Mopa rev 1 a4

M O P A

M U S E U M O F P A C I F I C A R T S

KENNY YEAK

ABOUT THIS PORTFOLIO This portfolio is an exploration of a design, exploring architectural spaces within a design brief of a museum. I wanted to give my thoughts and feelings as to how I feel with current contemporary museum spaces and how I challenge those norms to create something more fun, interactive, experiential and unforgettable experience.

A lot of the design choices were based on travels to site visit and my experiences when I travelled to Japan. During my travels, I visited a museum on a secluded island, called the Chi Chu Museum.

While I was at the museum, I explored how they housed the artworks and sculptures, how the spaces are defined by its unconventional walls and how light bounces off from the wall creating soft ambient light as oppose to direct light. It got me inspired to create this project and design under a brief to house Polynesian Arts.

Upon discovery of spaces, I came across on an important concept that became the spin to my design.

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This project is created and design by Kenny Yeak, an exploration of commercial spaces housing artworks for Polynesian Art. DISCLAIMER Reference images or photograph is tagged with reference source, unless stated otherwise by a photographer and used gear and lens to create that photograph.

Image Rendered by Kenny Yeak 3DSMAX / VRAY / RHINOCEROS Post editing: Photoshop 1

“ L E T Y O U R WAY F I N D I N G S E T T H E M O O D F O R Y O U R N E X T A R T E X H I B I T I O N . �

PROJECT BRIEF

DESIGN CONCEPT

The Design Brief entails a series of spaces to accommodate a normal function of a contemporary museum and in addition, based on this project situated on a secluded island, it is to be design with a range of accommodations.

The design is about identity and how it is our personal experiences that weaves in the structure of our persona.

Requirements are: MUSEUM - Museum Entrance / Lobby - Cafe / Social Spaces - Performance Art Spaces - Generic Art Spaces - Sculptural Art Spaces - Rare Artefact Space - Workshop - Theatre Space - Generic Internal Requirements ACCOMMODATION - Lobby / Entrance - 12 Bedrooms / Singular / Double - Lounge Area

Our persona changes over time, as we begin to learn and explore the spaces that surrounds us.

It is moments like these, where the layers of character, stitches together to make us who we are, whether it was then, or here, or there.

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THE ARCHITECTURE The architecture explores spaces through a series of elements that contrast with one another, juxtaposing to allow users to refresh themselves after being engrossed with an exhibition. Essentially, the massing consist 3 main elements. 1 being a semi closed volume, 2 an external open ventilated courtyard hallway, and 3 a partially open volume.

Upon entering the museum, users will find themselves travelling from an internal exhibition, learning and digesting what is housed in that space. Then the user will move towards the central hallway, which is an external courtyard hall like space where stairs stitch together the two volumes together. Here is where they can reset themselves and refresh their mindset, experiencing exterior elements before embracing their next exhibition.

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A B S T R A C T

ENVELOPE

S P A C E

S T U D I E S

SLICE

VOLUMES

POSITIVE SPACE

NEGATIVE SPACE

EAST AND WEST WING

EXPOSURE

INTERIORITY

EXTERIORITY

ADDITIVE

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F L O O R

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2 4 16

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GROUND FLOOR 0m 5m10m

25m

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LEVEL 1

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LET LIGHT SHAPE SPACE

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In my personal experience, I find museums spaces interestingly boring. During my precedent studies, I realised architect Tadao Ando, loves bringing in natural elements into an exhibition space, bring interest and freshness.

I wanted to create spaces that contrast with one another, to make it experientially different from another so the body can physically remember the moments. I played with how light comes in, where they can, and how. I then played with how direct sunlight enters the space, and if it can bounce itself off to create soft, moodier, ambient light.

However, there will be some spaces housing artworks that need to be within a controlled, artificial lighting.

For several reasons, like artwork fragility, damage, photon burns, etc.

I wanted to challenge that norm and design something different and fun.

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3 ION SECT

2 ION SECT

1 ION SECT 27

PREFABRICATED STEEL FRAME, WEAVING PATTERN, GLAZING PANELS.

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LOUVRE FACADE STRUCTURE.

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WEAVING STAIRS, STEEL BEAM STRUCTURE, STEEL PANEL CLADDING

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ACTIVE ROOF TOP SPACE

BRICK WALL & GLASS BLOCK WALL FEATURE.

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STEEL FRAME, WEBBING, WEAVING PATTERN SHADING FEATURE.

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LEVEL 2

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SECTION 3

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PERMANENT EXHIBITION LEVEL

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TEMPORARY EXHIBITION LEVEL

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ENTRY / SOCIAL LEVEL

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SECTION 2

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ROOF LEVEL RL 27.00 LEVEL 3 RL 24.00

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SECTION 1

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LEVEL 2 RL 19.00

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LEVEL 1 RL 14.00 14

GROUND FLOOR RL 10.00

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STEEL FRAME, WEBBING, WEAVING PATTERN SHADING FEATURE. OPEN LANDSCAPE TOWARDS THE RIVER.

A X O N O M E T R I C

S P A T I A L

S T U D I E S

PREFABRICATED STEEL FRAME, WEAVING PATTERN, GLAZING PANELS.

5m

10m 25m

50m 14-15

STAIRWAY TO ACTIVE ROOFTOP SPACE.

LOBBY OVERLOOKING STAIR STITCHING FEATURE. ACCOMMODATION SPACES.

STAIRWAY TO ACTIVE ROOFTOP SPACE.

SOUTH SIDE EXTERNAL STAIRWAY. THE STITICHING STAIRWAY, OPEN EXTERNAL STAIRWAY.

SOUTH SIDE OPEN EXHIBITION SPACE. PRECAST CONCRETE FACADE. VERTICAL LIFT CORE TO ACCOMMODATION SPACE. VERTICAL LIFT CORE TO LIBRARY FUCTION. OPEN INTERNAL COURTYARD. OPEN EXTERNAL COURTYARD. SHADED WALKWAY. EXHIBITION LIFT.

V I S U A L I Z A T I O N

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C H A R A C T E R

CHARACTER I wanted to create a facade that would shape the building’s character and identity. I was inspired by the polynesians use of weaving techniques in their daily life usage. After further investigation, this weaving offers a structural integrity and I thought that would be a beautiful opportunity to create something breathtaking.

Weaving has such of an interesting pattern when seen on a elevation. In some cases, the weaving will leave a little opening or window. Literally, translated into a window opening, there was an interesting play of shapes and geometry to shape the pattern. As a result, you get intersecting ribbons of shadows that weave along the slab internally.

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WEAVING THE FUNCTIONS TOGETHER

PREFABRICATED ARCHITECTONIC WAVING

THE WEAVING TECHNIQUES OF THE POLYNESIAN ART OFFERS BEAUTIFUL STRUCTURAL QUALITIES. AS A WHOLE, THESE WEAVING TECHNIQUE LEAVES A BREATHTAKING TEXTILE PATTERN.

MAINTAINING THE ORGANIC WEAVING PATTERN, THE GEOMETRIES ARE SEGREGATED AS SEPARATE MODULES. EACH MODULE IS CREATED FROM BLACK COATED, STAINLESS STEEL PREFABRICATED FRAMES, HOLDING DOUBLE GLAZING TO PROVIDE SHADING INTO THE INTERNAL SPACES.

WEAVING IN THE WESTERN SOLOMONS A WIDE VARIETY OF WOVEN TECHNIQUES ARE USED TO MAKE BASKETS, CLOTHING, TEMPORARY SHADING, CUSHIONING, ETC, AND IT IS USED AS A STAPLE STRUCTURAL TECNIQUE IN MOSTLY ALL POLYNESIAN CLANS. NORMALLY USE PANDANUS LEAVES, PREVIOUSLY PREPARED AND TREATED PRIOR USING, ARE LAID DOUBLE AND WOVEN IN A WAY ILLUSTRATED IN THE DIAGRAM (ON THE LEFT) TO FORM BASKETS. THE TOP MOST LAYER ON ONE SIDE IS NOW FOLDED UP AND WOVEN, IN THE MANNER ILLUSTRATED IN THE SECOND SKETCH. THIS IS FOLLOWED BY NEXT SIDE UNTIL ALL FOUR SIDES ARE WOVEN. NOW SPLIT THE OUTSIDE LEAVES STILL PROTRUDING AT RIGHT ANGLES FROM THE BASE ILLUSTRATED IN THE THIRD SKETCH, AND WEAVES THEM IN A SMALLER PATTERN TO CREATE A FIRM GEOMETRY.

WEAVING ENCASEMENT THE AESTHETICS OF THE WEAVING PATTERN JUXTAPOSES WITH OTHER GEOMETRIES AND PATTERNS USED IN THE DESIGN AND THE SPACES THIS FACADE IS WRAPPING AROUND. THE WEST ELEVATION OF WEAVING CURATES THE SPACES ALONG THE WEST, OFFERING EXTERNAL VIEWS TOWARDS THE OPEN WATER WITHIN THE SITE. THIS FACADE IS A METAPHORE FOR THE DESIGN BEING A BASKET, WEAVING AND WRAPPING THE FUNCTIONS WITHIN AS A WHOLE. AS A RESULT, THIS PATTERN ARTICULATES USER EXPERIENCE AND GIVES IDENTITY TO WHAT THIS BUILDING IS. 20-21

M A S S I N G

DESIGN APPROACH The design approach stems a lot from what Polynesian use art for, identity. The use patterns and shapes, colours and scale to identity objects and create ownership.

I wanted elements within the building to reflect this strategy and turn them into experiential components and structural elements of the design.

The other issue I find with museums is that the spaces internally are generally dull, boring, mundane and stale as how users interact with the space. Mainly, spaces in museum are generally thought with the intention of building to house a permanent object. This makes the space flat and desaturated, although the main focus is to bring focus to the artwork, it offers an unmemorable experience.

Unique spaces are the most influential spaces into a user. How that happens is when you explore between two contrasting elements, space or feature.

Left Image: Site Model Top Image: Structural Model Model Constructor: Kenny Yeak Image photographed by Kenny Yeak.

Olympus OMD EM5 II, 7-14mm f2.8 pro.

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S I T E A N A L Y S I S

SITE PLAN The site is a secluded island along the main river of Sydney, stretching from Parramatta Bay to Circular Quay. It is a main ferry route and the only way to get here is by boat.

The site contains a lot of Sydney’s heritage, tapped and known for ages, many events are held here throughout the years. This land was originally known and used to hold convicts that serve their sentence by doing heavy industrial works fixing and creating ships and boats to service Sydney.

Given what still remains here, I was inspired by the remaining conditions of the spaces and the materials found on site. A lot of old steel and brickworks remain, with rustic corrugated cladding, to barred windows and suspended timber flooring. But what is amazing is how these buildings became slightly eroded and damaged throughout its time. It created unique spaces where light pierces through the little cracks and nooks, filling up what was a dark industrial space into a delightful and vibrant space, a experience to remember.

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Image: Industrial Precinct - Cockatoo Island Image photographed by Kenny Yeak.

Olympus OMD EM5 II, 7-14mm f2.8 pro.

1. OLD SHIP RIG 2. INDUSTRIAL PRECINCT ENTRANCE 3. SHIP DOCKS 4. DOG LEG TUNNEL 5. INDUSTRIAL PRECINCT WORKSHOP 6. SHIP DESIGN PRECINCT 7. CONVICT PRECINCT 8. CONVICT CELLS 9. TUNNEL 1 10. INDUSTRIAL PRECINCT WORKSHOP 11. INDUSTRIAL PRECINCT SHIPYARD 12. SHIP DESIGN PRECINCT RESTROOM 13.SHIP DESIGN WORKSHOP 14. ACCOMMODATION 15. HISTORIC RESIDENCE PRECINCT 16. INDUSTRIAL PRECINCT 17. EASTERN APRON 18. NORTHERN APRON PARK 19. DOCKS PRECINCT 20. POWER HOUSE AREA

26-27

D E C O N S T R U C T I O N

ABSTRACTION Over the course of the buildings life, slight erosion has taken effect on these spaces, causing damages that created opening. Throughout exploring the island, not only was I inspired by the materials found on site, but the shapes and form, patterns as well and I wanted to abstract that out to understand the DNA, the character of these spaces and implement them into the new design.

From the variety of materials, steel, brick, sandstone and concrete, I found that these materials can potentially offer to ability to create contrasting spaces and render an interesting atmosphere. What I also noticed, was the variety of spaces, size, scale of elements. This is important, to house a variety of artworks, you need an idea of what you are housing. The other important thing, these establish spaces has already, their own set of structural elements, required to maintain its shape. I wanted a new design that pays respect to these elements and utilise them in an experiential way.

28-29

I N S P I R A T I O N

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I N F L U E N C E S

CHI CHU ART MUSEUM - OSAKA NAOSHIMA Chi Chu Art Museum (ChiChu Bijutsukan) means “Art museum in the Earth” a museum built directly into southern Portion of the island of Naoshima in Kagawa Prefecture, Japan. Designed by architect Tadao Ando and opened it doors to the public on July 18, 2004. This building is commonly referred to Architect’s Paradise.

Left Image: Museum Entrance Gate Bottom Image: Museum Entrance Garden Image photographed by Kenny Yeak.

Olympus OMD EM5 II, 7-14mm f2.8 pro.

What is striking with this space is how this Atrium space is the central connection between all exhibition space. When you travel from one exhibition space, you will find yourself back to this atrium space, engrossing yourself with all that beautiful open space, before heading seeing the next artwork.

Left Image: Museum Atrium Space Image photographed by Kenny Yeak.

Olympus OMD EM5 II, 7-14mm f2.8 pro.

What is unique about this space is the widely open ceiling where direct sunlight smashes itself against these leaning walls. The direct sunlight then bounces against each wall, filling the hallway with indirect soft ambient light, which is beautiful and refreshing at the same time.

Right Image: Hallway Image photographed by Kenny Yeak.

Olympus OMD EM5 II, 7-14mm f2.8 pro.

30-31

M U S E U M

O F

P O L Y N E S I A N

A R T S

This project is created and design by Kenny Yeak, an exploration of commercial spaces housing artworks for Polynesian Art. DISCLAIMER Reference images or photograph is tagged with reference source, unless stated otherwise by a photographer and used gear and lens to create that photograph.

Image Rendered by Kenny Yeak 3DSMAX / VRAY / RHINOCEROS Post editing: Photoshop 32-33

“ L E T Y O U R WAY F I N D I N G S E T T H E M O O D F O R Y O U R N E X T A R T E X H I B I T I O N . ”