Studio 36_Journal_Xueyin Yan

Reflective Journal - Untitled: a Project Art Space for Melbourne -

Studio 36 Leader: Anna Nervegna Xueyin Yan 1096667 Level E 2021.10.31

CONTENTS

01

02

03

04

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Illusion Order and disorder Jump cut Boolean Embed Folding Distort Transparent Folding/Distort

Conisborough Iteration 1 Iteration 2 Samrat Yantra Observatory Iteration 1 Iteration 2

Site information Visual analysis Commercial project

1. Unpredictable and wild 2. Metabolism 3. Chance 4. Materials and history 5. Light

Task 01 / Spatial verbs

Task 02 / Inside-out objects Site analysis

Design ideas for Statement

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05

06

07

08

09

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Iteration 1 Iteration 2 Iteration 3 Iteration 4 Iteration 5 Iteration 6 Iteration 7 Iteration 8 Iteration 9 Iteration 10 Iteration 11 Iteration 12 Iteration 13 Iteration 14

Design statement Site Iteration 1 Iteration 2 Reflection

White gallery Morocco Pavilion Expo 2020 Dubai Reflection

Design development / WEEK 9----91 Design development / WEEK 10--100 Design development / WEEK 11--112 Design development / WEEK 12--122

Urban massing

Mid-sem review

Gallery analysis

Design development

Final review

untitled: a Project Art Space for Melbourne | Architectural Journal

Task 01 / Spatial Verbs

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Task 01 / Spatial Verbs

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untitled: a Project Art Space for Melbourne | Architectural Journal

Spatial Verbs

Plan view https://www.theguardian.com/artanddesign/ gallery/2009/sep/25/bridget-riley-art-liverpool#img-3

Bridget Riley Study for Shuttle (1964)

Plan view

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Perspective view Perspective view

Illuusion

Order and disorder

The iterations of illuusion are inspired by the art works of Bridget Riley which consists of some geometric plane shapes to form a three-dimension sense. So, these iterations consist of curves with rhythm which can create a sense of illusion.

Similar elements can be regarded as ordered factors. In order to achieve disordered effect, the ordered factors are applied in the iterations and transformed to another form gradually. In addition, varied patterns with rhythem are created if observed from another view.

- REFLECTION It is a good attempt to translate the artwork by Bridget Riley into a three-dimension form. Besides, the plan views with dynamic pattern have the potential to be applied in facade design.

- REFLECTION The sense of chaos is not illustrated well in this iteration. Generally speaking, the iteration represents the ordered elements in the space. untitled: a Project Art Space for Melbourne | Architectural Journal

Jump cut

Boolean

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Plan Perspective

Plan Elevation

Jump cut, as a film editing method, can achieve the effect of partly deleting the film and breaking the chronological order of the film. In this iteration, the original volume is cut while some parts of it are reassembled.

The original slabs are boolean with spheres and thus some positive and negative spaces are formed. Observing from plan and elevation views, the negative spaces form regular patterns with rhythm, which has the potential for facade design.

- REFLECTION I feel that I only focus on the 'cut' rather than reassembling the elements and breaking the chronological order. The oringinal concept of 'Jump cut' is not fully understood in this iteration. Therefore, more artworks of jump cut need to be studied.

- REFLECTION I think the plan views which have the special patterns are quite interesting and can be used in further design, especially in the facade desin. untitled: a Project Art Space for Melbourne | Architectural Journal

Embed

Folding

This iteration explores the creation of embedding the solid volumes in the frames which represesnt a translucent form to connect the volume together but not stop the sight line. Additionally, there is a contrast between the translucent form and the solid form.

- REFLECTION The form of the solid volume seems random although it is an attempt for embed. Besides, specific archirectural application needs to be considered in this iteration.

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Elevation

The original plane is folded along the curve. For one thing, some spaces under the wrinkle surface are formed. For another, the folded surface around the curve can create multilayer space. Different spatial effect, such as soft or sharp, can be produced when the surface is folded with different curvature.

- REFLECTION It is a diract way to illustrate the folding space. The folding concept should be showed in different perspectives.

Perspective untitled: a Project Art Space for Melbourne | Architectural Journal

Transparent

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Distort The original form is distortion of several lines. The twisty space will be created when the lines are exteded as three dimensional forms.

- REFLECTION During the process of design, I didn't consider carefully about the architectural potential, although it is an iteration for spatial verb.

Columns are designed in the space instead of horizontal partitions to avoid vision obscuration. The roof is thin, like floating over the ground. So, the space in between have a sense of transparency.

- REFLECTION The 'transparent' concept is illustrated through the contrast between the roof plane and the open space below. In the meanwhile, there are some details need to be considered carefully in order to achieve a better effect, such as the thickness of the roof and the scale of the columns. untitled: a Project Art Space for Melbourne | Architectural Journal

Task 01 / Spatial verbs

In this task, we were introduced to some verbs related to architectual design and asked to develop relevant design iterations according to our own understanding to these words.

Reflection

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I think it is a good training for us to understand how to describe the techniques. What is more, it is crucial to translate these words into design through thinking and express them by an architectual way. During this process, I found that there are some unexpected potentials from these iterations which can be applied in facade design if observed from another view.

Folding/Distort The facade can be regarded as four pieces of paper which are flipped and distorted.

Thus some opennings are created with smooth curves which can have a dynamic effect.

- REFLECTION I think ths iteration have the potential for main entry design. Different effect will be created if the opening and the angle are adjusted.

untitled: a Project Art Space for Melbourne | Architectural Journal

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Task 02 / Inside-out objects

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untitled: a Project Art Space for Melbourne | Architectural Journal

Inside-out objects

Conisborough

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Inside-out space Conisborough is a castle built in the 11th century in England. As an historical building by stone, Conisborough Castle consists of inner space and the circular stone bailey which is chunky with basic facilities.

In addition, people can enter the inner space through the opening on the outer bailey. The inner space is formed based on the stress characteristics of stone and the contour of the terrain.

The inside-out space of Conisborough consists of several basic geometric formations, such as cone, cylinder and spiral, which have the potential for being reassembled. https://en.wikipedia.org/wiki/File:Plan_of_Conisbrough_keep.png

untitled: a Project Art Space for Melbourne | Architectural Journal

Iteration 1

Iteration 2

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This iteration is mainly based on the circular volume which is reconstructed by jump cutting and rotating. So, the new space will have a sense of sequence. In addition, the combining form of these geometric spaces has an upward tendency which seems to be dynamic.

This iteration is mainly based on the solid volume. The otiginal cylinders are intersectes and boolean with the tower space.

- REFLECTION The relationship of these volumes is not quite clear. Besides, the application in architecture of this iteration needs to be taken into consideration carefully. untitled: a Project Art Space for Melbourne | Architectural Journal

Samrat Yantra Observatory

Iteration 1

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This iteration is developed according to the steps and the arched holes.These elements are rearranged and intersected with each other. At the same time, I create the arched holes below the steps, especially the intersected part of two volumes. So, similar to a maze, people can go along the steps and have a visual communication through these holes.

- REFLECTION Although it is an attempt for rearranging the elements of the oringinal building, it is not a proper way to understand and demonstrate the inner space.

untitled: a Project Art Space for Melbourne | Architectural Journal

Iteration 2

Inside-out objects

Reflection

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In this task, we were required to explore a building and turn its inside out. Then, we need to create 2 object based on the inside-out space. I think it is a good practice to experience and focus on the internal space itself.

However, in some iterations, I still focus too much on the elements from the facade rather than the reconstruction of the interior space, espacially the second project, which is quite hard to invert the inside space out.

This iteration is mainly based on the arched-shape holes. This time, I extract the surface around the shape and rotate it 90 degrees to put it on the ground. So, the surface will become walls. In addition, some openings in similar shape are created on the wall.

- REFLECTION Similar to the last iteration, this one is also lack of the consideration of the interior space, which seems to be the design of the surface. untitled: a Project Art Space for Melbourne | Architectural Journal

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Site Analysis / Corner of Gertrude Street and Smith Street, Fitzroy

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untitled: a Project Art Space for Melbourne | Architectural Journal

Site information The art gallery project is estimated to be located in the corner of Gertrude Street and Smith Street, Fitzroy, which is a suburb on the northeast of Melbourne CBD.

Art galleries

When I had a site visit, I feel that the area of the site is relatively small (25m*20m). Therefore, in order to make it hamonious with the surroundings, it is crucial to control the the scale of the art gallery in the design. Gertrude Street, as a main street on the north of the site with tram stops, has the potential for the main entrance.

Green space

Apart from that, as a cultural suburb in Melbourne, there are numerous typical art project, such as art galleries and workshops around the site. Therefore, how to continue the cultural atmosphere in the art gallery project is one of the key issue in the design.

Street texture

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Transportation

Satellite map

Site collage

untitled: a Project Art Space for Melbourne | Architectural Journal

Visual analysis

Commercial project

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Along Gertrude Street, which is the main street next to the site, there are several visual points noteworthy to be taken in to consideration. These visual points are faced to some typical site in Fitzroy, such as park, greening space and some special buildings.

- REFLECTION These visual points need to be taken in to consideration in further design, especially in terms of the location of the openings.

untitled: a Project Art Space for Melbourne | Architectural Journal

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Design Ideas for Statement

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Design Ideas for Statement

2. Metabolism

1. Not imitate the nature but looking for the underlying process / the process of forming nature / unpredictable and wild

Jean Arp: from the collections of Mme. Marguerite Arp and Arthur and Madeleine Lejwa, at the Metropolitan Museum of Art (1972) - 34

https://www.pinterest.com.au/pin/681591724827865400/

Daphne Jean Arp (1960)

The playful massing of the art space is inspired by Jean Arp who created his art works by collaborating with the natural force of chance and depicting the growth process of organic nature. So, the form of the art space massing is composed by observation and iterations of the elements from nature, like fluid, which seems to have a dynamic trend of motion as well as has a variety of views in three dimensions.

https://www.archdaily.com/110745/ad-classics-nakagin-capsule-tower-kisho-kurokawa?ad_medium=gallery

Nakagin Capsule Tower Kisho Kurokawa (1972)

The art space is influenced b y M e ta b o l i s m w h i c h i s a Japanese architectural movement regarding buildings as growing and dynamic. The equipment and components of the building are replaceable and transformable, and thus the space is not fixed, which can adapt to the ever-changing requirements at different times. For example, instead of fixed interior solid walls, removable partitions, like curtains, can be used to divide and define the space, so the function of the space will change accordingly.

untitled: a Project Art Space for Melbourne | Architectural Journal

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3. Chance

4. Materials and History

https://www.archdaily.com/14623/ningbo-historic-museum-wang-shu-architect/500f332a28ba0d https://www.archdaily.com/794255/m-woods-entrance-revitalization-vector-architects?ad_ 0cc7002079-ningbo-historic-museum-wang-shu-architect-image source=search&ad_medium=search_result_all

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https://www.archdaily.com/890315/how-sou-fujimoto-promotes-community-by-uniting-seemingly-opposite-elements?ad_source=search&ad_medium=search_result_all

Ningbo Historic Museum Wang Shu, Amateur Architecture Studio (2008)

M Woods Entrance Revitalization Vector Architects (2016)

L’Arbre Blanc (The White Tree) Sou Fujimoto

Chance is related to a flexible form of architectural design.

A flexible form makes it possible to blend the building in the environment and show respect to the environment. I think the White Tree by Sou Fujimoto is a good project which can be regarded as a respond to the environment in different directions. The architectural form seems to be in chaos but organized in order.

In view of the historical background of Fitzroy, some architectural elements can be retained to inherit the history. Ningbo Historic Museum by Wang Shu, which is a modern building made by old bricks and stones collected from the village, can be taken as an example. Materials with traces of historic texture can be collected, stacked and reconstructed in a brand-new form in order to keep the memory of the past. (https://www.archdaily. com/14623/ningbo-historic-museum-wang-shu-architect) Therefore, traditional building materials and common local building forms in Fitzroy can become the object of investigation for the further design.

Apart from the traditional materials, some new elements can be introduced to the art space to adapt to contemporary Melbourne culture.

This can be achieved by covering the massing with different material.

untitled: a Project Art Space for Melbourne | Architectural Journal

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5. Light

-REFLECTION Design statement, which is based on relevant theory, site information and design brief, is the footstone for the next design stage.

https://www.fx361.com/page/2014/0521/2647563.shtml

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National Assembly Building Louis Kahn (1962)

Reflection

I think a good statement need to be convictive and logically organized. In this task, I did some research about relevant theory and precedents, and come up with 5 points as the main ideas which I am interested in and willing to develop further for the design statement.

In addition, all of these points have an intrinsic connections with each other.

As is said by Louis Kahn “I sense light as the giver of all presences, and material as spent light. What is made of light casts a shadow, and the shadow belongs to light”, I hope the art space itself can become a part of exhibits, which can be achieved by defining the space by the light and creating different atmospheres according to the functional attributes of the space. In addition, light would interact with the texture of the materials and thus allowing people to feel the texture of touch from a visual perspective.

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Urban Massing

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Iteration 1

Urban Massing

Iteration 2

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Stacking + distort This massing consists of several floors with steps which are distorted. Some part of the steps are lifted, such as the street corner, which has the tendency to lead people enter the building.

- REFLECTION This iteration seems to be the stacking of the surfaces rather than massing although there are some potentials in the open area.

Folding + Stacking This massing consists of two layers: the semi-transparent skin and the stacking slabs. The corner of the skin is lifted and folded as entrance, which can be regrded as a hint of welcome for the visitors.

- REFLECTION Personally speaking, I quite like the folded surface in thee corner which looks not just like a cold building but a skin with vitality. However, as an urban maassing, this iteration still lacks of the concept of 'stacking'. untitled: a Project Art Space for Melbourne | Architectural Journal

Iteration 3-1

Iteration 3-2

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https://thomortiz.tumblr.com/post/182453687336/ torse-gerbe-jean-arp-1958

Stacking

Torse gerbe Jean Arp (1958)

This massing iteration is about the dynamic process and the trend of growth inspired

by Jean Arp. The curved space is aimed to remind people the sense of nature and organic growth. The waving massings are stacked on each other, and some curved part are extended on the ground which can be regarded as columns.

Stacking + Embed This massing iteration is a developed version for the last one which is a combination of solid volumes and the frames.

- REFLECTION Although it is a good attempt to express the sense of organic growth, the massing still needs proper consideration of the actual function as a building. untitled: a Project Art Space for Melbourne | Architectural Journal

Iteration 4-1

Iteration 4-2

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Jump cut

Jump cut + Boolean

This massing is based on jump cut. The original shape is a sphere which is cut and reconstructed on the top. Therefore, the massing can be regarded as a building with the roofs facing to different directions.

This massing is a development of the last iteration. In this massing, the main volume is boolean with the fragments of the broken sphere to create some opennings as entrance and facade elements.

untitled: a Project Art Space for Melbourne | Architectural Journal

Iteration 5-1

Iteration 5-2

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This massings is an attempt of stacking with similar cylinder elements. These elements are arranged together but in different scale. Accordingly, their functions will be changed. Some of them can be regarded as pavilion while others can be regarded as columns.

untitled: a Project Art Space for Melbourne | Architectural Journal

Iteration 6-1

Iteration 6-2

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Stacking + Embed This iteration is a massing consists of several cubes stacked on each other.

However, the scale and relationship of them are not kept in the same. From bottom to top, there is a trend of the volume of the cubes from small to big. And thus, the open space on the ground turns into an integrated interior space o the upper floor.

This iteration is a developed version of the last one which combines the solid cubes as well as the frames.

- REFLECTION In further design, the actual function of some part of this massing needs to be taken into consideration, especially the framed part. What is the meaning of this form? I also need to think whether it is necessary in the building. untitled: a Project Art Space for Melbourne | Architectural Journal

Iteration 7

Iteration 8

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Stacking + folding This iteration consists of several cylinders and some folded surface around them. These surfaces are arranged with specific directions, which can lead the way for the visitors.

Stacking + rotate This iteration consists of several volumes in similar shape. From bottom to top, these volumes are rotated slightly and the area of each volume is reduced gradually. Accordingly, there are some terraces formed which can be regarded as a respond to the surroundings.

untitled: a Project Art Space for Melbourne | Architectural Journal

Iteration 9-1

Iteration 9-2

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- REFLECTION It is a preliminary attempt for facade design and roof form. However, as an urban massing, it lacks of the consideration of the environment and the actual function.

untitled: a Project Art Space for Melbourne | Architectural Journal

Iteration 10

Iteration 11-1

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This iteration is generally a laddershape massing, rising from north to south, which provide the terrace for people to enjoy the scenery of the street. In addition, the smooth connection of each massing expresses an organic and dynamic sense.

Stacking + Distort This iteration consists of three massings which are intersected with each other. These massings are lifted gradually from the ground and thus the roof is accessible.

untitled: a Project Art Space for Melbourne | Architectural Journal

Iteration 11-2

Iteration 12

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This iteration is another attempt for the intersection of two volumes. In the corner, I leave enough space for public activity. In addition, these two volumes are both raised from this corner. The overlapped part of these two volumes has the potential as a covered public space.

The volumes are stacked on each other.

In addition, they are faced to different directions.

untitled: a Project Art Space for Melbourne | Architectural Journal

Iteration 13

Iteration 14

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This iteration is designed by boolean a cuboid with several spheres. The gaps between these spheres can be regarded as negative spaces created from the positive volumes, which is the transition space between interior space and the outdoor space.

This iteration consists of several volumes arranged in parallel. However, one side of each volume is connected smoothly to the ground.

untitled: a Project Art Space for Melbourne | Architectural Journal

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Mid-sem Review

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Design Statement

Site

Different categories of art forms are interlinked, although their methods of expression are various. Relevant techniques from different artistic forms are applied in the architectural design of this project, which aims to achieve the goal of breaking the boundaries of art. Therefore, the art gallery itself can be regarded as a part of the work of art with both ornamental and practical value.

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The proposal is inspired by the Dada artist Jean Arp. Just as Jean Arp said, “We do not want to copy nature. We do not want to reproduce, we want to produce.” Fitzroy Art Project Space aims to have a flexible form based on exploring the process of creating art. It is not a blind pursuit of curved form from nature, but a style naturally formed in the process of seeking the interaction between architecture and the nature.

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For another, the non-chronological order as illustrated in the Jump cut, which is a technique in film editing to break the continuity of the film, is also applied in the proposal. Similar to jump cut, the proposal aims to create a new spatial relationship through cutting and reassembling of the massing and space. Accordingly, visitors can be reminded of the transformation of spatial properties and functions when moving through the space.

untitled: a Project Art Space for Melbourne | Architectural Journal

Iteration 1

Basement floor

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Concept evolution

untitled: a Project Art Space for Melbourne | Architectural Journal

Ground floor

First floor

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Second floor

Third floor

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Section

Iteration 2

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Basement floor

Ground floor

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First floor

Second floor

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Third floor

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Interior space

Section

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1. Analytical diagrams should be included in order to illustrate the logic of thinking and the process of volume formation.

2. In scheme 1, it seems that I only present the 'Jump cut' concept in the facade design.

However, this concept should be illustrated in the interior space as well and the plans need to be reworked again.

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Reflection

3. The form of some spaces can not illustrate the spatial characteristics. For example, the ground floor plan is misleading which seems to leads the visitors to leave the gallery although my original idea is to create an open space. Therefore, more precedents of art gallery needs to be refered to.

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4. In the section, the heght between floors needs to be higher.

5. In the section, creating double height space to promote visual communication between people in different floors might be a good idea.

untitled: a Project Art Space for Melbourne | Architectural Journal

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Art gallery analysis

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White gallery

Plan and function

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Gallery space White gallery [SHIFT] Process Practice Iran (2016)

Administration space Public activity space Outdoor activity space Private gallery space untitled: a Project Art Space for Melbourne | Architectural Journal

Section and light

Circulation

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Material

Morocco Pavilion Expo 2020 Dubai

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Morocco Pavilion Expo 2020 Dubai OUALALOU+CHOI (2021)

The Morocco Pavilion at Expo 2020 in Dubai consists of 22 stacked rectangular volumes which are used as exhibition spaces, a traditional Moroccan restaurant, a shop, an event space and tea room.All of these rectangular volumes are connected by a continuous circulation space, which is defined as an "inner street" by the architects.

This inner street begins at the top floor of the building and then gradually descends to the ground, which is in the form of linear circulation.

untitled: a Project Art Space for Melbourne | Architectural Journal

Plan and Circulation

Material

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From my point of view, the space inserted in the circulation space can be regarded discontinuous, although the circulation streamline is linear. One step further, the chronological order can be broken, if the order of these spaces is changed.

untitled: a Project Art Space for Melbourne | Architectural Journal

Reflection: Gallery circulation

Outdoor space Serving space

Kitchen

Cafe Gallery gift shop Sculpture terrace Landscape Temporary gallery Street

Main foyer

Project space gallery

Storage

Assemblage

Loading dock

Bathroom Bathroom Cloak room Information

Back of house

Digital media gallery

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97 Research digital library

Relevant administration

Kids learning space/activity center

Relevant administration

Indoor activity space Outdoor activity sapce

Staff + administration

Staff entrance

Meeting room Rest room Lunch space Print area Dressing room

Homeless support (optional)

Main function Auxiliary function Transformable/Replaceable/Moveable space Outdoor space

Artists studios (optional)

Spece with natural light Direct relation Indirect relation

Residential space Working space

untitled: a Project Art Space for Melbourne | Architectural Journal

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Design development / WEEK 9

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Basement floor

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Ground floor

First floor

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Second floor

Third floor

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untitled: a Project Art Space for Melbourne | Architectural Journal

Section

1. The main problem of this scheme is that the plans are not consistent with the 'Jump cut'concept as well as the facade design, even though I have tried to break the chronological order of the streamline.

2. In the section, the 'Jump cut' concept is still not illustrated in the space. Apart from that, the connection of the roof and the structure below seems discontinuous.

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Reflection

3. The central space can be larger in order to accommodate some big-scale sculptures.

4. Some spaces are inconsistent with the actual requirements of the functions. For example, the entrance of artist studio seems like an entrance for a hall rather than a small space.

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Design development / WEEK 10 - 108

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Basement floor

Ground floor

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First floor

Second floor

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Third floor

Section

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Material and Structure

1. The biggest problem of this scheme is that the interior space is inconsistent with the shape of the volume. Even though I tried to figure out how to illustrate the 'Jump cut' concept in the interior space, the inner space still cannot reflect the facade. Using the 'shift' concept might be a good way to achieve that.

Reflection

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2. The characteristic of some spaces are inconsistent with the functions. For example, the artist studio do not need a large space as the entrance.

3. The void space, which should be high enough to accommodate some large pieces of artistic works, such as a big sculpture, needs to be rearranged carefully.

4. The roof structure needs to be considered and designed carefully and combine with the lower space.

https://canterburytimbers.com.au/buy/james-hardie-exotec-compressedfibre-cement-sheet-2400-x-1200-x-12mm/

untitled: a Project Art Space for Melbourne | Architectural Journal

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Section

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Design development / WEEK 11

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Basement plan

Ground floor plan

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In order to rearrange the space according to staticdynamic distinction, I set the active space, such as children learning space, on the ground floor. untitled: a Project Art Space for Melbourne | Architectural Journal

First floor plan

Second floor plan

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Third floor plan

Interior space

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Interior space

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Reflection

1. Although I have tried to express the 'jump cut' concept in the section by inserting some small exhibition spaces, the section of the ground floor and basement is still to normal, which can be more exciting by adjusting the floor height and using staggered floor. In addition, the light should be illustrated in the section drawing.

2. The structure of the plans need to be rearranged, which is fussy with some unnecessary trivial spaces.

3. The foyer on the ground floor, which plays a crucial role in the building, needs to be refined and can represent the concept. For example, the spatial forms of the reception,cafe and children learning space need to be reworked.

4. The central two-storey high gallery space need natural light. Therefore, the toilet on the third floor needs to be removed in order to create void space coneected to the skylight.

5. The staggered spatial relationship might be illustrated through different materialls.

6. The storage of the art gallery should be big enough to accommodate racks which can be used to store transport artworks.

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Design development / WEEK 12

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Interior space

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Interior space

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Interior space

Section

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Basement floor plan

Ground floor plan

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First floor plan

Second floor plan

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Third floor plan

1. The visual angle needs to be considered more carefully.

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Reflection

2. After having a conversation with the engineer, there are something needs to be taken into consideration in terms of the structure and detailed section. For one thing, the drainage system needs to be designed especially on the intersection of the vaulted roof. For another, ecologically sustainable design should be considered in further design.

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Final Review

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Concept

Function analysis

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Basement floor

Ground floor

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First floor

Second floor

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Third floor

Section AA

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Section BB

Circulation

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159 -

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