RESPONSE
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This interim mid semester concept plans reflect a sharp angular geometry that is trying to radiate from a central point. As the plans progress they lose this characteristic and would benefit if this was carried out throughout. The concept of folding is very vague and light handed thus far and needs to be explored with more rigor going forward. The facade’s are very flat and would be an interesting opportunity for folding to occur. The folds in the walls could direct users around the gallery and remind them within of the external form. Also clerestory lighting could be used in the folds to provide diffused lighting within the gallery.
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CONTEMPORARY JORJA BOURKE 911636 STUDIO D
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JORJA BOURKE 911636 STUDIO D
FORM DEVELOPMENT
1. Triangulate mass based on access
No.
Description
Date
Owner
View of Botanical Garden ProjectView Name of Spire
Moving forward the folding will need to be explored more rigorously in all facets of the form to fully encapsulate the design intent. Unnamed It could become more interesting if the distortion of the form organised by the Project is Number Project number Fibonacci sequence of proportion like in Date Issue Date A102 Drawn by option 1. TheAuthor concept Fibonacci sequence Checked by Checker may suit a sharper geometryScale like this one.
View of Recital Centre View of NGV Garden Southbank Blvd 2. Distort triangulation to enhance views
Cafes spilling onto promenade
3. Activate promenade
1
{3D} Copy 5
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
13/09/2020 3:44:01 PM
At mid semester the form had developed through the basis of extrusion, triangulation and distortion. The distortion of peak points enabled the form to point at and emphasis major attractions amongst the arts precinct. While captivating views of surroundings is important i felt that beyond the roof line the form has failed to fold in its entirety as the facades are relatively flat.
DESIGN GOALS To address the research question of How can the development of the NGV Arts Precinct respond to current climate concerns and set precedent for a new contemporary Gallery that provokes environmental awareness by celebrating contemporary culture in Melbourne? - A series of goals have been carefully considered to best reflect the design intent.
RECONNECT WITH NATURE
EXPAND ON GROWING CULTURE
The research question can be split into 3 primary concerns: 1. Reconnecting people with nature to promote climate awareness. In a densely populated southbank the city of Melbourne are planning an urban renewal project called the southbank urban forest plan which aims to increase canopy cover by 40% and diversify natural ecosystems in the area, where NGV-C promenade would be an arterial vein within this plan. It makes sense to use this as the overarching design ethos when approaching the new contemporary art gallery as we move forward in trying to achieve more sustainable cities. 2. Expanding Growing Culture into a sustainable environment setting, through the use of green laneways, that both celebrate Melbourne famous culture but also provide a more sustainable contemporary version for the future 3. Environmental Stewardship that addresses climate concerns. This can be addressed in a number of ways through carbon offsetting which can be achieved through sustainable building materials like timber that store carbon.
ENVIRONMENTAL STEWARDSHIP
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
1. BIOMORPHIC FORMS AND PATTERNS
RECONNECTING WITH NATURE In order to achieve the design goal of reconnecting the gallery with nature a 3 step approach is taken.
FIBONACCI SEQUENCE INFORMS SPATIAL PLANNING AND FORM. RADIAL PLAN MERGING FROM CENTRE POINT
2. MATERIAL CONNECTION TO NATURE
Biomorphic forms and patterns are symbolic representations within the design of the patterns, shapes, textures or numerical arrangements found in nature. The Fibonacci sequence numbers are a never-ending sequence starting with 0 and 1, and continuing by adding the previous two numbers. The next numbers in the Fibonacci sequence, for instance, are 1,2,3, and 5. This sequence can be found in the geometry of nature such as the arrangements of leaves, flowers and seeds all following the same spiral geometry and proportions. This sequence can be considered nature folding itself and thus has been employed in the spatial layout of the floor plan that informs the over all form and radial plan. Another way that you can reconnect with nature beyond just planting is through natural analogues and restoring a material connection to nature. This is employed by using materials, grains, textures and elements in the design that distinctly reflect the environment. Materials like timber and stone are two widely used materials within the project to achieve this connection.
USING MATERIALS, GRAINS, TEXTURES AND ELEMENTS IN THE DESIGN THAT DISTINCTLY REFLECT THE ENVIRONMENT.
3. PHYSICAL CONNECTION TO NATURE
GREENING FOR VISUAL AND ENVIRONMENTAL PURPOSES. GREENING TO ENHANCE WELLBEING AND FOR THERMAL AND ACOUSTIC BENEFITS.
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
Lastly restoring a physical connection to nature through planting is the most common and widely recognised way of connecting to nature in the built environment. Within this project this method becomes part of the architecture, with green facades occupying large external walls. These plants also store carbon and can help regulate thermal and acoustic conditions within the building.
JORJA BOURKE 911636 STUDIO D
BUILDING AS A CARBON SINK
ENVIRONMENTAL STEWARDSHIP Timber as a building material is able to sequester Carbon instead of emitting it, thus offsetting emissions . Iron Ash has been chosen for external and internal cladding. Iron Ash is recognised by the International Union for Conservation and listed as a species of least concern. To ensure all timber is sourced sustainably and legally, all timber will be certified by the Forest Stewardship Council. FSC is an independent overseer of worldwide forestry operations with a rigorous set of criteria that imposes strict environmental conditions on the logging and usage of timber products. Participants at all stages in the chain of custody are regularly audited. Iron Ash panels will be sourced from Australia where the species is 100% certified by the FSC. A Tongue and groove cladding system is used on all external cladding and sealed to protect the colour.
Iron Ash - South Australia
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
EXPAND ON GROWING CULTURE The promenade for the NGV arts precinct is a wonderful opportunity to set precedent for new sustainable ways we can expand the growing culture of Melbourne. Melbourne is famous for its Laneway culture filled with cafes and amazing dining experiences. The promenade beside the new Galleries can give way to the opportunity of green laneways, that both celebrate Melbourne famous culture but also provide a more sustainable contemporary version to set precedent for the future. These laneways may prove to be particularly valuable during the Global Corona-virus Pandemic as they could provide ample space for pop up markets, and outdoor dining festivals to take place.
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
RENDER PROGRESS In these renders i begin to explore the fold internally and continue this geometry for walkways and suspended ceilings. Polished concrete for all floors for ease in cleaning and maintenance. Suspended iron ash timber ceilings for acoustic regulation and to continue the natural analogues throughout the gallery. The timber ceiling provides a warmth to rooms artificially lit and break up the gypsum plasterboard walls.
In this render the radial manner of the plan is most celebrated where the central focal point is dramatized. Would this meeting point need to be bigger to handle heavier traffic?
White gypsum plasterboard folded walls continue external geometry when moving toward the core of the structure. These angles can be utilised for way finding to subtly guide people.
Atrium space has become an integral feature of interest within the design and is sculptural in itself. This is where the Origami like fold is most prevalent through out the interiors. The fold within the galleries is more modest so not to distract from the exhibitions, but instead to gently guide and inform patrons along their journey. Perhaps this view has too much escalator in the foreground that detracts from the form, adjust camera here.
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
SPATIAL PLANNING
1
1
3D View 2
The galleries are organised based on a radial response to the Fibonacci sequence of proportion to which i triangulated the site from. I then incorporated my structural grid to align to establish where main walls will be. Ultimately columns support the structure and roof so secondary partitions are removable to provide flexibility with exhibitions. The radial plan does heavily emphasise this central focal point that enables guests to see different paths within the gallery as the program is folded into and amongst the form. The plan then enables visitors to meander through and out wherever they choose.
3D View 1
12 35
8
13 21 34
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D
PROGRAMMATIC PLANNING Like the form the program is folded in and out throughout to provide diversification. From above the plan appears to be folded like a piece of origami paper reflecting the proportions of sequences in nature. Thus the journey through the gallery will reflect this as the geometry and folds within the form guide you through and around the different exhibitions.
ADMIN
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AUSTRALIAN
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PUBLIC DINING LOADING
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AUSTRALIAN
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N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
PERMANENT
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JORJA BOURKE 911636 STUDIO D
FINAL FORM
LEGEND : 1: KIDS ACTIVITY CENTRE 2: STORAGE / ARCHIVE 3: HVAC 4: FOYER 5: DIGITAL MEDIA GALLERY 6: MAIN ENTRANCE 7: CLOAK ROOM 8:TICKETS 9: GIFT SHOP 10: BOH/ ARCHIVE 11:LOADING DOCK 12: TEMPORARY GALLERY 13: PERMANENT GALLERY 14: AUSTRALIAN GALLERY 15: ADMIN 16 RESEARCH CENTRE 17: LIBRARY 18: SECOND ENTRANCE 19: CAFE 20: SCULPTURE GARDEN 21: MEMBERS LOUNGE
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JORJA BOURKE 911636 STUDIO D
FINAL FORM
N G V CONTEMPORARY JORJA BOURKE 911636 STUDIO D
JORJA BOURKE 911636 STUDIO D