TammyNingningZhan_Studio36_FinalJournal

UNTITLED ART

PROJECT

SPACE

NINGNING ZHAN 940752

Studio 36 Refelctive Journal S ummer, 2022

PRECEDENT

SPATIAL VERB

blur

Casa das Canos

ITERATION 1 ___ PERPECTIVE VIEW

Niemeyer successfully synthesized the minimalist and organic architectures in Casa das Canos.

YEAR 1951 ___ ARCHITECT

The organic shape of the roof adapts to the unevenness of the terrain, merging with the context.

The large roof provides shading that the usage for curtains can be avoid, achieving the tranparency of the living space.

OSCAR NIEMEYER

Iteration 1 adopted the key elements of Casa das Canos, the large organic-shaped floating roof and the transparency of the facade.

The roof is mulitplied and rotated, supported by the light structure members. The shape, floor slabs and ceiling heights are blurred. The transparency of the precedent is also achieved in this iteration.

PLAN

SECTION

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PLAN VIEW

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SPATIAL VERB

SPATIAL VERB

distort This iteration is developed from a gyroid form by distorting a continous surface in Grasshopper.

The form is trimmed and scaled to find more potential, tranlating this complex geometrcial form into actual space.

jump cut Two faces of the cube are divided by jump cut. The pattern of the two faces is not the same that the space created by the gird is not homogenous.

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SPATIAL VERB

SPATIAL VERB

folding This form is developed from the name of our studio, “untitled”. Characters are folded, bent and connected into one form.

Viewed from different angles, the character presented are varied.

ITERATION 4 ___ PLAN VIEW

___ PERSPECTIVE ELEVATION

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SPATIAL VERB

SPATIAL VERB

illusion This iteration is inspired by the Musée Atelier Audemars Piguet, designed by BIG, in Switzerland.

The roofs of this form are connected to the landscape. The contrast between the plan and elevation is emphasized in this form.

chaos This form is developed from a curved maze. The top of the form is trimmed by an organic terrain. Various openings are added to the walls of the maze.

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SPATIAL VERB

SPATIAL VERB

order and disorder These two forms are developed by the Voronoi in grasshopper. The left form is consisted of four same forms, while the right one is more intuitive. The fragment of the cube is more random.

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SPATIAL VERB

SPATIAL VERB

negative These two forms are developed of the negative space.

The form on the left turned the organic form as the negative space to achieve the continuous and the smooth of the internal space.

While, he right one is developed from the a more rigid gird.

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INSIDE-OUT

INSIDE-OUT

INSIDE-OUT OBJECTS

PROJECT CONISBROUGH ___ LOCALTION SOUTH YORKSHIRE, ENGLAND ___

The main functional space is located in the cert of the castle. The service space is revolved around the central space.

The realtionship of the form and space is not direct.

PROJECT HOUSE IN UEHARA ___ ARCHITECT KAZUO SHINOHARA ___

YEAR

STYLING

12TH CENTURY

1976

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The form of the house is generated by the space. the superstructures are reflected in the space and the form of the building.

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INSIDE-OUT

INSIDE-OUT

inside-out objects This iteration is adapted the form of the secondary servicing space, turning into the main fuctional space.

INSIDE-OUT MODEL

PERSPECTIVE VIEW

ELEVATION

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INSIDE-OUT

INSIDE-OUT

inside-out objects The negative space model is fragmented and rearranged.The main functuinal space are elevated.

ELEVATION

ELEVATION

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INSIDE-OUT

SPATIAL VERB

folding ITERATION 1 ___ PERPECTIVE VIEW

This form is developed from the previous iteration. More stairs and slopes are added into the form. ___ PLAN VIEW NEGATIVE OBJECT

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SPATIAL VERB

SPATIAL VERB

inverse This form is developed from the disordered internal space. The contrast between interior and exterior are emphasized.

negative This form is developed from the former negative form, referencing the works of Höweler + Yoon.

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SPATIAL VERB

SPATIAL VERB

distort The form further explore the SubD in Rhino to create the organic connection between each space.

disorder The form is referencing the traditional architectural language and translated into into a disordered form.

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SPATIAL VERB

SPATIAL VERB

blur & folding

___ MODULAR FORM

___ ELEVATION VIEW

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SPATIAL VERB

chaos

SPATIAL VERB

embed

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SPATIAL VERB

SPATIAL VERB

Cantilevered

___ PLAN VIEW

___ ELEVATION VIEW

___ PERSPECTIVE VIEW

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VERTICAL STACKING

VERTICAL STACKING

faceted cube

___ BACK VIEW

___

___

ELEVATION VIEW

ELEVATION VIEW

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VERTICAL STACKING

VERTICAL STACKING

Cut out Cube This form is developed form the previous form. Turning the vertical organic shape as the circulation of the buidling

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VERTICAL STACKING

VERTICAL STACKING

___ ELEVATION

___ ELEMENTS

Stacking Form ___ ___

ISO VIEW

INTERNAL MOMENTS

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VERTICAL STACKING

VERTICAL STACKING

Pure objects stacking

Sculptural Cube

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VERTICAL STACKING

VERTICAL STACKING

Cantilevered & spatial stacking

___ PERSPECTIVE VIEW

___ ELEVATION VIEW

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VERTICAL STACKING

VERTICAL STACKING

Cantilevered & Stacking Form

___ ELEVATION VIEW

___ ELEVATION VIEW

___ PERSPECTIVE VIEW ___ ELEVATION VIEW

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VERTICAL STACKING

VERTICAL STACKING

Cantilevered & Stacking Form

___ ELEVATION VIEW

___ ELEVATION VIEW ___ PERSPECTIVE VIEW

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VERTICAL STACKING

VERTICAL STACKING

Spatial stacking

___ ELEVATION VIEW

___

___

PERSPECTIVE VIEW

ELEVATION VIEW

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VERTICAL STACKING

VERTICAL STACKING

___

___

PERSPECTIVE VIEW

PERSPECTIVE VIEW

stacking form

Pure objects stacking ___ ELEVATION VIEW

___ ELEVATION VIEW

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GALLERY ANALYSIS

AMANT ART GALLERY

Amant Art Gallery

FORM

The construction of Amant Art Campus is finished by 2021 with the SO - IL as the designers. It is located in East Williamsburg, Brooklyn, and serves as the new headquarters of Amant Foundation. The art campus is formed by four buildings, they are connected by the walkways and public courtyards.

Flexibility is the core of the design. Exhibition, public events, art projects, performances, and residency programs will all be hosted here.

The designer’s intention is to ‘weave’ the building group in the urban fabric and contribute to the community and neighborhoods, rather than isolating them from the surrounding.

STORIES AND LEVELS 306 Maujer Street - 1-2 levels 315 Maujer Street - 3 levels (including 1 level of basement)

ARCHITECT SO-IL

932 Grand Street - 1 level

___ LOCATION BROOKLYN, NY ___ TIME 2021

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GALLERY ANALYSIS

AMANT ART GALLERY

306 Maujer Street

CIRCULATION AND ORGANIZATION OF SPACES The four buildings have been located to Maujer and Grand Street, respectively. One performance space, two galleries, one cafe/bookstore, and four studios are all mixed into two separate pairs of buildings.

To make the buildings more accessible and open to the public, courtyards and thoroughfares are interwoven into the buildings.

The main entrance is located on Maujer street, where the office and a 6.7m tall gallery are arranged here.

Opposite to it, there used to be a marble shop, it has now been converted into a large second gallery with over 180 square meter floor area, in addition to a cafe and bookstore.

932 Grand Street

To the south at 306 Maujer is a dedicated studio building for residents featuring a large communal meeting area, library, and dining space, encouraging social exchange.

N 315 Maujer Street

Four-daylit studios occupy the floor above. Walkways at the east and west perimeter lead to a second concrete volume housing Géza, an 1800 square foot multipurpose space for performances and screenings.

Performance Space Gallery Studio/Library Office Cafe/Bookstore Reception Utility

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GALLERY ANALYSIS

AMANT ART GALLERY

FLEXIBILITY/DIVERSITY OF GALLERIES

CONSTRUCTION AND MATERIAL

The art campus is formed by four buildings. Each of them contains a gallery with unique and varying sizes of the area, proportion, infrastructure, and lighting condition. It allows the campus to accommodate various demons, whether as a group or individual.

When it comes to the choice of materials, SO - IL has bear the industrial surroundings in mind. They decided to go for the material that is ‘very simple and tough’, and apply them in a more subtle manner.

Material is one the important part which specks out the identity of the buildings. liners shape castin-plane concrete, cement brick, clay, and galvanized steel bars are mainly employed to create the charcters for the complex.

The concrete has softened the volume and catches the light.

GALLERY

So - il works closely with the contractor to create the contrast between rough and smooth texture when the sunlights reflect on the surfaces of cement brick. The exterior at 315 Maujer uses the brick with the size 175 x 75, which has two smooth and two rough sides, which bring more controllability of the texture to the designers. The contrast of smoothness and toughness is therefore brought to the north courtyard-facing facade ,meanwhile, the east facade aggressively emphasis on the rough materiality.

OFFICE & STUDIO

Furthermore, The bricks are arranged and rotated with the angle to reveal the side or back for creating a diagonal dogtooth pattern and catching the shadow, also with a louvered metal shading system seamlessly installed above, just like the way bricks turn the corners without a break.

The steel bars bring out reflection and transparency, and the grating and metal are installed

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GALLERY ANALYSIS

AMANT ART GALLERY

SERVICES AND VENTILATION Utility rooms are located at 932 Grand, besides the reception and the cafe.

LIGHTING TECHNIQUES Each pair of buildings has a courtyard to introduce the natural light to the cafe, performance spaces, and bookstore.The architects have made a virtue of the narrow block. The studios have ample windows with views onto light wells lined with perforated drywall.

As for the gallery space, lighting is more on artificial light. Skylights in the main gallery are designed to rain shadowless light into the white box. Skylights can be temporarily blacked for purpose, such as projection and video installation. Above the masonry section, an uninterrupted band of exterior aluminum louvers diffuses daylight into a 22 ft, tall gallery space.

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ASK

GALLERY ANALYSIS

NEW PÔLE MUSÉAL OF LAUSANNE

sanne RCH

TASK: usanne BY Aires Mateus

FORM From an urban point of view, the architects buried part of the building underground to combine with the underground plaza and extend it into a city square. In addition, the boundary of the irregular office and auxiliary buildings is consistent with the boundary of the surrounding environment, and the green plants on the roof is further coordinated with the urban texture.

view, the architects buried part ground to combine with the extend it into a city square. In y of the irregular office and nsistent with the boundary of the rland.

The nt, and the green plants on the s a shared ed with the urban texture.

From an architectural point of view, the regular museum contrasts markedly with the free-cut office space. In addition, the museum building itself is also divided into upper and lower parts by a free and flexible oblique space to form a shared entrance. In this open space, the sloping and varied wooden roof is warm and open, creating a spatial attraction that guides people to go through, stay, and rest.

useums up blic space oint of view, the regular museum extending Thethe public h free-cut office space. In ticketing, uilding itself is also divided into oom and

From the perspective of the interior space of the building, the museum space is regular, and the freely placed walls create the fluidity of the space. There are no restrictions on the shared entrance part, which freely connects to the surrounding urban environment and buildings.

New Pôle Muséal of Lausanne

by a free and flexible oblique d entrance. In this open space, ums, threeroof is warm and open, wooden space ction that that guides people to go

ontact with through or s to both

The project is located in Lausanne, Switzerland.

The key part of this design is that architect uses a shared entrance space to connect two different museums up and down, forming a flexible and open public space between the museums, and at the same time extending this space as an open square in the city. The public space includes all the shared services: ticketing, bookstore, shop, library, multi-purpose room and cafeteria.

of the interior space of the space is regular, and the freely fluidity of the space. There are ared entrance part, which freely unding urban environment and

LOCATION LAUSANNE, SWITZERLAND ___ ARCHITECT AIRES MATEUS ___ PRECEDENT STUDY

BY YANLIN SONG & YONGRU WU

From the architect: “One museum, two museums, three spaces. Two volumes contain an empty space that expands and contracts. A space always in contact with the exterior, where people can enter, pass through or wait. The covered area providing access to both museums.”

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GALLERY ANALYSIS

NEW PÔLE MUSÉAL OF LAUSANNE

ORGANISATION OF SPACE

CIRCULATION

STUDIO 36 RESEARCH TASK: The whole design is roughly divided Lausanne into two parts, the museum and Pôle Muséal of

BY Aires Mateus

the auxiliary management room, such as administration, which are connected by open square spacORGANISATION OF SPACE es and corridors. The focus of The whole design is roughly two parts, the the entire divided space into design is the museum and theirregular auxiliary management room, such as incision in the museadministration, which are connected open square um part, which not by only connects spaces and corridors.

The focus of the entire space the different functional areas in design is the irregular incision but in the part, the interior, alsomuseum allows the which not only connects the different functional areas in transition between the interior the interior, but also allows the transition between the landscape of the building and the interior landscape of the building and the surrounding surrounding environment.

The main museum has two entrances. After entering the shared space in the middle, you can enter different museum areas up or down through vertical traffic.

The underground museum is surrounded by a semi-open underground plaza for transportation and leisure. In addition, the auxiliary management room can be accessed from the corridor at the rear of the museum or the underground plaza. At the same time, the outdoor steps on the outside of the building can go directly to the roof garden of the auxiliary room.

Section

Adm in

istra

tion

Adm in

istra

tion

environment.

STUDIO 36 RESEARCH TASK: Museum Pôle Muséal of Lausanne BY Aires Mateus

CIRCULATION & ACCESS The main museum has two entrances. After entering the shared space in the middle, you can enter different museum areas up or down through vertical traffic. The underground museum is surrounded by a semi-open underground plaza for transportation and leisure. In addition, the auxiliary management room can be accessed from the corridor at the rear of the museum or the underground plaza. At the same time, the outdoor steps on the outside of the building can go directly to the roof garden of the auxiliary room.

First Floor Plan DIVERSITY OF GALLERIES

This project including two particular museums: Mudac： museum of contemporary design and applied arts.This museum design to include glass collection will permanently be on views, such as jewellery, ceramic, design, and print collections will be displayed to the public on a rotating basis.

Musée de l'elysée: a museum entirely dedicated to photography which is one of the world’s leading photography museums.

Ground Floor Plan

Two individual spaces separated by the shared entrance hall in the middle, make the exhibition space is an independent space that does not disturb each other.

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LIGHTING

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DIVERSITY OF GALLERIES ic on a rotating basis.

This project including two particular museums:

GALLERY ANALYSIS ée de l'elysée: a museum entirely dedicated to Mudac： museum of contemporary design and applied ography which is one of the world’s leading arts.This museum design to include glass collection will ography museums. permanently be on views, such as jewellery, ceramic,

NEW PÔLE MUSÉAL OF LAUSANNE

design, and print collections will be displayed to the public on a rotating DIVERSITYbasis.

OF GALLERIES

individual spaces separated by the shared ance in the middle, make thededicated exhibition Muséehall de l'elysée: a museum entirely to space is photography which is that one does of the not world’s leading ndependent space disturb each other.

This project museums:

including two particular

Mudac： museum of contemporary design and applied arts.This museum design to include glass collection will permanently be on views, such as jewellery, ceramic, design, and print collections will be displayed to the public on a rotating basis.

photography museums.

Section

Two individual spaces separated by the shared entrance hall in the middle, make the exhibition space is an independent that does not disturb each other.

Muséespace Ade l’elysée: a museum entirely d

mito nistphotography dedicated which is one ratio n photography muof the world’s leading seums.

tion

HTING

Adm in

istra

can be introduced through skylights, clerestories, LIGHTING de windows but it must not make direct contact with Museum artworks.

This can be introduced through skylights, clerestories, Two individual spaces separated by the shared entrance hall in the middle, make the exhibition space is an independent space that does not disturb each other.

or side windows but it must not make direct contact with the Firstartworks.

Floor Plan ure light: The materials of the roof is transparent

h is designed to block the direct light but also have

Nature light: The materials of the roof is transparent fortable nature light lets light in.The also which is designed to block the direct but alsocomplex have comfortable nature lets in.The also views of des a large baylightwindow withcomplex sweeping includes a large bay window with sweeping views of eLake Geneva theAlps Alps beyond.

Genevaand and the beyond.

Artificial light: This This isiscommonly provided by track cial light: commonly provided lighting. (located at lower part)

ng. (located at lower part)

by track

LIGHTING

This can be introduced through skylights, clerestories, or side windows but it must not make direct contact with the artworks.

Nature light: The materials of the roof is transparent which is designed to block the direct light but also have comfortable nature light lets in.The complex also includes a large bay window with sweeping views of Lake Geneva and the Alps beyond.

Artificial light: This is commonly provided by track lighting. (located at lower part)

Ground Floor Plan

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GALLERY ANALYSIS

NEW PÔLE MUSÉAL OF LAUSANNE

STUDIO 36 RESEARCH TASK: Pôle Muséal of Lausanne BY Aires Mateus STORIED/LEVEL

FLEXIBILITY OF DISPLAY Single story:

both museum sites are arranged on a single level, so the roof can be exploited for natural light and aallow light at thebe top level, while the long-span spaces segmented and roof can provide a flexible open-plan space.

All the exhibition configured as necessary to best showcase the artwork on display, have been designed to let in natural light.

LEVELS Single story: both museum sites are arranged on a single level, so the roof can be exploited for natural light and a light at the top level, while the long-span roof can provide a flexible open-plan space.

Each is divided into an enfilade of rooms which are accessed via a circulation core just nearby.

FLEXIBILITY OF DISPLAY All the exhibition spaces allow be segmented and configured as necessary to best showcase the artwork on display, have been designed to let in natural light.

FLEXIBILITY OF DISPLAY

Each is divided into an enfilade of rooms which are All the be segmented accessed via aexhibition circulationspaces core justallow nearby.

and configured as necessary to best showcase the artwork on display, have been designed to let in natural light.

Each is divided into an enfilade of rooms which are accessed via a circulation core just nearby.

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VERTICAL STACKING

VERTICAL STACKING

Spatial stacking

___ PLAN VIEW

___ PERSPECTIVE VIEW

___ ___

ELEVATION VIEW

ELEVATION VIEW

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VERTICAL STACKING

VERTICAL STACKING

Sculptural stacking

___ ELEVATION VIEW

___ ___

ELEVATION VIEW

PERSPECTIVE VIEW

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VERTICAL STACKING

VERTICAL STACKING

___ ELEVATION VIEW ___ PERSPECTIVE VIEW

Cut out Cube

Pure objects stacking ___ ___

ELEVATION VIEW

ELEVATION VIEW

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PRECEDENT

Diller Scofidio + Renfro: Reimagining Lincoln Center and the High Line

PRECEDENT

Carmen Herrera

The part of movie inspired me most is the sinking seatings in the High Line park.

The diving- down seatings is openned to the traffic.

As Carmen Herrera stated, “My quest is for the simplest of pictorial resolutions, her works have striking sense of formal simplicity and contrast of colour.

It’s always about reciprocity and so the frame is focusing the people from inside looking out, but it’s also focusing the people outside looking in. It is an inversion and it turns the city into an actor and a people into actors at the same time.

Herrera creates symmetry, asymmetry and an infinite variety of movement, rhythm and spatial tension fully exploring the pure, geometric abstraction.

ARCHITECT DILLER SCOFIDIO + RENFRO ___ LOCATION HIGH LINE PARK, NYC ___ TIME

The sunk overlook is not only a consensual space of observation and performance but also frames normal scene, but makes it speacial. Just like the film “Sleep” of Andy Warhol.

2009-2019

The high line is simply a way to make people see the world differently.

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Design Statement This gallery will be the place fully celebrating the local legacy, cultural diversity, and the various principles, ideologies, or “-ism”s of art. The gal-

Old and New

New version

The gallery can be the place that blurs the sense of time, especial a contemporary art gallery. Transfer to architecture, traditional architectural languages can be referenced and translated into a modern form.

Artworks can be captured and elevated from the daily moments, so as architecture. The gallery aims to provide a new version of the artworks and the district.

lery, both in terms of the building and

Platform

the contents, has the power of trans-

In Fitzroy, a district full of artistic atmosphere and celebrating the multi-culture, this gallery can be a platform for artists to present their works. Meanwhile, it also can be an ideal platform for visitors to access the art pieces made by these artists who are unseen.

formation that both art and architecture can bring positive opportunities to the context and the community.

Interactive experience This gallery not only aims to achieve the interaction between the visitor and artworks but also the gallery itself. Space and opportunities will be provided to experience or have a close look at the creative process of making art by holding events among the artist and between artists and visitors.

Diversity Fitzroy used to accommodate more than seventy ethnic groups that the rich heritage is still presented in the district. Different from the homogeneous exhibition space, this gallery aims to provide diverse galleries with various space qualities to accommodate the rich legacy and various forms of artworks.

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VERTICAL STACKING

VERTICAL STACKING

GALLERY

GALLERY

GALLERY

SERVICE

PORJECT

GALLERY

GALLERY

OFFICE

OFFICE

CAFE

FOYER

FOYER

GIFT SHOP

GALLERY

GALLERY GIFT SHOP

CAFE CAFE GALLERY GALLERY

GALLERY

Spatial stacking

OFFICE

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GALLERY

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VERTICAL STACKING

VERTICAL STACKING

Cut out Cube

GALLERY GALLERY GALLERY

FOYER GIFT SHOP

OFFICE

ATRIUM

ATRIUM

GALLERY OFFICE

OFFICE

GALLERY CAFE

FOYER

WORKSHOPS

GIFT SHOP

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PAGE 79

WORKSHOPS

Mid-Term Scheme 1

PAGE 80

PAGE 81

FASHION

AXOKAIA

PAGE 82

PAGE 83

Diagram

FASHION

AXOKAIA

Ground Floor Plan

GIFT SHOP

FOYER

CAFE

LOADING ZONE

PAGE 84

PAGE 85

Floor Plans

FASHION

AXOKAIA

WORKSHOP GALLERY

ARCHIVE

OFFICE

AMENITIES

BASEMENT

1ST FLOOR

GALLERY

TERRACE

ROOF BAR GALLERY

2ND FLOOR PAGE 86

ROOF PLAN PAGE 87

FASHION

AXOKAIA

Section TERRACE

GALLERY

OFFICE

CAFE

ARCHIVE

PAGE 88

PAGE 89

FASHION

AXOKAIA

PAGE 90

PAGE 91

Render

FASHION

AXOKAIA

PAGE 92

PAGE 93

Render

FASHION

AXOKAIA

PAGE 94

PAGE 95

Mid-Term Scheme 2

FASHION

AXOKAIA

PAGE 96

PAGE 97

Diagram

FASHION

AXOKAIA

Ground Floor Plan

CAFE

FOYER

GIFT SHOP

LOADING ZONE

PAGE 98

PAGE 99

FASHION

AXOKAIA

1st Floor Plan

GALLERY

ATRIUM

OFFICE

PAGE 100

PAGE 101

FASHION

AXOKAIA

Section

GALLERY

ATRIUM GALLERY

OFFICE

PAGE 102

PAGE 103

FASHION

AXOKAIA

PAGE 104

PAGE 105

Render

FASHION

AXOKAIA

PAGE 106

PAGE 107

Render

Form Development

ITERATION 01

ITERATION 02 PAGE 108

ITERATION 03

ITERATION 04 PAGE 109

VERTICAL STACKING

iteration 01

VERTICAL STACKING

iteration 02

PAGE 110

PAGE 111

VERTICAL STACKING

iteration 03

VERTICAL STACKING

iteration 04

PAGE 112

PAGE 113

Ground Floor-2

3

1

10 2

LEGEND 1 FOYER 2 RECEPTION 3 CAFE 4 GIFT SHOP 5 TEMPORARY GALLERY 6 PROJECT SPACE GALLERY 7 DIGITAL MEDIA GALLERY 8 CREATION WORKSHOP 9 SCULPTURE TERRACE 10 DIGITAL RESEARCH LIBRARY 11 STAFF OFFICE 12 TOILET 13 ARCHIVE 14 LOADING DOCK 15 MECHANICAL ROOM

4 14

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PAGE 115

Basement -2

12

8 7

LEGEND 1 FOYER 2 RECEPTION 3 CAFE 4 GIFT SHOP 5 TEMPORARY GALLERY 6 PROJECT SPACE GALLERY 7 DIGITAL MEDIA GALLERY 8 CREATION WORKSHOP 9 SCULPTURE TERRACE 10 DIGITAL RESEARCH LIBRARY 11 STAFF OFFICE 12 TOILET 13 ARCHIVE 14 LOADING DOCK 15 MECHANICAL ROOM

13

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1st Floor -2

15 12 6

13

LEGEND 1 FOYER 2 RECEPTION 3 CAFE 4 GIFT SHOP 5 TEMPORARY GALLERY 6 PROJECT SPACE GALLERY 7 DIGITAL MEDIA GALLERY 8 CREATION WORKSHOP 9 SCULPTURE TERRACE 10 DIGITAL RESEARCH LIBRARY 11 STAFF OFFICE 12 TOILET 13 ARCHIVE 14 LOADING DOCK 15 MECHANICAL ROOM

5

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2nd Floor -2

15 6

LEGEND 1 FOYER 2 RECEPTION 3 CAFE 4 GIFT SHOP 5 TEMPORARY GALLERY 6 PROJECT SPACE GALLERY 7 DIGITAL MEDIA GALLERY 8 CREATION WORKSHOP 9 SCULPTURE TERRACE 10 DIGITAL RESEARCH LIBRARY 11 STAFF OFFICE 12 TOILET 13 ARCHIVE 14 LOADING DOCK 15 MECHANICAL ROOM

11

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3rd Floor -2

LEGEND 1 FOYER 2 RECEPTION 3 CAFE 4 GIFT SHOP 5 TEMPORARY GALLERY 6 PROJECT SPACE GALLERY 7 DIGITAL MEDIA GALLERY 8 CREATION WORKSHOP 9 SCULPTURE TERRACE 10 DIGITAL RESEARCH LIBRARY 11 STAFF OFFICE 12 TOILET 13 ARCHIVE 14 LOADING DOCK 15 MECHANICAL ROOM

5

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Section development TO ACHIEVE THE TRANSPARENCY OF THE ATRIUM, THE STRUCTURE OF THE ATRIUM’S ROOF AND THE GLAZED WALLS. THE GLASSES ARE OFFSET INTO THE BUILDING THAT THE WHITE GEOMETRY FORM WILL BE MORE VISUALLY DOMINANT.

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Refined Scheme Ground Floor

3

1 7 2

LEGEND 1 FOYER 2 RECEPTION 3 CAFE 4 GIFT SHOP 5 TEMPORARY GALLERY 6 PROJECT SPACE GALLERY 7 DIGITAL MEDIA GALLERY 8 CREATION WORKSHOP 9 SCULPTURE TERRACE 10 BACK OF HOUSE 11 STAFF OFFICE 12 TOILET 13 ARCHIVE 14 LOADING DOCK 15 MECHANICAL ROOM

4 14

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Basement

12

8

LEGEND 1 FOYER 2 RECEPTION 3 CAFE 4 GIFT SHOP 5 TEMPORARY GALLERY 6 PROJECT SPACE GALLERY 7 DIGITAL MEDIA GALLERY 8 CREATION WORKSHOP 9 SCULPTURE TERRACE 10 BACK OF HOUSE 11 STAFF OFFICE 12 TOILET 13 ARCHIVE 14 LOADING DOCK 15 MECHANICAL ROOM

13

10

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1st Floor

12

6

LEGEND 1 FOYER 2 RECEPTION 3 CAFE 4 GIFT SHOP 5 TEMPORARY GALLERY 6 PROJECT SPACE GALLERY 7 DIGITAL MEDIA GALLERY 8 CREATION WORKSHOP 9 SCULPTURE TERRACE 10 BACK OF HOUSE 11 STAFF OFFICE 12 TOILET 13 ARCHIVE 14 LOADING DOCK 15 MECHANICAL ROOM

10

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5

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2nd Floor

6

LEGEND 1 FOYER 2 RECEPTION 3 CAFE 4 GIFT SHOP 5 TEMPORARY GALLERY 6 PROJECT SPACE GALLERY 7 DIGITAL MEDIA GALLERY 8 CREATION WORKSHOP 9 SCULPTURE TERRACE 10 DIGITAL RESEARCH LIBRARY 11 STAFF OFFICE 12 TOILET 13 ARCHIVE 14 LOADING DOCK 15 MECHANICAL ROOM

11 10

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3rd Floor

LEGEND 1 FOYER 2 RECEPTION 3 CAFE 4 GIFT SHOP 5 TEMPORARY GALLERY 6 PROJECT SPACE GALLERY 7 DIGITAL MEDIA GALLERY 8 CREATION WORKSHOP 9 SCULPTURE TERRACE 10 DIGITAL RESEARCH LIBRARY 11 STAFF OFFICE 12 TOILET 13 ARCHIVE 14 LOADING DOCK 15 MECHANICAL ROOM

5

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Site Analysis

Early settlement of European settlement residential zone

1858 separated from the City of Melbourne, established City of Yarra

1860-1880 mansions became boarding houses and slums

The 1890s a compatible mix of light industry and residential housing

The 1930s Fitzroy was regarded as the slum territory between the wars, the aboriginal people began to congregate in Fitzroy

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The 1990s more than seventy ethnic groups were represented in Fitzroy. rich legacy can still be seen in the major shopping streets

Diagram

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Ground Floor Plan

A

3

B

B 1

2

7

Ground Floor 1 FOYER 2 RECEPTION 3 CAFE 4 GIFT SHOP 5 TEMPORARY GALLERY 6 PROJECT SPACE GALLERY 7 DIGITAL MEDIA GALLERY 8 CREATION WORKSHOP 9 SCULPTURE TERRACE 10 BACK OF HOUSE 11 STAFF OFFICE 12 TOILET 13 ARCHIVE 14 LOADING DOCK 15 OUTDOOR TERRACE

0

1

14

4

5 PAGE 160

A

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Ground Floor Plan

12

8

Basement 1 FOYER 2 RECEPTION 3 CAFE 4 GIFT SHOP 5 TEMPORARY GALLERY 6 PROJECT SPACE GALLERY 7 DIGITAL MEDIA GALLERY 8 CREATION WORKSHOP 9 SCULPTURE TERRACE 10 BACK OF HOUSE 11 STAFF OFFICE 12 TOILET 13 ARCHIVE 14 LOADING DOCK 15 OUTDOOR TERRACE

0

1

13

10

5 PAGE 162

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Ground Floor Plan

6 12

15

9

1st Floor 1 FOYER 2 RECEPTION 3 CAFE 4 GIFT SHOP 5 TEMPORARY GALLERY 6 PROJECT SPACE GALLERY 7 DIGITAL MEDIA GALLERY 8 CREATION WORKSHOP 9 SCULPTURE TERRACE 10 BACK OF HOUSE 11 STAFF OFFICE 12 TOILET 13 ARCHIVE 14 LOADING DOCK 15 OUTDOOR TERRACE

0

1

5 10

5 PAGE 164

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Ground Floor Plan

6

2nd Floor 1 FOYER 2 RECEPTION 3 CAFE 4 GIFT SHOP 5 TEMPORARY GALLERY 6 PROJECT SPACE GALLERY 7 DIGITAL MEDIA GALLERY 8 CREATION WORKSHOP 9 SCULPTURE TERRACE 10 BACK OF HOUSE 11 STAFF OFFICE 12 TOILET 13 ARCHIVE 14 LOADING DOCK 15 OUTDOOR TERRACE

0

1

11 10

5 PAGE 166

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Ground Floor Plan

3rd Floor 1 FOYER 2 RECEPTION 3 CAFE 4 GIFT SHOP 5 TEMPORARY GALLERY 6 PROJECT SPACE GALLERY 7 DIGITAL MEDIA GALLERY 8 CREATION WORKSHOP 9 SCULPTURE TERRACE 10 BACK OF HOUSE 11 STAFF OFFICE 12 TOILET 13 ARCHIVE 14 LOADING DOCK 15 OUTDOOR TERRACE

0

1

5 10

5 PAGE 168

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Ground Floor Plan

5

6

Section AA

11

1 FOYER 2 RECEPTION 3 CAFE 4 GIFT SHOP 5 TEMPORARY GALLERY 6 PROJECT SPACE GALLERY 7 DIGITAL MEDIA GALLERY 8 CREATION WORKSHOP 9 SCULPTURE TERRACE 10 BACK OF HOUSE 11 STAFF OFFICE 12 TOILET 13 ARCHIVE 14 LOADING DOCK 15 OUTDOOR TERRACE 0

1

5 6

2

4 7

5

2 5 10 8 13

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Ground Floor Plan

6

11

Section BB 1 FOYER 2 RECEPTION 3 CAFE 4 GIFT SHOP 5 TEMPORARY GALLERY 6 PROJECT SPACE GALLERY 7 DIGITAL MEDIA GALLERY 8 CREATION WORKSHOP 9 SCULPTURE TERRACE 10 BACK OF HOUSE 11 STAFF OFFICE 12 TOILET 13 ARCHIVE 14 LOADING DOCK 15 OUTDOOR TERRACE 0

1

6 15

4

14

2 7 2

1

5 5 10 10 13

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Ground Floor Plan

1 to 20 Detail Section 0 PAGE 174

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1

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