Studio 36 Untitled: Art Project Space Gallery
Rachael Li 912103
Studio D, Semester 2, 2022
Studio Leader: Anna Nervegna
Order/Disorder
Quotation
Design iterations are gen erated from the key words highlighting the spatial arrangement, materiality, formal quality.
Order/Disorder
Boolean Inversion/ Negatives
Folding
Jump Cut
Illusions/ Optics
Embed Blur
By using Boolean of fluid solids, the interior space becomes mountainous and when they are contoured it gives rise to potential of affordance spaces eg. seating, standing, climbing
Inspired by Suprematism art works that renders the 2D float ing objects in 3D spaces and that these organisation can only be seen at certain angle. The spatial varies depending on the vantage points.Creating illusions of the
Inspired by Sol Le Witt’s work of incomplete cubes to channelise seriality. There are no closed spaces, all spac es are connected and with undefined boundaries.
At this stage, the arrangement of the cubes seems acci dental in creating permeable spaces.
Repetition of geometric shapes create spatially chaot ic organisation. The repeated elements undego subtraction to serve different purposes.
Inspired by paper cutting craft that create new 3D forms from cutted and folded planes without adding parts or subtracting parts from the whole solid
Another way of folding is to break the connected boundaries to allow light and view access into a solid.
A mountainous form is generated with the embedding of an organic form.
Inspired by Christos’ art work
The parts of building that are cutted out forms the ‘parasit ic’ pieces of the form. Similar to the composition of rocks that cracks as they ages, and the cracked gaps are filled in with smaller pieces of loose particles.
Embedded object
Integrated the Casa das Ca noas by Niemeyer. Organic form is combined with or ganic form where the organic forms forms a new accessible path three dimensionally transitioning from ground to roof.
By layering strips of varying length, openings are formed where the strips don’t align. This creates contrast between light and dark spots within a solid.
The form seeks to mimic the shape of cloud and the trans parent material hopes to blur of the form’s boundary. The skeletal elements accentuates the curvature to demonstrate dynamism.
Despite the anamorphous form, a perfect geometric circular form can be derived at certain angle.
SANAA Shenzhen Maritime Museum
Source: https://www.archdaily.com/960363/so-ils-new-art-campus-in-brooklyn-to-open-this-summer
The 3 groups of campus buildings are embeded across the city blocks of Brooklyn. Rather than inward-facing and isolated from the public access, they buildings are weaved into the urban fabric to contribute to local community.
The campus nestled amongst industrial buildings, there fore the form also seems to blend in with the ‘ordinary’ but offers suprises upon entering it.
Courtyards is the new thoroughfare through urban blocks.
Creating urban voids.
Visitors can channel pass the private building periphery to arrive at the open public courtyard.
“Informal encounter”. No formal entrance as of usual gallery organisation
Source: https://www.archdaily.com/960363/so-ils-new-art-campus-in-brooklyn-to-open-this-summer
“Innovative cultural incubator”
As the buildings are inserted into the industrial context, bounded by existing buildings, many of the daylit strategies rely on skylights or openings towards the courtyard.
Openings are located above eye level where the visitors can’t visually connect with exterior and can fully immerse in the gallery
Source: SO-IL Architects. 2021. Amant Campus Art Gallery. Architecture. United States. https://www.archdaily.com/960363/so-ils-new-art-campus-in-brook lyn-to-open-this-summer
to Amant’s design
the idea of
As an innovative cultural incubator, the site gathers both private and public spaces, including galleries, a perfor mance space, office, cafe and artist studio.
where the pace of
oasis,
can slow to allow experi mentation and meaningful reflection. ..”
The campus has three galleries, and they all sandwich courtyards and some other functions, such as cafe and artist studio. The design is designed to allow visitors to slow down and enjoy the art space. Furthermore, visitors and artists are able to enter into a dialogue with the surrounding eclectic post-industrial community in the atmosphere of walking through the building.
Composed of a vertical circulation tunnel alternating between open and solid spaces.
The dominating tunnel from the original castle is used as the main circulation device across the complex.
Organic forms surrounding a central courtyard. The inversion turns the open courtyard into a solid space. There is also no sharp corners throughout and renders a continuity in circulation around the house. The overall composition produces a streamline interior.
By altering the scale of the arch wall in the original house, they have become potential semi-open gallery spaces and adds a layer to adjust the level of priva cy of spaces. The aim is to reduce hard edges on ground interface.
Making the physical model could be a good way to experiment with forms by testing the model in different orientations.
Cornisbrough Castle + House of Future
The forms and landscape are formed from the folding of surfac es. The folded surface can create enclosed forms and semi-outdoor space. This reduces the impact of the ‘edge’ of an otherwise sharp corner building in this rectangular site. Pedestrians will encounter the landscape first as they approach the site and the proceed to the build ing.
The volume is formed from stacked cubes with varying heights. The varying heights allow for each small units of space to have certain light access at different heights. The upper volumes are connected verti cally with a vertical transportation (lift, spiral staircase).
The sculptural forms serves to stand as an icon to the street scape lifted up by the landscape podium. The faceted form contrasts with the cylindrical solid, which accommo date different program with different spatial quality. The faceted forms are transparent with higher ceiling compare to the stacked uni form floor plates of the solid cylin der. However, this massing appears ‘out of place’ from the surrounding context, making it a ‘siteless’ build ing.
The sculptural forms serves to stand as an icon to the street scape lifted up by the landscape podium. The faceted form contrasts with the cube solid, which accommodate different program with different spatial quality. The faceted forms are transparent with higher ceiling compare to the stacked uniform floor plates of the solid cube. How ever, this massing appears ‘out of place’ from the surrounding con text, making it a ‘siteless’ building.
This creates the ‘urban interior’ which allows the pedetrians to free ly circulate through. The staircases are semi indoor. The larger overall cubes are comprised of smaller cubes stacked but non-uniformly.
The collision of rectilinear create different width of spaces for differ ent programs of gallery. The vol umes are stacked and intersected to allow for expanded spatial volumes vertically. The entrance facing the main pedestrian traffic node lead ing to underground space, which the visitors can choose which volumes of gallery to enter. Howev er, this massing may need further consideration on the site coverage to maximise the program brief.
Inspired by suprematist artworks consisting of 2D elements floating, this form explores the 2D elements in 3D, floating in space. The main idea is the ‘bridge’ which can ac commodate temporary exhibition or exhibition of arts that requires continuous circulation comparing to the larger solids connected by the ‘bridge’ which accommodates the permanent and artworks that require more time to contemplate.
This idea explores boolean tech nique to create different sizes/ shapes of volumes with different experiential quality to accommo date different artworks’s ‘mood’. Taller spaces can also be layered with floor plates which have direct visual connection to ground level activities.
Sketch massing models
This is guided by jump cut tech niques to create different shape of volumes with different experiential quality to accommodate different artworks’s ‘mood’. Although creat ing interesting spaces in terms of how compacted they are to inform privacy and openness, further con sideration on how these spaces can be actually occupiable.
Inspired by Yayoi Kusama’s repet tion of the same geometry, carving out the cylindrical form differently (into solids, shell etc) provides dif ferent spatial quality. This empha sises the dynamism on the street scape. This scheme clearly delin eates the different types of space eg. tall, narrow and stacked. The idea could be explored further, but the form requires further development as circular elements seems to be different from the surrounding context.
This is the exploration of integrat ing circulation across landscape and underground. In the abstracted cylindrical forms, the floor plates are uniformly stacked. This con trasts with the non-uniformly inter section of the 3 cylindrical forms. However, this massing may need further consideration on the site coverage to maximise the program brief.
In consideration of the art precinct of Fitzroy and the diverse culture of Melbourne:
What is universal form of art that can be understood beyond language, culture etc..?
“The emotions conveyed through theatrical acts can be expe rienced by all audience”
“Moving elements in a city, and in particular the people and their activities, are as important as the stationary physical parts. We are not simply observers of this spectacle, but are ourselves a part of it, on the stage with the other participants.”
Kevin Lynch, The Image of the City
(architectures becomes the stage, people= actors)
Architecture becomes the threatrical art where visitors can be immersed in the emotions... (of the artworks)
Considerations: How does theatrical play relates to contemporary art, find a close resonance between the two ideas to explore further
Curved form represents the architec ture as embodying qualities of live-ness, movement, dynamism and imperma nence...
Architecture is the medium to allow peo ple to relate/ connect to artworks better.
How does design reflect or respond to the site?
Eg. lack of vegetation (lack of natural feature)
ie. Breaking the rigidity of surrounding form (emphasises design contrast with the surrounding building
Source: Cai, Guo-Qiang. 2020. Fireworks for Sleepwalking in the Forbidden City in Liuyang. Gun Powder. Liuyang, China. https://www.creativeboom.com/ inspiration/cai-guo-qiang-dreams-up-colossal-firework-display-in-his-first-vr-artwork/
Grand Canyon Visitor Centre. 2021. Secrets of Grand Canyon. Photography. Website, United States. https://explorethecanyon.com/secrets-grand-can yon/
Cai, Guo-Qiang, Lin Hwai-min, Cloud Gate Dance Theatres. 2008. Images from Wind Shadow, Performance, United States. https://www.guggenheim. org/performance
performative architecture.
The circulating bridges represent the architecture as embodying qualities of live-ness, movement, dynamism and impermanence...
Architecture as embodying qualities of live-ness, movement, dynamism and impermanence...
Architecture is the medium to allow people to relate/ connect to artworks better.
Sketch massing models
Architecture as embodying qualities of live-ness, movement, dynamism and impermanence...
Architecture is the medium to allow peo ple to relate/ connect to artworks better.
Exhibiting the circulating bridges is a way to showcase the movement and dy namism to the viewers as they immerse themselves within the arts.
Architecture as embodying qualities of live-ness, movement, dynamism and impermanence...
Architecture is the medium to allow peo ple to relate/ connect to artworks better.
In consideration of the art precinct of Fitzroy and the diverse culture of Melbourne:
What is universal form of art that can be understood beyond language, culture etc..?
“The emotions conveyed through performative art can be experienced by all audience”
Considerations: Included research into relevant quotes/ lit erature to support the design idea that explores translating key elements of performative art into architectural forms
In consideration of the art precinct context of Fitzroy and the diverse culture of Melbourne:
The project seeks to answer the question: What is universal form of art that can be understood beyond language, culture etc..?
Theorist Jonah Westerman remarked ‘performance is not a medium, not something that an artwork can be but rather a set of questions and concerns about how art relates to people and the wider social world’.
In conventional gallery, the journey of entering the gallery seems to become disciplined and denatured within a rigid containment, what if the containment is broken to allow the visitors to have a more vivid experience of the art and better relates to the art?
“The emotions conveyed through performative art can be experienced by all audience”
While visitors experience the gallery, they are immersed or becomes partakers of acts of performative art/ dramatic scenes created from particular spatial and lighting configu ration. Performative art exhibits moments of climax, dial goue, monologue, movement and so does architecture with a gestural approach.
Ref. Jackson Pollock (drip paintings) Cai Guoqiang (explosions) etc...
“Moving elements in a city, and in particular the people and their activities, are as important as the stationary physical parts. We are not simply observers of this spectacle, but are ourselves a part of it, on the stage with the other participants.”
Kevin Lynch, The Image of the City (architectures becomes the stage, people= actors)
Architecture becomes the performative art where visi tors can be immersed in the emotions... (of the artworks)
Architecture as embodying qualities of live-ness, movement, dynamism and impermanence...
Architecture is the medium to allow peo ple to relate/ connect to artworks better.
Gertrude St Smith St
Ground Floor Schematic Plan
Truck loading dock
1st Floor Schematic Plan
Project Space Gallery
Artist in residence studio*
Kids larning space
Amenities
Digital media gallery Sculpture
Project Space Gallery
Entrance
gallery
Admin/Loading
Cafe Gift shop
Some
digital area
exhibitions
Architecture as embodying qualities of live-ness, movement, dynamism and impermanence...
Architecture is the medium to allow peo ple to relate/ connect to artworks better.
Comparing to previous iteration, this form demonstrates more control in the composition. As the form follows a cer tain rule of rotating 45 degrees and are joined together, this can better establish a sense of rhythm than the previous form that seems of spontaneous.
Updated iteration
In consideration of the art precinct context of Fitzroy and the diverse culture of Mel bourne:
What is universal form of art that can be understood beyond language, culture etc..?
Theorist Jonah Westerman remarked ‘performance is not a medium, not something that an artwork can be but rather a set of questions and concerns about how art relates to people and the wider social world’.
Current art industry often meant the understanding of still artworks limited to the few rather than the majority, however contemporary art style of performative art could democratise art to be inclusive & understandable to wider audience.
In conventional gallery, the journey of entering the gallery seems to become disci plined and denatured within a rigid containment, what if the containment is broken to allow the visitors to have a more vivid experience of the art and better relates to the art?
“Moving elements in a city, and in particular the people and their activities, are as important as the stationary physical parts. We are not simply observers of this spectacle, but are ourselves a part of it, on the stage with the other partici pants.”
(Kevin Lynch, The Image of the City)
Intensity/ Conflict
Melancholy
Monologue Climax
The design focuses on translating key elements of performative art into architectural forms.
“The emotions conveyed through performative art can be experienced by all audience”
While visitors experience the gallery, they are immersed or becomes partakers of acts of performative art/ dramatic scenes created from particular spatial and lighting configuration.
Performative art exhibits moments of climax, dialgoue, monologue, movement which is manifested through gestrual approach when design ing the architecture.
Site analysis highlights the local art gallery & the Brunswick St which use to be the site for Parade for Melbourne Fringe Festival originating from Fitzroy. It celebrates diversity through artistic parade/ performance along Brunswick St. The Gertrude St also host Yaling uth Live music and story telling performance as part of the Melbourne Fringe Festival to be immersed into the past Aboriginal Fitzroy.
Form generation--- Breaking up the ‘containment’
View from Smith St
View from Gertrude St
Studio
The design focuses on translating key elements of performative art into architectural forms.
The focuses is on movement element in performative art. People’s movement are different based on their destination. By tracing those routes with destination as green spaces, people’s movement tend to be slower & more fluid comparing to routes with destination to other errands such as office, hospital etc. The traced path to the green spaces becomes the ‘bridge’ that people circulate slowly to contemplate artworks.
Gertrude St Smith St
View from Gertrude St
CHILDREN
SCULPTURE
TEMP
The form currently looks quite solid and 1980s(?) brutalist which could work and be unique feature but I would like to experiment with a more contemporary facade upon receiving the feedbacks for the next step. Although the section appears to demonstrate interesting spatial relations, the form of the second iteration looks a bit regular & ‘dry’ in comparison, therefore I am currently more inclined towards the first iteration. Also the second iteration would better adhere to my design statement.
However, I should still refine the plan and section of the first iteration to ensure all the spaces work vertically.
The corner with glass gradually gets smaller towards the top of the building, ensuring mini mal light hitting the art works where there are many project space gal lery.
Glass panels added to the corners of the curvature.
ATRIUM/
COMMENTS: Refine
PROJECT
PROJECT
COMMENTS: Try to eliminate some stair-
in
be
appears quite
Also the
align with
at a 2d
This is a second iteration of glazing after mid term, the large areas of glazing that are inserted into the vertical corner facades in the previous iteration makes the building appearing quite commercial-like (eg. shopping centre). It should rather be more elegant and toned down. So in this iteration I applied glazings inbetween the intersection of the volumes to create light strips which could add to the dynamism of the streetcape when the glaz ing are accentuated through glowing light
COMMENTS: There seems to be too many staircases which can be too dominat ing to the atriun space.
Gallery space looking into the atrium
Looking towards to skylight lead ing to the sculpture roof garden
Foyer space
COMMENTS: Consider adding more context to the sections
Section A-A
Second
Third
COMMENTS: Add canopy to the entrance of the lift to prevent rain entering the lift. Add structures to the glass over the atri um.
Roof sculpture garden
Studio 36 Untitled: Art Project Space Rachael Li
The double height space with staircase allows for light projection and some installation hanging from the top.
COMMENTS: Consider the ma teriality of the bal ustrade. Could use mesh or a more solid timber finish
Testing perspectives looking upwards to the skylight from top. A narrow picture frame is also ideal to enhance the verticali ty which relates to my idea of a ‘highteneded tension’.
The
be
Structure
There are two circulation options: the first indi cates when the gallery are all opened up for one large exhibition. The second indicates when the gallery is divided into smaller galleries for multi ple smaller exhibitions.
Circulation 1
2
There are two circulation options: the first indi cates when the gallery are all opened up for one large exhibition. The second indicates when the gallery is divided into smaller galleries for multi ple smaller exhibitions.
Precast brick panels module
Mesh balustrade
Suspended acoustic ceiling with
light strips
Plaster finish Corridor
1. Precast brick panels module
Mesh balustrade
3. Suspended acoustic ceiling with
light strips
4. Plaster finish
Corridor
The diagonal wall seems to be dividing the gallery spaces, consider rotating the wall to create one larger gallery space instead No grass in basement, use paving instead.
Basement
Second
Roof sculpture garden
Studio
At this stage, the plan should keep improving in its drafting qual ity such as adding more furnitures to indicate programs and also circulation diagrams should be added to show how the users view the exhibitions. Throughout the times of drafting, I found the most important and probably the most challenging aspect of plan for my design is to capture the twisting form in 2D. I therefore used dashed lines to indicate the ceiling above is rotated slightly com pare to the floor drawn.
In terms of the sections, I found that they appear to be more important than plans at capturing the changing spatial quality such as the narrow vertical spaces vs the wider spaces. Or the standard height spaces vs the double height spaces. I think they resonate with my initial design idea of a performative architecture better.
In my renderings, I aimed to show spaces with curved walls for purpose of exhibiting sculptures and performances and the spaces with straight walls for purpose of hanging paintings. The glazings inserted between the junction of the twisting forms is also shown to demonstrate the opportunity to look out to different sights of Melbourne eg. Dandenong mountain or CBD.
In consideration of the art precinct context of Fitzroy and the diverse culture of Melbourne:
What is universal form of art that can be understood beyond language, culture etc..?
Current art industry often meant the understanding of still artworks limited to the few rath er than the majority, however contemporary art style of performative art could democratise art to be inclusive & understandable to wider audience.
“Performance is not a medium, not something that an artwork can be but rather a set of questions and concerns about how art relates to people and the wider social world’. (Theorist Jonah Westerman)
In conventional gallery, the journey of entering the gallery seems to become disciplined and denatured within a rigid containment, what if the containment is broken to allow the visi tors to have a more vivid experience of the art and better relates to the art?
“Moving elements in a city, and in particular the people and their activities, are as important as the stationary physical parts. We are not simply observers of this spectacle, but are ourselves a part of it, on the stage with the other participants.”
(Kevin Lynch, The Image of the City)
Melbourne nurtures rich diversity of cultures and Fitzroy represents this ecclecticism formed across time despite undergoing urban revitalisation through the decades with well established net work drawing different types of demographic from around Melbourne. The site analysis highlights the local art gallery & the Brunswick St which use to be the site for Parade for Melbourne Fringe Festival originating from Fitzroy. It celebrates di versity through artistic parade/ performance along Brunswick St. Currently, the key art events such as Melbourne Fringe Festival, Yalinguth story telling performance and Melbourne Light Festival scatter across Brunswick St through to Smith St.
The Gertrude St in particular host Yalinguth Live music and story telling performance as part of the Melbourne Fringe Festival to be immersed into the past Aboriginal Fitzroy.
Fitzroy Cultural Context Analysis Fitzroy streetscape characteristic
art. Particularly in Jackson Pollock’s work, the action painting allows the act of artmaking be important to the understanding of the artwork. The fluid lines define and enliven the canvas, and there are no straight lines present.
Directional and fluid lines extracted
Enclosure & enveloped space
Movement
Form generation--- Breaking up the ‘containment’
View from Smith Street & Gertrude Street junction
View from Smith Street
View from Gertrude Street
View towards the atrium
Studio
Testing other perspectives of atrium. This view shows the lift to first floor and the verticality of the staircases. But there is limited view captured by this angle, and doesnt reflect the spatial quality very well. Need better consideration.
Basement tempo rary gallery space with diffused light from the indoor garden
Looking upwards to the skylight from top. Seeks to capture the idea of ‘intensity’ in the performative art moments.
FFL +21.00
FFL +15.00
FFL +10.00
FFL +5.00
Roof sculpture garden
Studio
FFL +21.00
FFL +15.00
FFL +10.00
FFL +5.00
Precast brick panels module
balustrade
Suspended acoustic ceiling
light strips
Plaster finish Corridor
1. Precast brick panels
Mesh balustrade
3. Suspended acoustic ceiling
light strips
4. Plaster finish
