Studio 36: The Fitzroy Art Gallery - Reflective Journal

Reflective Journal Nathaniel Foo 804903 Studio 36 | untitled: a Project Art Space for Melbourne Studio Leader – Anna Nervegna The University of Melbourne

36 Studio

Distortion - Iteration exercise from week 1- 2

A Prelude to Distortion, Subtraction and Perception -

The design method of distortion can be perceived differently by different people. Similar to art, perception is a crucial ability within humans to see, hear or become aware of something through our senses within this world. The play of distortion contemplates the legibility and purity of an entity, in this case, art, further sparking a discussion and topic to talk about. This action subconsciously brings forth any disagreements and differences in opinions to light, in hopes to resolve or perhaps allowing individuals to ponder over. Metaphorically, how an artwork sparks different interests and biases within society while uniting them within a space where their similar interest in art brings different cultures together, bridging the gaps between social boundaries within a collective community.

Note: The page layout and size for this journal is designed in a way to reflect a gallery/museum coffee table book style, in collaboration with the theme of the project. Hence, the journal page size is not designed towards the standard A4 or A3 paper size.

Contents.

Part 1 | Spatial Verbs Weeks 1 - 2

1

Part 2 | Inside Out Objects

13

Part 3 | Urban Massing

19

Part 4 | Site Analysis

35

Part 5 | Design Statement

37

Weeks 3 - 4

Weeks 3 - 6

Weeks 3 - 6

Weeks 4 - 6

Part 6 | Mid Semester Week 7

Part 7 | Design Development

39

79

Week 8 - 12

Part 8 | Gallery Analysis

99

Part 9 | Final Semester Review

109

Week 11

Week 14

References

153

untitled: a Project Art Space for Melbourne | Nathaniel Foo 804903

1

Part 1 | Spatial Verbs

– Weeks 1 to 2

2 Task Reflection Overall, the following iterations made for the Spatial Verb iterations encouraged me to be more explorative during design. With the need to constantly come out with different design ideas for the respective spatial verbs, I sought to look towards various works from different architects and how they respond to the site, the brief using these spatial verbs. Hence, helping me to broaden my design hat towards architecture and form-finding.

Throughout the verbs explored, there were some verbs that I felt were executed well while the other lacked creativity, making them unable to be further developed in the following exercises.

While I was exploring different forms to suit each spatial verbs, I began to also explore different backgrounds, colours and materiality as a process to speculate on the potential outcome that the form itself could present, helping with the design process.

While I enjoyed most of the spatial verbs listed, some of the spatial verbs were relatively tougher to execute, eventually causing a slight loss of interest during the design process. This would probably be reflected in the overall design outcome for the relative spatial verbs. These forms would be further explored during the semester break as means to push me in designing.

Task Outline In this task, we were ask to explore an create iterations based on the various techniques used in design. The use of architectural projects as precedents were also encouraged to study and understand and analyse these techniques used.

3 Blur - Overall

Plan

Axonometric

Elevation

[Blur]

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The process or formwork which does not set a specific or fixed boundary.

Analysis -

Sou Fujimoto, Serpentine Gallery | 2013 - Connection Detail

Sou Fujimoto’s Serpentine Gallery consists of the use of fine poles and polycarbonate pieces to create a stacked grid. As these poles and polycarbonate pieces are translucent, the grids create a fine and fragile effect, creating a sense of vagueness betwee its form and spatial boundary. This repetition of stacked translucent grids creates a blurred spatial sense, removing the sense of being in the external or internal environments.

Reflection Taking this idea of repetition and stacking from the use of simple geometries, this iteration explores the method of shifting planar surfaces at various heights and lengths, gradually attempting to blur the boundaries between the edges and internal spaces of the overall form.

Sou Fujimoto, Serpentine Gallery | 2013 - Perspective Sketch

Although the overall iteration reflects on the technique by creating a vagueness between the form’s boundary edges, I found that the use of planar surfaces are quite arbitrary and would benefit from further investigations and more in depth experimentation.

4 Order and Disorder (Chaos) - Overall

Plan

Axonometric

Elevation

[Order and Disorder] The contrast of a subject being arranged in a rational sequence or in total confusion.

Frank Gehry, Disney Concert Hall | 2003 - Perspective Sketch

Analysis Frank Gehry’s Disney Concert Hall in Los Angeles provides an example whereby its form and structure are arranged organically. Taking on the idea of fluidity and dynamism, it is conceptualised that the concert hall’s external facade is perceived as waves, creating a sense of motion in an disorderly way similar to nature. Although the choice of materiality remains in unison and in order, the overall form is seen to be “heading” in multiple directions, creating a dramatic atmosphere within a calm setting. Similar with the ocean, a gentle wind may cause the seawater to flow in unison while a strong wind would cause the seawater to gush and form deadly waves.

Reflection Taking on the idea of the ocean and waves from the Walt Disney Concert Hall, the overall iteration reflects the technique of Order and Disorder suited to invoke a dramatic effect to the form, giving it a sense of motion and character to its overall structure.

5 Inversion / Negative - Overall

[Inversion / Negative] The play of solid vs voids (shadows).

Analysis Steven Holl’s “Inversion” Sculpture was selected as the precedent for this technique. Constructed by carving our parts of limestone from a quary in Leece, Italy, the sculpture is conceived as a sectional slice which reveals the relation of solids and voids. Through the installation of LED lights in the voids, the sculpture’s relationship of solids and voids are further inverted, producing a different form altogether.

Reflection -

Steven Holl, Limestone Sculpture | 2013 - Perspective Sketch

Adopting his idea as a starting point, the following iteration explores the technique of inversion and negatives by carving out sections of a singular cube to obtain the negative positive spaces. The following form is then broken up to four different parts and attached together in order to give the overall form a distinguished character. The infill which was previously carved out was converted into thin strips and position in between the cutout, further representing the difference between solid and void, positive and negative spaces.

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The final iteration was unique in a way that it showed varying forms when it is being viewed from the plan, elevation and axonometric view.

Giving it a sense of variation and uniqueness when viewed from multiple angles, further emphasizing on the ability of inversion producing multiple design outcomes.

Plan

Elevation Axonometric

6 Illusion - Overall

Plan

Elevation Axonometric

[Illusion] An instance of a wrong and misinterpreted perception of a sensory experience. (Definition extracted from Oxford Languages) Analysis -

John Wick 3 Mirror | 2019 - Image1

The mirror scene from John Wick 3: Parabellum was selected as a precedent study for the technique of Illusion as it demonstrated a series of misinterpretations to deceive the enemy in the movie. The use of mirrors and lighting provides the required reflection in addition to the angle reflective surfaces provides a sense of deception and illusion to the reflected subject, providing a misinterpreted perception of the individual’s sensory experience.

Reflection Using reflections and angles as the main concept for this technique, a series of reflective surfaces were positioned around a few solid surfaces.

The reflections of the solid surfaces would be bounced of the mirrors while the angled surfaces position would enable a maze like structure to further emphasize the technique of illusion and misinterpretation.

The overall iteration has a prospect for further developments in the following weeks, although rendering the iteration at a perspective view to demonstrate and further emphasize the technique of illusion.

7 Transparency - Overall

[Transparency] The ability to see through.

Analysis The La Samaritaine by SANAA, Lagneau Architects, Francois Brugel Architectes Associes and SRA Architects features a rippling glass facade as part of the restoration for the large departmental store in Paris. The rippling glass develops a dialogue between the internal and external environment. As the selected material glass is transparent, the rippling effect enables a slight opaqueness between them, partially providing the privacy and security for the internal environment. The gaps between the facade panels also provides slight transparency, enabling the existing heritage facade to be revealed.

Reflection -

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SANAA + Lagneau Architectes + Francois Brugel Architectes Associes + SRA Architectes La Samaritaine | 2021 - Perspective Sketch of Facade

Adopting this concept for the technique, a series of folded panels are arranged in a linear sequence allowing a motion like form similar to the rippling facade design in La Samaritaine. The gaps between these panels also enable slits to see through the inside. Glass is selected as the chosen material for this iteration to emphasize the transparency of the form. The iteration for this technique has been pretty successful through the play of the panels at angles, the gaps could be justified to achieve transparency as a solid material could be selected while still allowing viewers to see through the inside. The cube was modelled as a “subject” for the technique of transparency to be achieved, however this could be further improved.

Elevation Axonometric

8 Folding - Overall

Plan

Elevation

Axonometric

[Folding] The action of bending over an object.

Analysis -

Zaha Hadid, Heydar Aliyev Centre | 2013 - Image2

The Heydar Aliyev Centre by Zaha Hadid features a fluid yet fold like structure as part of the architect’s effort to break away from the monumental and rigid structures imposed during the Soviet Era in Azerbaijan. The overall form builds a sense of connectivity with the surrounding urban fabric of Baku, connecting it to the culture and social aspects of its locality. The undulating techniques which includes folding creates opportunities for multiple programs and uses both tailored to the community and building’s true function as the national cultural hub.

Reflection Using this precedent as a starting point, the iteration experiments on the technique of gradually folding and careful positioning to generate spaces for different programs which could inhibit. The final outcome of this iteration also seeks to provide spatial platforms for the general public on the external, creating a community centric design which could be further developed in this project.

9 Expand / Distort / Boolean - Overall

[Distort] The action of giving a misleading account or impression.

Analysis The Theatres & Performance in Hamburg, Germany by Herzog de Meuron provides a new repurposed space above the existing Kaispeicher , originally a warehouse provides a new centre of social, culture and daily life for the people in Hamburg and internationally. The roof structure though distorted, provides a sense of belonging yet not really part of the city. The vault shape roofs creates a sense of theatrics and providing speculation on enhancing the city’s culture and landscape.

Herzog de Meuron Elbphilharmonie Hamburg | 2016 - Image3

Reflection Adopting the roof structure from the Elbphilharmonie, the initial process of carefully extruding the connecting points of the grid surface enable the form to be waved like and distorted. Further displacing this control points, the overall form appears to be moving and distorted in motion creating a sense of character to the form. This iteration and design could be seen and implemented as part of a roof structure or perhaps a facade system to a building while creating pockets of spaces within the concave forms for different programming.

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Herzog de Meuron Elbphilharmonie Hamburg | 2016 - Perspective Sketch Of Roof

Plan

Elevation Axonometric

10 Quotation - Overall

Perspective

Elevation

Axonometric

[Quotation] A repetition of an expression as part of another one.

Jean Nouvel, National Museum of Qatar | 2019 - Sketch

Analysis Jean Nouvel’s National Museum of Qatar demonstrates the technique of quotation through his inspiration of the natural mineral forms within the deserts in the local region. Inspired by the “Desert Rose”, a rock form when minerals crystalize, the National Museum of Qatar imitates the natural form through the interlocking of disks around the historic Qatar palace that fans out in a eliptical circuit around the palace court, allowing it to propogate organically while mimicking the natural landscapes in the gulf region.

Reflection Using this precedent as a starting point, the iteration focuses on quoting the natural landscapes of the Australian desert and outback, creating a form which quotes the desert plants grown in clusters and patches. The iteration looks to create spatial qualities within these clusters and while also serving as a space for the nescessary programmings. The pipe like structural elements produces a tree like branch look giving the interior space a sense of place within its quoted environmental context.

11 Jump Cut - Overall

[Jump Cut] An edit to a single, sequential shot to create an action leaping forward (In Time) Analysis David Umemoto’s Stairway no. 13 embraces the technique of jump cutting by carving out arches within the solid and inserting these voids with multiple copies of staircases which are a replica and clone of the initial staircase. This precedent seeks to fit cut - out elements within the empty spaces, giving the idea of repurposing an existing space with new possibilities for a different program.

Reflection -

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David Umemoto Stairway no.13 | 2019 - Photo4

Adopting this concept and definition of the technique, I started cutting sections of a curved surfaced in a sequential order as a start to create the voids. The cutout was position in accordance to its cut sequence and arranged in an layout which produced a distinct solid and void.

Similar to the movies whereby a cutout would be made in a sequential shot to create an action leaping forward, the cut outs highlighted in red would be placed in the front as a form of connectivity to the old solid, creating gaps and slits for contemplatio. Consequently, this creates a non chronological or out of order sequence within the form. These slits form provides a direct line of sight from the internal to external while also forming unique shadows as an effect to the overall design.

Plan

Elevation Axonometric

12 Fragmentation - Overall

[Fragmentation] The instance of breaking down or to cause something to be broken into pieces.

Analysis The Mahanakhon Tower by Buro Ole Scheeran features one of the most iconic and unique landmarks in the Central Business District of Bangkok. With the form being partially pixelated, its carved presence creates openings and connects to the surrounding urban fabric rather than overpowering it. The fragments of the tower also reveals the inner programming and inner city life, reflecting the city’s culture and characteristics.

Reflection -

Buro Ole Scheeran Mahanakhon Tower | 2018 - Section and Concept Diagram5

Elevation

Embracing the idea of how fragmentation seeks to connect with its external surroundings, this iteration explores the possibility of how fragments could in some ways question the threshold between multiple disciplinary and programs within the building. The fragments from the parent form seeks to create separate and distinct spaces between them while maintaining a uniformity and identity of its parent form.

This exploration enables various spatial qualities to be explored to suit different programming while also enabling that connection between the external urban fabric and internal fabric of the building. This form stands out from the classical skyscrappers as the solids appeared to be extracted and dispersed from its original solid form. Unlike other classical skyscrappers where the solids are whole and are conventionally wedged at the tip for structural considerations.

Axonometric

Axonometric Lineweight

13

Part 2 | Inside - Out Objects

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– Week 3 - 4

Task Outline In this task, we were task to pick a historic building form and turn it inside out while further manipulating the inverted model into an object which will become a formal exploration for ideas for architecture or even as ideas for a gallery.

14

15 The House of Faun - Brief Overview

Perspective of House of Faun, looking North 6

Plan of House of Faun

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Overview -

Artist impression of south exterior facade reconstruction.

Drawing by Pasquale Maria Veneri 7

Artist impression of atrium reconstruction.

Artist unknown 8

The House of Faun, built during the 2nd century BC was one of the largest and most exotic private residences in Pompeii, Italy. As it was said to be previously owned by an aristocrat during the era, the House of Faun previously houses a wide variety of art, a few of which were the Alexander Mosaic depicting the Battle of Issus in 333BC between Alexander the Great and Darius III of Persia.

Named after the Dancing Faun Statue located at the Main Atrium of the site, the House of Faun was a residence filled with luxury, art and culture, almost bragging the structure grandeur with impressions of the atrium’s reconstruction by various artists.

16 The House of Faun - Inverting the original model

N

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6. S Original model perspective

Original Floor Plan

The House of Faun has 2 atriums and 2 peristyles to flaunt the grandness of the building. Coming in from the entry, guests are greeted by the Dancing Faun in the Main Atrium while being directed into the Guest Atrium and brought into the first peristyle where the Alexander Mosiac is displayed. The inner garden and peristyle are tailored as private spaces for the residents.

Legend 1. Inner garden & Peristyle 2. Alexander Mosica Exedra / Tablinum 3. Garden & Peristyle 4. Main Atrium (Statue of Faun) 5. Guest Atrium 6. Entry

Inverted model perspective

Inverted, the House of Faun displays a series of solids with strips of void which were previously shown as the structural walls supporting the house. These solids can be categorised and separated into various segments as part of the initial process the form findings tasked in the following activity.

| Model rebuilt and inverted with Charensia and Vineetha

17 Inversion and Fragmentation - Iteration 1

Perspective

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Description -

Plan

The iteration was explored by breaking up the inverted model of the House of Faun. Through the technique of Fragmentation, The components extracted from the inverted model are rearranged and stacked to form the core mass. The columns, which were part of and a feature of the existing building are reused as claddings for the lofted envelope, creating entrances and shade within the building. The use of columns on the claddings as a suggestive iteration touches on the concept of perseverance, keeping existing characters of an existing build on the renewed form.

Reflection -

Elevation

Perspective with colour indicating potential programming

Although the overall form was intriguing, having the existing columns “floating” around the facade of the overall form was not entirely realistic to be built. Based on the comments and feedback given in class, this iteration was almost fantasy-like, simulating the form of Asian pagodas which touches on a specific culture. This iteration was therefore unsuitable as a precedent to be developed for the final gallery space. Despite that, the iteration itself was unique on its own, exploring the cultural aspects and architecture represented through tea houses and religious structures.

18 Inversion and Jump Cut - Iteration 1

Description The iteration was explored by analysing the fragmented components within the existing model in the first iteration. Upon discovering the existing spaces attached to the House’s perimeter walls, traces of the folding technique were present. By orientating and arranging them in sequential order, various height levels are created, producing a dynamic ceiling structure that could be explored further. The overall form appears to be weaving through the site through its gradient roofs, providing a jump cut form gradually unravelling the contents within the building.

Plan

Reflection At first, as I was designing this iteration, I felt a sense of fold occurring within the form itself. However, after a series of comments and feedbacks given during the studio’s session, I was more convinced that this form was more suited as a jump cut instead of as it demonstrated some aspects of the cutting and pasting the external enclosure in sequence. The overall form was interesting however it lacked the enclosure aspect separating the internal and external space, required within a gallery space.

Elevation

Detail Elevation

19

Part 3 | Urban Massing

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– Weeks 3 to 6

Task Outline In this task, we were task to conduct 10 massing models looking at different massing strategies for the site. 3 of these massing models may be a combination or hybrid of these strategies to further enhance and compliment our design statements.

20

21 Stacked and Wrap / Urban Massing Figure Ground - Iteration 1

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Description The exploration on wrapping was conducted for this iteration, the form first begins with a series of cubes stacked (2 cubes stacked as the revised height restrictions were not considered yet) while creating a “cutout at the corner forming an entry into the building. The stacked cubes are then wrapped around a “veil”, enclosing the building and providing light filtering into the internal space.

22 Positive Negative / Spatial Stacking - Iteration 2

Description The exploration of how different floor levels could be connected through the use of ramps was the driving factor for this iteration. A series of blocks were stacked vertically upwards as the starting point. Ramp gradients were modelled out to provide a procession upwards while the ramps were boolean out to create voids which could be speculated as potential spaces for artworks to be displayed and located. This iteration was deemed successful while its overall cube form was also praised to be further developed as it fitted the site’s boundaries.

23 Stacked and Wrap / Urban Massing Figure Ground - Iteration 3

Aerial Perspective

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Description This was another attempt to create a form that was stacked and wrapped. An internal core is built with an opening in the middle of the structure while keeping the corner cutout to allow entry into the gallery space. A veil is created surrounding the internal core with openings on two ends allowing entry and passage from the street.

This iteration as I acknowledge is not as successful as compared to the previous iteration as it appears to lack purpose. The question around the connection between the veil and internal core was also another aspect addressing the iteration’s unsuccessfulness.

24 Facated Cube / Distortion - Iteration 4

Aerial Perspective

Front view of the iteration created in Part 1 for the Distortion design technique.

Description Like the previous iteration in Part 1 - Distortion was praised and suggested to be further explored, I took the overall form and boolean differenced it on a flat cube surface. This was done to explore the aesthetic effect of the form upon boolean. As the outcome of this was not up to my expectation, it was advised that I continue to explore and play with the form to further explore this as a facade option for the gallery space.

25 Floor Level Stacking - Iteration 5

Aerial Perspective

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Description Using the same modelling technique with the previous Distortion iteration in Part 1, I created a series of warped floor and started stacking them, giving each floors some variation to create a pattern which could be reflected on the external facade, creating voids between these levels which could possess various spatial qualities within them. An external straight glazed facade is modelled to enclose the gallery space creating a vertical straight form while the curves derived from the floor levels provide a sense of character within the gallery space.

26 Stacking / Layered and Slatted - Iteration 6

Aerial Perspective

Description I came across this project by Khmaladze Architects on their new Coffee Production Plan in Tiblisi and felt that the folding of each layer was intriguing giving the form a unique look. Upon attempting my version of this technique, I noticed the folds of the external facade made a wavelike effect which provided a slight play of shadow and light on it. This was something I was exploring to relate to my initial concept of Versatility which I wanted to investigate further on the characteristics of the site located in Fitzroy.

Khmaladze Architects Coffee Production Plant, Georgia | 2019 - Image9

27 Floor Level Stacking with Cantilever - Iteration 7

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Aerial Perspective

Street View

Description This iteration seeks the play of depth within the volume by positioning individual components back and forth. The positioning of these components is stacked on top of each other to build verticality. With the ground floor recessed, a cantilevered effect is produced to give the structure light and floating feel from the street view.

28 Floor Level Stacking / Buildings as Diagrams of Function - Iteration 8

Aerial Perspective

Street View from Smith Street

Description Estimated Gross Floor Area: 1394.25sqm Floor Level Proposed : 4 storeys Upon reading Peter Eisenman’s - Strategies of the Void which critically analyses Rem Koolhaus’s Jussieu Libraries, I wanted to further explore the use of diagramming and implementing this symbolic diagram to an iconic diagram, further translating this diagram onto the physical build.

The diagram starts out by categorising the programs listed within the brief such as the Temporary Gallery, Project Gallery and Admin spaces and stacking them within the site itself.

29 Spatial Stacking - Iteration 9 (Developed from Iteration 2)

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Aerial Perspective

Street View from Smith Street

Description Estimated Gross Floor Area: 1434sqm Floor Level Proposed : 3-4 storeys This was a development from iteration 2 where I was exploring the possibilities of the floor ramp within the gallery space to connect the floor levels together, further providing a smooth narration for the users as they proceed through the programs within the gallery.

30 Spatial Stacking / Buildings as Diagrams of Function - Iteration 10

Aerial Perspective

Street View from Smith Street

Description Estimated Gross Floor Area: 1650sqm Floor Level Proposed : 3 storeys This iteration was a combination and simulation of both iterations 8 and 9 to explore the vertical connection between the stacked floor levels and creating a form that is derived from the diagraming of multiple programs.

31 Floor Level Stacking / Cantilever - Iteration 11

Aerial Perspectice

Description -

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Estimated Gross Floor Area: 1378 sqm Floor Level Proposed : 3 storeys This iteration was derived from my findings and research from my design statement. As I was finding the purpose and concept for the gallery space, I realised I wanted a gallery to have an identity distinct enough to reflect the versatility and experimental community and neighbourhood of Fitzroy. Thus creating a space where the collective artistic works from different backgrounds can be stored and displayed to the public. The form starts as a cube, the ground level is extracted and recessed into the form to enable the gallery to be elevated from the ground. Glazing is proposed on the ground level to showcase the retail comprising of the cafe and pop-up restaurant to the public at street level. This form was modelled with a conservative height restriction in mind. This iteration has the potential to be further stacked creating volumes for the designated programs dedicated to this gallery space.

Street View from Smith Street

Street View from corner of Smith Street and Langridge Street

Street View from Gertrude Street

32 Floor Level Stacking / Cantilever / Buildings as Diagrams of Function - Iteration 12

Aerial Perspectice

Description Estimated Gross Floor Area: 1470sqm Floor Level Proposed : 3 storeys This iteration was a combination and simulation of both iterations 8 and 11 to explore the gallery’s identity in relation to its surrounding context and creating a form that is derived from the diagraming of multiple programs. Readings that helped this iteration is Field Conditions by Stan Allen.

Street View from Smith Street

Street View from corner of Smith Street and Langridge Street

Street View from Gertrude Street

33 Selected Urban Massing Iterations - Further development for the 2 schemes required for Mid - Semester Review

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Iteration 1

Iteration 2 (Selected)

Iteration 5

Iteration 6

Iteration 8

Iteration 9 (Developed from Iteration 2)

34 Iteration 3

Iteration 4

Iteration 7

Iteration 7

Iteration 10 (Selected)

Iteration 11

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35

Part 4 | Site Analysis

– Weeks 3 to 6

36

37

Part 5 | Design Statement - Weeks 4 to 6

Initial Draft To celebrate the distinctive identity of an art gallery that would reflect the versatile, experimental and vibrant character of Fitzroy.

Key Points 1. A space and platform to connect artists and the public.

-Importance and consideration of architecture as a site where “it represents all the repressed immanent conditions of existing urbanism, not to destroy it but create new avenues and alternative directions as to what the art gallery could be”.

Relevant Reading Peter Eisenman - Unfolding Events Peter Eisenman - Strategies of the Void 2. Foster collaboration between various artists of different cultural and heritage backgrounds.

- Intention to engage community involvement and artistic collaborations between local and international artists of all backgrounds.

3. Acknowledging the importance of sensory experience within an art gallery space.

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-Consideration of lighting qualities within the art gallery space.

-Importance of material & tactility within the art gallery space and its external building envelope.

-Importance of circulation & atmosphere guided by its programming within the art gallery space.

Relevant Reading Juhani Pallasma - The Eyes of The Skin Peter Zumthor - Thinking Architecture Peter Zumthor - Atmospheres 4. Representing Art, Culture and Heritage in Fitzroy as a landmark and cultural icon.

- As the site is at the corner of Gertrude St. and Smith St., the site features potential for the art gallery space to be a landmark guiding passerby and visitors into the gallery space.

- Considerations of preserving certain architectural and material aspects on site such as the brick constructed heritage street fronts, and bluestone masonry walls.

5. An art gallery as a space to house and display the collective creativity of artists.

- The intention of cultivating an art gallery as a hub to store, preserve and express the collective artworks and creativity of artists coming from different backgrounds.

Relevant Reading Stan Allen - Field Considerations

38 Design Statement (Draft | 25.08.2021 | To be reviewed) The suburb of Fitzroy is no stranger to the concept of art and culture, priding itself as one of the trendiest suburbs within the inner fringe of metropolitan Melbourne.

The site is located between the corners of Gertrude and Smith Street, where heritage meets retail and culture. With a large community showing their appreciation of contemporary arts through various programs, the street’s vibrancy allows a new landmark featuring an art gallery to represent these traits within the heart of Fitzroy.

The proposal seeks to celebrate a distinctive identity of an art gallery that reflects the versatility, experimental and spirited character of Fitzroy. As an art gallery that thrives on housing and displaying the collective creativity of society, the gallery seeks to curate a common platform connecting both artists and the public.

Through the exploration of stacking and spatial diagramming, the art gallery represents a bridge encouraging the community to further embrace the cultural and artistic differences between various backgrounds. The blend between solids and voids through the use of warped floors, connecting each level allows these contrasting cultures, backgrounds and beliefs to blend, similar to how art unites society.

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- Week 7

39

Part 6 | Mid - Semester Review

Scheme 1

Scheme 2

40 Task Outline The Mid - Semester Reviews were conducted in week seven where students presented two schemes selected from 2 of their best urban massing iterations for review.

A series of design statements, form-finding diagrams, site analysis, floor plans, sections and perspective renders were part of the deliverables for this presentation.

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Scheme 1 - Spatial Stacking / Positive Negative

How can the Fitzroy Art Gallery Space allow a space and platform to connect artist and public, responding to the need for the public to further appreciate art curated by various artists of different backgrounds?

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43 Scheme 1: Spatial Stacking / Positive Negative - Form Finding Diagram

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01. Extrude

02. Subtract

The form is extruded from the site boundary outline as a starting point to give it volume.

Portions of solids are subtracted to provide spaces for programs to stack spatially. This subtraction creates a distinguished external and internal space for various gallery programs to occur.

03. Connectivity

04. Spatial Stacking

Circulation ramps are introduced to provide a seamless connection between floor levels where different art gallery programs are spatially stacked.

The circulatory ramps enable viewers to view the artworks seamlessly as they progress from the ground floor to the 3rd floor, creating a smoother narration on the artistic expression of the artworks upon entering the art gallery space.

The concept of spatial stacking, positve negative subtractions and connecting ramps are incorporated into the art gallery space, providing the final form for the scheme.

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Scheme 1: Spatial Stacking / Positive Negative - Programming

Basement

Ground Floor

Second Floor

Third Floor

First Floor

45 Scheme 1: Spatial Stacking / Positive Negative - Floor Plans

Gertrude St r

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Ground Floor Plan

True North

46 Smith Stree t

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Legend: 1. Entry 2. Foyer 3. Pop Up Restaurant 4. Cafe 5. Gift Shop 6. Kids Learning Centre 7. Loading Bay and Preparation 8. Goods Lift 9. Accessible WC. 10. Fire Stairs

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47 Scheme 1: Spatial Stacking / Positive Negative - Floor Plans

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Basement Plan Legend: 1. Loading Bay and Preperation 2. Store and Assemblage 3. Staff 4. Mechanical and Services 5. Fire Stairs 6. Accessible WC. 7. Goods Lift 8. Temporary Gallery Space 9. Digital Projection Gallery 10. Research Library

True North

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48 A 5.

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1.

10.

First Floor Plan 1. Loading Bay and Preperation 2. Store and Assemblage 3. Staff 4. Mechanical and Services 5. Fire Stairs 6. Accessible WC. 7. Goods Lift 8. Temporary Gallery Space 9. Digital Projection Gallery 10. Research Library

True North

A

Legend:

8.

A

49 Scheme 1: Spatial Stacking / Positive Negative - Floor Plans

4.

2.

3.

B 5.

7.

Second Floor Plan Legend: 1. Preperation 2. Project Gallery Space 3. Temporary / Project Gallery Space 4. Fire Stairs 5. Accessible WC. 6. Outdoor Terrace 7. Goods Lift

True North

A

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1.

3.

B

50 A 6.

4.

2.

2.

B

B 5.

7.

6.

1.

Third Floor Plan 1. Preperation 2. Project Gallery Space 3. Temporary / Project Gallery Space 4. Fire Stairs 5. Accessible WC. 6. Outdoor Terrace 7. Goods Lift

True North

A

Legend:

51 Scheme 1: Spatial Stacking / Positive Negative - Section AA

Parapet Level RL. 20m

Outdoor Terrace Project Gallery Space

Third Floor Level RL. 13.5m Project Gallery Space

Second Floor Level RL. 9m

First Floor Level

Research

Temporary Gallery Space

Digital Projection Gallery

RL. 4.5m

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Ground Floor Level RL. 0m

Gift Shop

Foyer

Staff

Basement Level RL.- 4.5m

Restaurant

Mechanical

52 Gertrude Street

Circulation Diagram

53 Scheme 1: Spatial Stacking / Positive Negative - Section BB

P

Smith Street

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Digita

Circulation Diagram

54 Parapet Level RL. 20m

Project Gallery Space

Third Floor Level RL. 13.5m

Project Gallery Space

Second Floor Level RL. 9m

Temporary Gallery Space

al Projection Gallery

First Floor Level RL. 4.5m Ground Floor Level RL. 0m

Foyer

Staff

Store and Assemblage

Basement Level RL.- 4.5m

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Scheme 1: Spatial Stacking / Positive Negative - Street Perspective: Langridge Street Looking South West

56

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Scheme 1: Spatial Stacking / Positive Negative - Internal Perspective: Temporary Gallery Space

58

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Scheme 2 - Floor Level Stacking / Positive Negative / Cantilever

How can the Fitzroy Art Gallery Space celebrate its distinctive identity of an art gallery that reflects the versatility, experiemental and spiritied character of Fitzroy?

60

61 Scheme 2: Floor Level Stacking / Positive Negative / Cantilever - Form Finding Diagram

Extrude

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The form is extruded from the site boundary outline as a starting point to give it volume.

Floor Level Stacking The concept of stacking floors vertically above one another is implemented to catogorise the programmes in a sequential order.

Subtract

Connectivity

Portions of solids are subtracted to provide spaces for programs to stack spatially. This subtraction reveals a portion of the program to the external environment, invoking a sense of curiousity and intrigue within the art gallery space.

This subtraction creates a stair case like connectivity to the upper floors.

Recessed The Ground Floor and Third Floor levels are recessed inwards to reduce the box like form of the building. This also provides a horizontal shading to the north part of the building.

Canvas The Straight facade creates a canvas to accommodate the annual Gertrude Street Projection Festival.

62 Scheme 2: Floor Level Stacking / Positive Negative / Cantilever - Programming

Basement

Ground Floor

Second Floor

Third Floor

First Floor

63 Scheme 2: Floor Level Stacking / Positive Negative / Cantilever - Floor Plans

Gertrude St re

et

10.

B 9.

8.

A

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7.

Ground Floor Plan

True North

64 Smith Stree t

A 3.

1.

2.

B

4.

6.

Smith Stree t

5.

Legend: 1. Entry 2. Foyer 3. Pop Up Restaurant 4. Cafe 5. Gift Shop 6. Kids Learning Centre 7. Loading Bay and Preparation 8. Goods Lift 9. Accessible WC. 10. Fire Stairs

65

A

Scheme 2: Floor Level Stacking / Positive Negative / Cantilever - Floor Plans

4.

5.

B

B

2.

6.

3.

7.

Basement Plan Legend: 1. Loading Bay and Preperation 2. Store and Assemblage 3. Staff 4. Mechanical and Services 5. Fire Stairs 6. Accessible WC. 7. Goods Lift 8. Temporary Gallery Space

True North

A

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1.

66 A 5.

8.

B

B 6.

7.

8.

1.

First Floor Plan 1. Loading Bay and Preperation 2. Store and Assemblage 3. Staff 4. Mechanical and Services 5. Fire Stairs 6. Accessible WC. 7. Goods Lift 8. Temporary Gallery Space

True North

A

Legend:

67

A

Scheme 2: Floor Level Stacking / Positive Negative / Cantilever - Floor Plans

4.

6.

6.

B

B 5.

7.

8.

9.

Second Floor Plan Legend: 1. Preperation 2. Project Gallery Space 3. Temporary / Project Gallery Space 4. Fire Stairs 5. Accessible WC. 6. Sculptural Terrace 7. Goods Lift 8. Artist Studio 9. Digital Projection Gallery 10. Research Library

True North

A

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1.

68 A 4.

2.

B

B 5.

7.

1.

10.

Third Floor Plan 1. Preperation 2. Project Gallery Space 3. Temporary / Project Gallery Space 4. Fire Stairs 5. Accessible WC. 6. Sculptural Terrace 7. Goods Lift 8. Artist Studio 9. Digital Projection Gallery 10. Research Library

True North

A

Legend:

69 Scheme 2: Floor Level Stacking / Positive Negative / Cantilever - Section AA

Parapet Level RL. 18m

Research Library

Project Gallery Space

Third Floor Level RL. 13.5m Artist Studio

Temporary Gallery Space

Second Floor Level RL. 9m

First Floor Level

Sculptural Temporary Gallery Space

Temporary Gallery Space

RL. 4.5m

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Ground Floor Level RL. 0m

Gift Shop

Loading Bay

Basement Level RL.- 4.5m

Foyer

Restaurant

Mechanical

70 Gertrude Street

Circulation Diagram

71 Scheme 2: Floor Level Stacking / Positive Negative / Cantilever - Section BB

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Smith Street

Circulation Diagram

72 Parapet Level RL. 18m Project Gallery Space

Third Floor Level RL. 13.5m Sculptural Terrace

Temporary Gallery Space

Second Floor Level RL. 9m

Temporary Gallery Space

First Floor Level RL. 4.5m Ground Floor Level Cafe

Foyer

Staff

RL. 0m

Store and Assemblage

Basement Level RL.- 4.5m

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Scheme 2: Floor Level Stacking / Positive Negative / Cantilever - Street Perspective: Langridge Street Looking South West

74

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Scheme 2: Floor Level Stacking / Positive Negative / Cantilever - Internal Perspective - Temporary Gallery Space

76

77 Mid-Semester Review - Reflection

Design Decisions The chosen schemes that were presented for this Mid-Semester Review were based on the selections of Iteration 2 and Iteration 10 of our Urban Massing Iteration exercise. Iteration 2 produced a strong exploration on the use of ramps as circulation and as a vertical transportation method across the different floor levels, thus providing a very strong form that could be further developed into one of the selected schemes for the Mid-Semester Presentation. Iteration 10 also provided an interesting exploration in its form, the subtractions of the form itself, creating cutouts revealing the internal programs were unique and chosen to be further explored as the second scheme.

Knowledge Acquisition Through the process of developing both schemes, I learnt that Scheme one which was derived from Iteration 2 was much more complex to achieve.

The challenge for this scheme was to be able to successfully incorporate the iterations form and program together without compromising on its strong form represented in the iteration. This challenged was overcome through multiple trials and errors, which led me to the recent scheme presented in the MidSemester Review.

Successful - Unsuccessful The most successful aspect of this presentation was in the logic and rationality of both spatial programmings, which defined both forms. The reason behind why scheme 1 & 2 was designed was easily justified through its programming and circulation which responded well to the existing site. However, to focus on the logical and rational aspects for both schemes, the overall form did not have a “sculptural” look, reflecting on what an art gallery should feel like. This point was further emphasized and advised by the guest crits to be further explored and looked into for the final reviews.

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Future Decisions Upon selecting scheme 1 (shown in the street perspective image), I need to loosen up on its design to be more flexible and sculptural with its form. With more focus on form rather than the rationality of the spatial arrangements, the overall form for this scheme can be pushed and refined further towards the final review.

78

79

Part 7 | Design Development

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- Week 8 - 12

Task Outline Over weeks 8 to 12, we were tasked to further develop our selected schemes in preparation for the final semester review. Throughout this period, precedent studies of other built galleries were critically analysed to assist us with our understanding of the circulation, spatial arrangements of the gallery spaces, lighting and materiality of the building.

80

81 Plans, 3D Model Design Development - Week 8

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Update: Window opening to Cafe Area

Update: Entrance and entrance door design.

Design Development Outline -

Reflection -

Over the non- teaching period, I spent most of the time researching other galleries and museums precedents to understand the form, entry design and foyer space.

Throughout the galleries and museums documented in “The Chapter” by Farshid Moussavi, I found the Museum Aan de Stroom by Neutelings Riedijk Architects to resonate with my project in terms of the overall subtractive form, lighting qualities and spatial arrangements. From there, I updated the entrance facing towards Smith Street rather than the corner of Smith and Gertrude Street as an approach to maintain the pure form of my gallery’s design.

Consequently amending the Foyer and Entry space.

The overall change to the entrance and ground floor area made the plan to be too crowded. With a fair amount of programming located on this floor, the Foyer area appeared to be packed and eventually making it feel more like a shopping centre rather than a gallery foyer which needed to appear grand and spacious. This design amendment was unsuccessful and needed to be rectified by careful consideration on subtracting the ground floor area, freeing up the ground floor area. In essence, I needed to be more strategic in subtracting spaces on the the ground floor to allow a more coherant gallery foyer space for the building.

82 A

Basement Legend: 4.

B

5.

6.

2.

3.

1.

A

7.

B

1. Loading Bay and Preperation 2. Store and Assemblage 3. Staff 4. Mechanical and Services 5. Fire Stairs 6. Accessible WC. 7. Goods Lift 8. Temporary Gallery Space 9. Digital Projection Gallery 10. Research Library

Project North

A

Update: Foyer area amended as a consequence of amending the point of entrance.

Ground Floor Legend:

Gertrude Street

11.

6.

5.

B

B

2.

9.

3.

A

7.

Project North

1.

4.

Smith Street

8.

10.

1. Entry 2. Foyer 3. Pop Up Restaurant 4. Cafe 5. Gift Shop 6. Kids Learning Centre 7. Loading Bay and Preparation 8. Goods Lift 9. Accessible WC. 10. Fire Stairs 11. Staff Admin Office

83

A

Update: Position of escalators amended to be off centered to allow a more spacious entry to the Temporary Gallery Space.

First Floor Legend:

8.

8.

10.

B

5.

7.

B

8.

9.

6.

A

1.

1. Loading Bay and Preperation 2. Store and Assemblage 3. Staff 4. Mechanical and Services 5. Fire Stairs 6. Accessible WC. 7. Goods Lift 8. Temporary Gallery Space 9. Digital Projection Gallery 10. Research Library

A

Project North

2.

B

4.

7.

B

3.

3.

5.

1.

A

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Second Floor Legend:

Project North

3.

1. Preperation 2. Project Gallery Space 3. Temporary / Project Gallery Space 4. Fire Stairs 5. Accessible WC. 6. Outdoor Terrace 7. Goods Lift

84 A

Third Floor Legend: 6.

2.

B

2.

4.

7.

6.

5.

B

1. Preperation 2. Project Gallery Space 3. Temporary / Project Gallery Space 4. Fire Stairs 5. Accessible WC. 6. Outdoor Terrace 7. Goods Lift

A

1.

Project North

Update: Windows added for the cafe area, to allow a visual connection to Smith Street without comprimising on the overal form.

Street Perspective - Langridge Street Looking South West

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Plans, 3D Model Design Development - Week 9

Update: Entrance and Gift Shop glazing.

Design Development Outline Further development to the ground floor entrance and Foyer area with subtraction to be further considered.

Lighting and Structure were also proposed this week to demonstrate how the internal gallery spaces will be used and supported.

86

A

Basement Legend: 4.

B

3.

5.

B

2.

7.

1. Loading Bay and Preparation 2. Project Records and archive 3. Store and Assemblage 4. Mechanical and Services 5. Fire Stairs 6. Accessible WC. 7. Goods Lift

6.

A

1.

A

Project North

Ground Floor Legend:

Gertrude S treet

11.

6.

5.

B

10.

9.

3.

A

7.

True North

4.

1.

Smith S treet

2.

8.

B

1. Entry 2. Foyer 3. Pop Up Restaurant 4. Cafe 5. Gift Shop 6. Kids Learning Centre 7. Loading Bay and Preparation 8. Goods Lift 9. Accessible WC. 10. Fire Stairs 11. Staff Admin Office

A

87

First Floor Legend:

8.

8.

10.

B

8.

5.

7.

B

9.

6.

A

1.

1. Loading Bay and Preparation 2. Store and Assemblage 3. Staff 4. Mechanical and Services 5. Fire Stairs 6. Accessible WC. 7. Goods Lift 8. Temporary Gallery Space 9. Digital Projection Gallery 10. Research Library

A

Project North

1. Preparation 2. Project Gallery 3. Temporary Gallery 4. Fire Stairs 5. Accessible WC. 6. Goods Lift

2.

B

4.

6.

3.

1.

Project North

2.

3.

B

Feedback: Glazing line needs to be further pushed back to accentuate the subtraction on the overall form.

5.

A

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Second Floor Legend:

88

A

Third Floor Legend:

5.

2.

B

2.

B

3.

6.

5.

4.

A

1.

Floor Plan ReflectionFrom last week’s feedback for the ground floor, I decided to subtract a portion of the Gift Shop space as a design approach to open up the Ground Floor plan. The thick walls for the Gift shop were removed to further emphasize the openess of the floor plan. Regardless, the cafe and pop up restaurant still appeared to be unresolved and needed to be simplified further (by removing the kink) to provide a better planning for the Foyer area.

The Store and Assemblage space needed to be separated while also including a Project Archive and Record space on the Basement Floor. This will be rectified in the next week during design development.

The glazing lines along the gallery promenade on Level 2 and Temporary Gallery Space on Level 1 needed to be pushed in further to accentuate the idea of subtraction for my overall gallery form. This would prevent the overall form of the gallery to look to “boxy” and its design to be lost in translation on the concept of subtraction.

1. Preparation 2. Project Gallery Space 3. Fire Stairs 4. Accessible WC. 5. Outdoor Terrace 6. Goods Lift

89 Structural Proposal - Week 10

Load Bearing Walls Pre- cast concrete as material for load bearing walls structure.

7.

Load Bearing Walls Pre- cast concrete as material for load bearing walls structure.

4.

6.

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3.

Structural ReflectionAs I was aiming for a column free structure, relying most of the structural support through the external structural walls as load bearing and the use of band and edge beams to support each floor level, I realised from my discussion with Shaw the structural engineer that columns were needed between grids D3 and E3.

Nevetherless, the span of 11m was acceptable between the structural columns as this is evident for other built large scale projects.

90 8.

Service Core 5.

The service core will serve as the main structural walls supporting the floors and walls on each level.

4.

5.

8.

Band and Edge Beams

4.

8.

2.

Band and edge beams proposed to provide structural rigidity to the floor structure on each level.

1.

Legend: 1. Archive 2. Foyer 3.Restaurant 4. Temporary Gallery Space 5. Project Gallery Space 6. Digital Projection Gallery 7. Outdoor Terrace 8. Fire Stairs

91 Lighting Proposal - Week 10

5.

Natural Lighting Use of glazing to allow natural sunlight into the temporary gallery promenade space.

4 3.

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Trimless Recessed Adjustable LED Lighting Trimless recessed adjustable LED lighting is proposed in the Digital Projection Gallery to accommodated the lower ceiling height within the space without compromising the flexibility for lighting adjustability within the gallery space.

Smith Street

92 LED Track Lighting

6.

4.

3.

3.

adjustability while enabling artificial light to light the gallery space walls.

LED Track Lighting

4.

4.

LED track lightings are proposed to allow better flexibility for lighting

6.

LED track lightings are proposed to allow better flexibility for lighting adjustability while enabling artificial light to light the gallery space walls.

6.

2.

1.

Legend: 1. Archive 2. Foyer 3. Temporary Gallery Space 4. Project Gallery Space 5. Outdoor Terrace 6. Fire Stairs

93

Parapet Level RL. 20m

Outdoor Terrace

Project Gallery Space

Third Floor Level RL. 13.5m

Temporary Gallery Space

Gertrude Street Second Floor Level RL. 9m

Digital Projection Gallery

First Floor Level

Temporary Gallery Space

Temporary Gallery Space

RL. 4.5m Ground Floor Level

Restaurant

RL. 0m

Foyer

Storage and Assemblage

Gift Shop

Mechanical

Basement Level RL.- 4.5m

Parapet Level

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RL. 20m

Project Gallery Space Third Floor Level RL. 13.5m

Temporary Gallery Space

Project Gallery Space

Temporary Temporary Gallery Space Gallery Space

Second Floor Level RL. 9m

Smith Street

Temporary Gallery Space First Floor Level RL. 4.5m

Entry

Ground Floor Level

Foyer

Store and Assemblage

RL. 0m

Project Records and Archive Basement Level RL.- 4.5m

94 Section, Detail Section Potential Perspective Render Angles - Week 10

Parapet Level RL. 22m

7

6

Third Floor Level RL. 13.5m

5

6

7

5

Second Floor Level RL. 9m

7

5

Smith Street

First Floor Level RL. 4.5m

3

4

7 Ground Floor Level RL. 0m

1

2

7 Basement Level RL.- 4.5m

Legend: 1. Store and Assemblage 2. Project Archive and Records 3. Entry 4. Foyer 5. Temporary Gallery Space 6. Project Gallery Space 7. Fire Stairs

Feedback: Section cut needed to be ameneded so that it does not cut through the fire staircase, allowing the more important spaces such as the Temporary Gallery spaces and Outdoor terrace to be showcased.

95

Update: Mechanical and Services Room amended to accommodate Project Records and Archive.

A

Plan Refinement - Week 11 -12

Feedback: In order to remove any unwanted dead corridor space, the Mechanical Room needed to be tucked around the fire stair core (Drawn in red dashed line)

Basement Legend: 4.

1. Loading Bay and Preparation 2. Project Records and archive 3a. Store 3b.Assemblage 4. Mechanical and Services 5. Fire Stairs 6. Accessible WC. 7. Goods Lift

3a.

B

2.

5.

7.

B

3b.

6.

A

1.

A

Project North

Ground Floor Legend: 11.

6.

5.

B

10.

2.

8.

3. 4.

7.

Project North

1.

Smith S treet

B

9.

A

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Gertrude S treet

1. Entry 2. Foyer 3. Pop Up Restaurant 4. Cafe 5. Gift Shop 6. Kids Learning Centre 7. Loading Bay and Preparation 8. Goods Lift 9. Accessible WC. 10. Fire Stairs 11. Staff Admin Office

96 A

First Floor Legend:

8.

8.

B

7.

10.

5.

8.

6.

9.

B

A

1.

1. Loading Bay and Preparation 2. Store and Assemblage 3. Staff 4. Mechanical and Services 5. Fire Stairs 6. Accessible WC. 7. Goods Lift 8. Temporary Gallery Space 9. Digital Projection Gallery 10. Research Library

A

Project North

Second Floor Legend: 2.

B

4.

6.

B

3.

5.

3.

Update: Glazing line pushed back to accentuate the subtraction on the overall form.

A

1.

Project North

2.

1. Preparation 2. Project Gallery Space 3. Temporary Gallery 4. Fire Stairs 5. Accessible WC. 6. Goods Lift

A

97

Third Floor Legend:

5.

2.

B

2.

B

3.

6.

5.

4.

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A

1.

1. Preparation 2. Project Gallery Space 3. Fire Stairs 4. Accessible WC. 5. Outdoor Terrace 6. Goods Lift

98 Floor Plan ReflectionThere was more progress done for this week. With the glazing lines further pushed back inwards along the Gift Shop, Temporary Gallery Space and Gallery Promenade to accentuate the subtraction of the form, changes such as the width of the ramp clearance for the Gallery Promenade had to be narrower to accommodate the following changes.

The store and Assemblage spaces were amended to suit last week’s feedback. However the Mechanical and Services room needed to further refined to remove the dead - ended corridor space.

The circulation space between the Goods lift and Storage area was also enlarged by reducing the depth of the Goods Lift to allowing a wider clearance for turning when the artworks are being taken out or into the store.

The challenge for this week was to amend the escalators on the third floor so that they can be further inwards to have a consistent effect with the glazing lines along the Gallery Promenade area. This is still an ongoing issue which needs to be resolved before week 12.

99

Part 8 | Gallery Analysis

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- Week 11

Museum Aan De Stroom Diagram | - Imagex1

100 Background The Museum Aan De Stroom in Antwerp, Belgium is design to house and exhibit the historical antiques and artefacts of the Belgium heritage. Located between the old docks in Eilandje, the museum is design as a historical landmark and monument to commemorate the rich and heavy legacy of the country itself.

Gallery A fully enclosed gallery is design to exhibit different historic artefacts and artworks which are sensitive to natural light. This gallery is accessible only via ticketting.

Exhibition Room A double height exhibition space for larger artefacts to be exhibited here. This forms part of the space which is open for the public.

Entry Public access point allowing visitors to access the exhibition and gallery spaces above via escalators.

Information & Ticketing Booth Information desks and ticketing counter for visitors to enquire and purchase tickets to access the gallery spaces upon their entry into the museum.

101 Legend Foyer Services Core Back of House Exhibition Room

Gallery Room

Restaurant

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Conference Room

Outdoor Terrace

Restaurant

Circulation

Museum Aan De Stroom Floor Plans | - Imagex2

102 Design Concept The building comprises of 10 giant stone blocks reflecting the gravity of its city’s history, totalling up to around sixty metres. Each storey of the tower is rotated 90 degrees, creating a gigantic spiral circulation accessible via staircases and escalators.

The overall volume of the building is subtracted, creating spaces which forms the Glazed Gallery Spaces which are free for the public to use.

Programming The ticketing and information counters are located on the ground floor right next to the entrance. Each floor features the exhibition hall and gallery spaces showcasing the history of the city while enjoying the panaromic views of the city while progressing towards the upper levels. A restaurant, party room and outdoor terrace is located on the highest level allowing visitors to view the city skyline.

Services and amenities for the back of house is located in the central core of the building.

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Lighting The glazed exhibition gallery space host two - thirds of the gallery space, allowing natural light as the preferred lighting within the space. Artificial light is implement in the enclosed spaces of the gallery space, with just one window each.

104 Structural Steel Members

Structural Steel Cantilever Members

Concrete Core Walls

Main Structural Component Breakdown | - Imagex3

Precast Concrete Panel Substrate

Exposed Structural Steel outrigger

Axonometric Structural Arrangement | - Imagex4

Structural A central structural core features the main support system where all the back of house and services are located. Structural steel outriggers are assembled around the central core to support the floor areas on each level, further providing bracings to the overall structure. These steel outriggers are exposed within parts of the enclosed gallery spaces, giving characted to the interior of the building.

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Museum Aan De Stroom Sections | - Imagex5

105

106 Structural System - Reflection As the structural system for the Museum Aan De Stroom uses a combination of concrete structural core and steel truss outriggers, this structural system can be considered to be incorporated into my project.

Due to the difference in scale between the Fitzroy Art Gallery and MAS, the use of structural steel truss outriggers maybe substituted into posi- struts or smaller trusses for the roof and subfloor support.

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Facade at The Broad Museum by Diller Scofidio + Renfro | 2015 Imagex6

Glassfibre Reinforced Concrete Panel / Module The Broad Museum in LA by Diller Scofidio + Renfro uses of glassfibre reinforced concrete panels as its external cladding.

Due to its modular yet sculpturable characteristics, this material is selected to allow custom made designs specifically for the project.

108 Glassfibre reinforced concrete panel

Insulation and panel substrate

Plasterboard lining Steel universal beam support

Facade detail at The Broad Museum by Diller Scofidio + Renfro | 2015 Imagex6

109

Part 9 | Final Semester Review - Week 14

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“How can the Fitzroy Art Gallery Space connect the cultural & historical diversity while also reflecting on the precinct’s versatility in enduring transformation throughout its urban development?”

Architecture as an expression of the community.

Art as a representation of perception.

Importance of sensory experience.

Architecture, similar to art possesses the power to express and reflect the characteristics of a community. The abstract forms of architecture reflect an experimental character of a neighbourhood where in this case features Fitzroy.

Art is perceived differently by each individual from multiple perspectives. The art gallery seeks to reflect and resonate these perspectives of the viewer’s perception towards art, forming a space to connect like-minded communities and artists.

The consideration of lighting qualities, materiality, circulation to provide an experiential atmosphere within the art gallery space to provide an immersive experience.

An art, cultural and heritage landmark.

A space housing and displaying the collective creativity of artists.

As the site is located at the corner of Gertrude and Smith Street, the site possesses the potential of unlimited possibilities for the art gallery to be a landmark, guiding and connecting passersby and visitors into the gallery space.

The role of the art gallery as a central hub to store, preserve and express the collective artworks and creativity of both local and national artists from different backgrounds.

110 Design Statement (Revised)

The suburb of Fitzroy is no stranger to the concept of art and culture, priding itself as one of the trendiest suburbs within the inner fringe of metropolitan Melbourne.

The site is located between the corners of Gertrude and Smith Street, where heritage meets retail and culture. With a large community showing their appreciation for contemporary arts through various programs, the street’s vibrancy allows a new landmark featuring an art gallery to represent these traits within the heart of Fitzroy.

The proposal explores the idea of subtraction to understand how voids and spaces can be created and perceived within a solid form. The void, being unknown, can be perceived through multiple perspectives by each individual.

Similarly, a viewer’s perception towards art can also be perceived differently based on their personal experiences, cultural and heritage backgrounds.

Through subtraction, the abstract form of the Fitzroy Art Gallery seeks to celebrate a distinctive identity that reflects the versatile and experimental character of the suburb as a result of its urban transformation over the years.

The Fitzroy Art Gallery also draws inspiration from Cathy Lu, a sculpturist whose work explores the relationship between her cultural history and contemporary identity. Encouraging the cultural and artistic diversity within Fitzroy, uniting any contrasting cultures, backgrounds and beliefs as one, similar to how art unites society.

111 Design Statement (Revised)

National Gallery of Victoria The National Gallery of Victoria features one of the significant art landmarks in the state. The art museum itself houses a wide collection of artworks which ranges from Australian to International Artworks for the public.

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Australian Centre for Contemporary Art The Australian Centre for Contemporary Art is a multi-functional art space built within the Southbank Precinct. Its bold forms are referenced to the primary functionality of the building itself: Art while the choices of materiality celebrate the strong presence and encouragement for experimentation and art exploration.

Location of Proposed Site

112 Brunswick Street Gallery The Brunswick Street Gallery represents a space for both local and national artists to present their works within the Fitzroy precinct.

City Gallery The City Gallery Located within Melbourne Town Hall is a free exhibition space that offers quarterly exhibitions on its city’s local’s lifestyle, both past and present. The gallery space itself presents a platform for local artists and curators to present their artworks as means to reflect the city’s vibrant characteristics.

113

Site Analysis

Major Art Galleries & Museum 1. Pauline Gandel Children’s Gallery 2. Melbourne Museum 3. Bunjilaka Aboriginal Cultural Centre 4. Brunswick Street Gallery 5. The Johnston Collection 6. MCC Museum 7. The Fiztroy Art Collective 8. BlackCat Gallery

Local Art Galleries 1. The Galerie Fitzroy 2. Sutton Gallery 3. PG Gallery 4. ACU Melbourne Gallery 5. This is no fantasy

untitled: a Project Art Space for Melbourne | Nathaniel Foo 804903

6. Art & Collectors 7. At The Above 8. BSIDE Gallery 9. In.cube8r

Art Gallery & Exhibition Cafes & Restaurants Gertrude Street - Art / Cultural / Heritage Zone Smith Street - Retail Zone

114 Tram Route The Fitzroy Art Gallery is accessible via Tram Route 86 which stops along Gertrude and Smith Street.

Victoria Parade The Fitzroy Art Gallery is accessible via Victoria Parade from Melbourne CBD via car.

Bus Route The Fitzroy Art Gallery is accessible via Bus Routes 304, 905, 906, 907 which stops at the intersection between Smith Street and Victoria Parade, taking a 4 minute walk to the art gallery.

115

Gallery Analysis

Glassfibre Reinforced Concrete Panel / Module | The Broad Museum by DS+R

Gallery A fully enclosed gallery is design to exhibit different historic artefacts and artworks which are sensitive to natural light. This gallery is accessible only via ticketting.

Exhibition Room

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A double height exhibition space for larger artefacts to be exhibited here. This forms part of the space which is open for the public.

Entry Public access point allowing visitors to access the exhibition and gallery spaces above via escalators.

Information & Ticketing Booth Information desks and ticketing counter for visitors to enquire and purchase tickets to access the gallery spaces upon their entry into the museum.

Musuem Aan De Stroom | Neutelings Riedijk Architects Image Retrieved from https://www.archdaily.co/co/02-48694/museum-aan-de-stroom-neutelings-riedijk-architects/belgian-museum-aan-de-stroom-completed-in-antwerp-1

116 Lighting The glazed exhibition gallery space host two - thirds of the gallery space, allowing natural light as the preferred lighting within the space. Artificial light is implement in the enclosed spaces of the gallery space, with just one window each.

Foyer

Exhibition Room

Conference Room

Services Core

Gallery Room

Outdoor Terrace

Back of House

Restaurant

Circulation

Programming and Circulation The glazed exhibition gallery space host two - thirds of the gallery space, allowing natural light as the preferred lighting within the space. Artificial light is implement in the enclosed spaces of the gallery space, with just one window each.

Floor Plans Retrieved from http://housevariety.blogspot.com/2010/12/museum-aan-de-stroom-mas-by-neutelings. html#.YWQiKBpByUk

117

Urban Massing Iteration

Iteration 2 (Selected)

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Iteration 1

Iteration 5

Iteration 8

Iteration 3

Iteration 6

Iteration 9 (Developed from Iteration 2)

Iteration 4

Iteration 7

Iteration 10

Iteration 7

Iteration 11

Extrude | Solid

118

Conceptual and Form Finding Diagram

Subtract | Void

The form is extruded from the site boundary outline as a starting point to give it volume.

– The solid form being extruded demonstrates the suburb’s dense and rich history intermingled with the existence of different cultural backgrounds.

Portions of solids are subtracted to provide spaces for programs. This subtraction creates a distinguished external and internal space for various gallery programs to occur.

– The void formulated from this subtraction relates back to the unknown whereby it can be perceived different through multiple perspectives and lenses from different individuals

Connectivity | Perception, Art, Culture

Spatial Stacking | Reflection

Circulation ramps are introduced to provide a seamless connection between floor levels where different art gallery programs are spatially stacked.

The circulatory ramps enable viewers to view the artworks seamlessly as they progress from the ground floor to the 3rd floor, creating a smoother narration on the artistic expression of the artworks upon entering the art gallery space.

– In relation to how the void is being perceived, a connection to how art is perceived is also similar.

Further emphasizing the relationship between how perception, art and culture are perceived differently yet in cohesion.

The concept of spatial stacking, positve negative subtractions and connecting ramps are incorporated into the art gallery space, providing the final form for the scheme.

The final form which posess an abstract look reflects the versatile and experimental character of the suburb as a result of its urban transformation over the years.

119

Form Functionality Diagram

Canvas

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The straight and pure facade enables a canvas to accommodate the annual Gertrude Street Projection Festival.

Retail Connectivity The Gift Shop is located at the corner of Gertrude and Smith Street to maintain a connection between the retail sector of Smith Street and Gertrude Street.

120 Gallery Promenade The Gallery Promenade on the Second Floor promotes visual procession for visitors viewing the sculptural artwork displayed while also being able to enjoy the landscape view of the urban context of Fitzroy.

121

Program and Functional Analysis

Public Circulation Back of House Circulation

First Floor Digital Projection Gallery Temporary Gallery Research Library Loading Bay and Preparation

Ground Floor

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Cafe Gallery Bar Foyer Kids Learning Centre Staff and Admin Office Loading Bay and Preparation

Basement Art Gallery Storage Preparation & Art Restoration Workshop Project Records and Archive Mechanical And Services Room

122 Public Circulation Back of House Circulation

Third Floor Sculptural Terrace Outdoor Terrace Project Gallery Loading Bay and Preparation

Second Floor Temporary Gallery Ramped Sculptural Gallery Gallery Promenade Loading Bay and Preparation

123

Floor Plans & Section

Final Semester Review Reflection During the SWOT Vac Non Teaching Period, I found myself continuing to refine the floor plans and individual gallery spaces. The joinery detail for the sculpture display along Ramped Sculptural Gallery was still unresolved, hence I found myself spending a fair amount of time refining and designing the joinery pieces.

The graphic style for the Final Semester Review also took a while for me to decide. At last, I decided to stick to plain black and white drawings for the floor plans and sections, adding hints of grey to indicate shadows and to provide another level of detail to the drawings’ depth. I drew inspiration from Atelier Bow Wow’s drawing style, keeping the linework to the essentials such as hatches and lineweight hierarchy to enable a clean and clear visual for the drawings.

Instead of hatching the walls black, I decided to keep it white to ensure a similar clean and clear graphic consistency across the drawings. The drawing style also takes inspiration from Nord Architects, from Denmark who are well known for their clean and clear linework drawings and diagram, in which I decided to follow.

Ensuring the similar consistency for the diagrams, I kept the diagrams to just clear line drawn diagrams with a few colours and required to indicate circulation, program, form finding and the gallery’s functionality.

untitled: a Project Art Space for Melbourne | Nathaniel Foo 804903

The graphic style for the renders were geared towards a more realism render to indicate the key atmosphere and moments while exploring the gallery space. This render style also enables material representation for the gallery space. Thus providing an overall idea and representation of the proposal.

Similar to other projects, time is always limited to cover all scopes in depth and detail. I realised that by spending a fair amount of time on the graphic style and design, there were some aspects of the gallery which were not fully resolved. Aspects of the gallery such as the upper stair circulation to the third floor (Project Gallery) were not as refined as I wanted it to be due to time constraints. In addition to the structural components for the roof and cantilevers for each floor. The structural aspects such as through the use of steel trusses and steel structures combined with post tensioned concrete would be ideal for refinement for the gallery moving forward. The Cafe area on the Ground Floor needed more refinements as well as I wanted to combine both cafe and a pop up restaurant for the gallery space to reflect on the retail sector along smith street. The pop up restaurant idea was scrapped in the end as space was a constraint for the program. I realised that restaurants no matter whether temporary pop ups or permanent needed a large amount of space to service the public. Nevertheless, these unsuccessful aspects are lessons for me to consider and refine moving forward.

124 A 6.

5.

B

B 7.

4.

3.

9.

8.

Basement Plan Legend: 1. Loading Bay 2..Preparation & Art Restoration Workshop 3. Art Storage & Assemblage 4. Project Records and Archive 5. Storage 6. Mechanical and Services 7. Fire Stairs 8. Accessible WC. 9. Goods Lift

2.

A

1.

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Gertrude Street

6.

B 7.

8.

10.

9.

11.

125

126 A

Langridge Street

5.

2.

3.

Smith Street

B

1.

4.

Ground Floor Plan

A

Legend: 1. Entry 2. Foyer 3. Information and Ticketing Counter 4. Cafe 5. Gift Shop 6. Kids Learning Centre 7. Staff and Admin Office 8. Fire Stairs 9. Accessible Toilet 10. Goods Lift 11. Loading Bay and Preparation

Public Circulation

Back of House Circulation

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127 Program and Functional Analysis

B 5.

4.

2.

1.

128 A 5.

6.

B

5.

3.

First Floor Plan

A

Legend: 1. Preparation 2. Accessible Toilet 3. Digital Projection Gallery 4. Fire Stairs 5. Temporary Gallery 6. Research Library

Public Circulation

Back of House Circulation

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B 4.

3.

2.

1.

129

130 A 7.

B

6.

7.

7.

Second Floor Plan Legend:

A

5.

1. Preparation 2. Accessible Toilet 3. Fire Stairs 4. Project Gallery 5. Ramped Sculptural Gallery 6. Temporary Gallery 7. Ramped Gallery Promenade

Public Circulation

Back of House Circulation

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5.

4.

B 3.

2.

1.

131

132 A

B 4.

6.

Third Floor Plan

A

Legend: 1. Preparation 2. Accessible Toilet 3. Fire Stairs 4. Project Gallery 5. Terrace 6. Outdoor Sculptural Terrace

Public Circulation

Back of House Circulation

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10.

9.

7.

5.

0m 1m

6.

3.

4.

1.

2

0m 1m

5m

5m

10m

10m

133

134 Gertrude Street

8.

6.

Sectional Perspective AA

Sectional Perspective Looking West Legend: 1. Preparation & Art Restoration Workshop 2. Art Storage 3.Cafe 4. Foyer 5. Digital Projection Gallery 6. Temporary Gallery 7. Ramped Sculptural Gallery 8. Ramped Gallery Promenade 9. Project Gallery 10. Outdoor Sculptural Terrace

2.

20m

m 20m

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7.

Smith Street 9.

0m 1m

7.

8.

1.

5.

6.

5m

10m

135

m

136 7.

7.

3.

2.

Sectional Perspective BB

Sectional Perspective Looking South

4.

Legend: 1. Foyer 2. Staff and Admin 3. Temporary Gallery 4. Mechanical and Services 5. Project Records and Archive 6. Art Storage 7. Project Gallery 8. Ramped Sculptural Gallery 9. Ramped Gallery Promenade

20m

137

Section Detail From Sectional Perspective BB Post - Tensioned 300mm Slab Glassfibre Reinforced Precast Concrete Panel

Third Floor RL 13.50m

Edge Beam Non - Combustabe Thermal Insulation Interior Plasterboard Wall Lining Pressure Equalised Cavity Fire Stop Fibre- cement Soffit Lining Low - e Glazing Ramped Gallery Promenade

Rainwater Drainage Gutter

Rainwater Drainage Pipe

Second Floor RL 9.00m

Edge Beam Glassfibre Reinforced Concrete Panel Non - Combustabe Thermal Insulation

untitled: a Project Art Space for Melbourne | Nathaniel Foo 804903

Interior Plasterboard Ceiling Lining Research Library

Post - Tensioned 300mm Slab Precast Panel Anchor Glassfibre Reinforced Precast Concrete Panel Fibre- cement Soffit Lining Low - e Glazing

First Floor RL 4.50m

Research Library

Foyer

Third Floor RL 13.50m

Second Floor RL 9.00m

First Floor RL 4.50m

Ground Floor RL 0.00m

Basement RL - 7.00m

138

Parapet RL 26.00m

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139 Aerial Perspective Looking South West

140

untitled: a Project Art Space for Melbourne | Nathaniel Foo 804903

141 Foyer and Gift Shop

142

untitled: a Project Art Space for Melbourne | Nathaniel Foo 804903

143 Outdoor Sculptural Terrace

144

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145 Project Gallery

146

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147 Ramped Gallery Promenade Overlooking Ramped Sculptural Gallery

148

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149 Street View Looking From Smith Street

150

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151 Aerial Perspective - Night View

152

153

Reference Images

1. Photo by Niko Tavernise / Lionsgate https://www.theverge.

untitled: a Project Art Space for Melbourne | Nathaniel Foo 804903

com/2017/2/15/14606330/john-wick-chapter-2-interview-chad-stahelski-jjperry 2. Drawing by Zaha Hadid Architects https://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects 3. Drawing By Herzog de Meuron https://www.architecturalrecord.com/articles/11986-elbphilharmonie-by-herzog-de-meuronPhoto by David Umemoto https://www.behance.net/gallery/83784245/Stairway-no13 4. Drawings by Buro OIe Scheeran https://www.archdaily.com/964053/mahanakhon-buro-ole-scheeren 5. Image extracted from: https://www.getyourguide.co.uk/house-of-thefaun-l4103/photography-tours-tc19/ 6. Image retrieved from: http://www.pompeiiinpictures.com/pompeiiinpictures/ r6/6%2012%2002%20p1.htm 7. Image retrieved from: https://www.planetpompeii.com/en/map/the-houseof-the-faun/453-the-house-of-the-faun-5.html 8. Image retrieved from:https://www.dezeen.com/2020/10/10/giorgi-khmaladze-architects-coffee-production-plant-tbilisi-architecture/ x1. Image retrieved from Farshid Moussavi Chapter - Museum Aan De Stroom x2. Image retrieved from: https://www.archdaily.co/co/02-48694/muse um-aan-de-stroom-neutelings-riedijk-architects x3. Image retrieved from: http://housevariety.blogspot.com/2010/12/museumaan-de-stroom-mas-by-neutelings.html#.YWQiKBpByUk X4. Image retrieved from: https://sites.google.com/site/oxfordbrookesbefieldtrip/ home/day-1-antwerp X5. Image retrieved from: https://archello.com/story/8192/attachments/pho tos-videos/ X6. Image retrieved from: https://www.archdaily.com/772778/the-broad-dillerscofidio-plus-renfro

154 Readings 1.

2.

3.

4.

5.

6.

7.

Juhani Pallasma - The Eyes of The Skin Peter Zumthor - Thinking Architecture Peter Zumthor - Atmospheres Peter Eisenman - Unfolding Events Peter Eisenman - Strategies of the Void (Rem Koolhaus) Field Conditions - Stan Allen The Chapter - Farishid Moussavi

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