Studio 36_Journal

Studio 36 Unititled: A project Art Space

Design Journal

Tutor: Anna Nervegna Yekun Shi 995142

Content

Design Iterations

Iterations

Chaos

This iteration explores the chaos generated by simply flipping the arches in the grid format and gener ating different single- and cross-level openings. The different scale spaces also have been formed by the arches. The order and disorders arches cre ate connections through the space. The openings and entrances have been defined by the arches as well.

Folding

This iteration explores the folding method used in a single continuous panel and generates different ramps, floors, ceilings, and walls.

The folding technique is about redefining the wall roof and ceiling and also about the continuity of the space.

Fragmentation

This iteration explores the form's possibilities by fragmenting the form and deleting some panels to generate entrance, roof windows, and courtyard space.

The narrow cut lines can be a strong symbol of the special arrangement, it also can be the openings of the form or only the patterns wrap around the form.

Jump Cut

This iteration explores the combination of different boolean elements. The possibilities of various voids connect and generate a large void space.

The combine different cut off pieces create these differen soild and void space and increase the interestness at the connection of different form.

Blur

The first iteration is about overlapping different mesh to mimic a blurred view of the mountains. The second iteration is the experiment of the twist facade strips. It was inspired by Herzog + de Meuron Signal Box. By gradually twisting the panels to blur the corners. It also reduces the identity of the edge of the openings.

Blur is a nice technique used in the visualisation of the space and gives poeple an illution of the space or the form.

Anamorphic

This iteration is about lifting the panels in the donut form to create different openings in the courtyard space and keep the donut shape from the top view.

Anamorphic is the technique which shift and rearrange the form however remain the original form in certain angle.

Transparency

For this iteration, I am exploring the definition of the space affected by the transparency walls. The trans parency of the walls can be achieved by the use of materials or by creat ing openings on the wall. By using the hollowed walls or panels on the corners, it creates the transparency of the enclosed space between inside and outside. It also blur the identi fied of the internal or external space.

Embed

This iteration is inspired by Peter Eisenman's House III. He embed a rotated block into the original cubic form to explore the space where both structure interact. I did the a similar grid arch form and embed them together to explore the unique pocket space create by the columns and the walls, instead of the regular square space in the grid form.

Optics

Optic is about introduce light into the space.

The light pattern for the interior is create by the openings, the most famous project is the church of the light by Tadao Ando. This iteration is about explore how light can transform by these cut off on the facade.

Illusion

This iteration is an exploration of the opposite to the Nagano Ring House. The Ring House has a strong horizontal from the design of the external facade. I am exploring the possibilities of the vertical space and blend the horizontal elements. I was inspired by the Vertical Glass House by Atelier FCJZ, using the solid concrete as the wall and glass panels as the floor panels to increase the connection between the space verticality.

Boolean

Boolean is about use a form to carve another form and create different solid and void space.

This iteration is exploring the boolean of the solid walls to create different openings and connections with other space. When people ex plore the space they also can recog nise the shape of the void space.

Inversion

This iteration is inspired by Louis Kahn’s Dominican Motherhouse. The enclosed ring structure with the random placed square space in the middle created these positive and negative space. The negative open space as the courtyards also has these narrowed entrance which keeps the en-closeness by also re main the connection to other nega tive space.

Reflection

From the first task, I have of the basic process of creating used as the start of the future design understand the topic's meaning in Cut. After viewing classmates' iterations, the jump cut in architecture is more spaces and embedding them together interaction of two void spaces. The some precedent projects and understand terms of the words

Reflection

developed an understanding different forms which can be design process. I still do not fully in some iterations, such as Jump iterations, I slowly understand more about cutting two different together to explore the interest in the The task also allows me to review understand the logic of the from in words in this task.

Image source: https://www.archdaily.com/237697/kukje-gallery-so-il

Precedent

Team Work by Samantha

KUKJE

GALLERY

Precedent Study

Wu JiaShan & Yekun Shi

The location of the gallery is surrounded by the

The street access on both side of the site allowing people easily enter the space. The choise of white and raw steel for the external design reduces the presence of the gallery in the middle of residential housing.

Elevation

The materials used for the gallery are the prcaste concrete panels, steel mesh, steel and glass.

Elevation

Two circulations have been designed for the gallery. People can choose directerly enter the underground Theater from the outside stairs or enter the gallery and walk down.

Details/Perspective

Flexible Steel Mesh

The flexible steel mesh wrapped around the gallery creates the curve outlines outside the cubic form of the gallery. The mesh also generates the blur effect and only leaves the entrances and the windows. The flexible mesh also tunes down the hardness of the concrete. The connection of the mesh has been hidden on the roof of the gallery to keep a clean finish from the street perspective.

Fixed Glass Window

The continous fixed windows create the floating roof of the stairs and introduce the natrual light into the space. The windows also increase the connections between the external and internal space. People can enjoy the outdoor artworks while walking downstairs.

Ceiling Detail

The interlocked roof panels avoid the direct sunlight to the inte rnal space. The gap between the curve panels introduce the natrual sunlight. Light scattering on the curved ceilings and having uniform lighting into the gallery.

The Forms

The form is distorted on the side to reach out to the site environment around the gallery.Bringing connections towards the site. Create dynamism and boldness of Kukje Gallery’s organization. The hard-edged box of the art gallery blends into the irregular shape of the site and

its context.Considering the diagrammatic box geometry too rigid within the historic fabric, SO–IL enveloped the building in a mesh veil, creating a nebulous exterior that changes appearance as visitors move through the site.

Image source: http://so-il.org/projects/kukje-galleryk3

They are loosely arranged, as if in ruins, amongst orange orchards and local vegetation. Embedded within the site, elemental forms anchored in pre-fab and cast in place concrete encourage the mode of archaeological discovery.

Indoor & Outdoor

This both unifies the building form and blurs definite boundaries, the effect is unique and fantastic

Inside Out

Comlongon Castle

The void space of Comlongon Castle attracts me to the small carved windows between the thick wall. The Castle has very bunky and flat walls as the form, but the internal space is attractive due to the small voids around the center core and its interaction with the center space. By reversing the solid and void space, these small panels around the form generate an interesting pattern for the form.

Reflection:

The Court House has an open plan in which each space is not fully enclosed by the walls and connects with each other. The curved walls break the linearity of the external walls. The glass, as the panel wraps around the house, blends the internal and external space boundaries. The glass panels also can maximise the visual connection between different spaces. The house also has a nice proportion of the internal space and the courtyard.

Court House

Iteration 1

I use the small panels from the Comlongon Castle and embed them together. By rotating and shelling the panels, they can highlight the entrance and the windows of the form.

Iteration 2

This iteration is about combining the elements from both precedents and having the ordered layout of the panels on the facade to generate the small openings for the gallery space.

Iteration 3

This iteration is about using the technique of twisting and distortion to generate a landscape architecture in which people can enter the upper level from the ramp on the side of the form.

Iteration

This iteration combines the key elements from both buildings and combines and connects with the cross columns from the court house which create a combination of order and disorder.

Iteration

The iteration has inspired by the organic walls in the Court House. By fragmenting the open space, I push the organic walls to the outside and place the courtyard in the middle and remain the proportion of the indoor and outdoor space. The donut form with the void space in between the levels generate a continouse 3 dimentionals circulation. People can enjoy the journey while walking between the levels. The courtyard and the upper level void space can be hold the outdoor scopture exhibitions.

Iteration 6

The iteration took the pop out window space as the main elements to generate a chaos building facade. The ordered arch voids or strutures combine with the oversized stripe windows reduce the sence of the level of the space. The pop out forms becomes the pocket space for poeple explore and interact while experience the gallery.

Reflection

Through the task, I explored the forms of the gallery. However, the context needs to be refined. The consider the condition of the site space also needs to be shown by of internal and external space needs consideration. For further exercise, into the context to check whether environment or is more like a siteless The site analysis can help with

Reflection

the possibilities of the different the lack of connection with the The form of the gallery needs to site and the context. The Internal by using sections. The thinking needs to be at the same level of exercise, I need to place the design whether the form fits the surounding siteless form plugged into the site. with the thinking of the massing.

Site Study

Site visiting is an excellent opportunity to learn about the site in person other than from Google Maps. Once I arrived at the site, it differed from Google Maps. The open space at the corner used to be a garden when I did my research online and now has been replaced by a digital screen. The height difference on Gertrude Street is quite steep. The intersection is significant due to the turning tram rails, which provide a broad view of the site with lovely sunlight. Most buildings have some arch elements in part of their facade.

Gertrude Street and Smith Street are busy due to the narrow road with car parks along both sides of the road and the tram in the middle. The vegetation is not dense, and some areas of the pedestrian path have been covered above.

The alleyway behind the site is wide enough for a medium truck to pass through, and the height of the buildings around the area are mostly two stories buildings.

Site Mapping

Mapping

Gallery Mapping

Yekun

Public Transport Mapping

Yekun

Nearby Gallery Mapping

Site Analysis

Analysis

Design Statement(Draft)

Fig 1. View of the exhibition Art on Display / Formas de expor 1949–69, with a replica of projects by Franco Albini and Franca Helg, Lisbon, Museu Calouste Gulbenkian, 2019. © Pedro Pina - Museu Calouste Gulbenkian

Fig 2. NGV Front Entrance, NGV, https://www.ngv.vic.gov.au/media_release/national-gallery-of-victoria-to-reopen-its-doors-onwednesday-3-november/

“Museum architecture is conceived of as a simple container that envelopes the exhibition design, and that the exhibition design, again, envelopes the objects, sometimes with the use of vitrines, which can be seen to enforce the box-in side-box configuration.” 1

Art galleries are often designed as a container that can accommodate differ ent styles and then divided into different squares to exhibit different artworks. Their façades and interior walls are often disconnected. The vertical flat walls are suitable for different paintings, but contemporary art is not only about paintings. It can be a performance art, a sculpture or a dance. And the way paintings are displayed can be more than just walls. As the images show, paint ings can be fixed on lever arms to encourage the viewer to interact with them.

“Exhibitions are important not only because of the personal purpose they are exhibited, but also because of the organizational system that the architecture brings to display them.” 2

The relationship between the exhibition and the art gallery is not only limited to the way it is arranged but should be a fusion of art and art gallery. What the audience is enjoying is not only the artwork itself, but the artwork that the art gallery is setting off at the moment, which is unique and cannot be replicated in other art galleries.

1. Ane Pilegaard, "Object/Display/Architecture: Integrating scales inmuseum exhibition design," Nordes, no. 9 (Jun, 2021): 16049705. doi: 10.21606/nordes

2. Copeland, Matheu and Lovay Balthazar. The Anti-Museum: An Antholohy. London: Koenig Books, 2017.

Massing

Iteration 1

This iteration explores the use of transparent louvers as the eave and the screen to generate different shading to the street and the internal space. The push-in area covered by the louver screen creates transparency on the facade and blends the balcony between internal and external space.

Iteration 2

This iteration uses the bending slabs to create the interlocking space and generate different height voids or cross-level space for the interior. The offset walls also create multi-entrance, which can navigate people to various exhibitions. This iteration is about the think of multicirculation for the gallery.

Iteration

This iteration is focused on how the curved wall and the center courtyard can affect the circulation of the internal space. The continuous glass wall can provide sunlight to the inner area.

Iteration

This iteration is focused on the intertwining space for the gallery. The angled form embedded together can create different ramps in the gallery, navigate people by different circulation, and interact with each other. The small area of the roof can be the openings for introducing natural diffused light into the space.

Iteration 5

Both iterations have the same design language of using arch to carve the form of the gallery and having low-height arch openings to introduce the natural light. The roof's opening along the facade can also introduce natural light into the upper levels. The difference between them is either have a very bunky form, reduce the upper levels, and introduce additional roof gardens to the gallery.

Iteration 7

BIG inspires this iteration. By twisting the form to free the ground floor space to the public. The curved shape also creates an entrance a the corner. The split-level design also can be used for the internal space.

Iteration

This iteration generates a landscape at the corner and frees the ground floor by lifting the floor panels and cantilevering above the area to provide additional shaded external space for the community. The curve roof can also be a lovely roof garden for the gallery.

Iteration 9

This iteration is another try out of using arches to boolean the form and create different openings. The oversized windows can create the illusion of each level's floor height from the outside perspective. The use of different size arches also generates the chaost of order and disorder of the facade elements.

Iteration 10

This iteration uses the same pan els to carve the facade. The small push-in facade can be opened up as several small windows or left as the facade decoration. The constant panels can blend the openings and generate a ‘bunky’ shell for the gal lery.

Reflection

Through the task, I explored forms of the gallery. However, the context needs to be refined. The form sider the condition of the site and also needs to be shown by using sections. and external space needs to be at For further exercise, I need to place to check whether the form fits the is more like a siteless form plugged can help with the thinking

Reflection

explored the possibilities of the different the lack of connection with the form of the gallery needs to con and the context. The Internal space sections. The thinking of internal at the same level of consideration. place the design into the context the surounding environment or plugged into the site. The site analysis thinking of the massing.

Urban Massing

Massing Refinement

Reflection

I select the folding iteration and start the further development of the massing. The previous iteration has the folding elements on the street side and leaves straight walls on the other two sides. By fragmenting the panels and bending small panels to create an interlocking facade. By having these interlocking facades, the gallery will have more openings on the southern side and introduce more diffused light into the gallery. The small roof garden also will be generated on each level to enjoy the view of CBD

Section A

Reflection

The further development of the intertwining iteration is about considering the universal design and using a more flattened ramp for the internal space for disabled people. The offset forms keep the small roof areas on each level for introducing natural lights to the interior space. The continuous circulation from the ground floor to the top has been kept. The different heights of the levels minimise the tacking of floors for the gallery.

Elevation

Reflection

The further development of the last class iteration is by scaling down the top of the form to minimise the 'bunky' feeling of the form from the street perspective. I also introduced the angled arch walls for the internal space to have a continuous design language from the external to the interior area. The intertwining arches form small semi-inclosed spaces in the gallery. The arches become the soft boundary of different zones.

Reflection

Developing the selected three thinking of the internal space. However, needs to be considered. The space the first iterations is too fragmented be used as a gallery space. The second of the original form, and the column with the surroundings. Due to courtyard will not receive much most of the time. The form of the church-like form which is more contemporary design for a gallery. to be reconsidered as the space quality formed by the

Reflection

three iterations has improved the However, the space quality also space created by the folding slabs for fragmented and narrow, which cannot second iteration lost the strength column form has no relationship the height of the building, The much sunlight and will be very dark the third iteration gives people a like a classic design instead of a gallery. The internal wall also needs quality is poor for the small areas the angled walls.

Digital Media Gallery ~84m2

Gertrude St Gertrude

Smith St

Temporary Gallery ~134m2

Roof Garden ~25m2

Project Space Gallery ~75m2

Stu O ce ~30m2

First Floor Second Gertrude

Stu O ce ~64m2

Storage ~10m2

Mid Semester

Semester Review

Reflection

My first iteration is lacking and minimised the materials for about how the curve walls will needs more details and refines the

The second iteration has context. The idea of the folding considerations.

Based on the feedback, I will final project and start more development

Reflection

natural light for the upper levels the building. Also need to think work for the gallery. The plan the line weight of the plan drafting.

has lack connection with the folding slab also needs to have more considerations.

will choose the first iteration as my development on the design details.

Design Development

Reflection

The cut for the double facade look nice. Some cut off space will between the curved facade and figured out and also need to consider The space inbetween two facade waste of space. The principal of improve.

Reflection

facade is too random and does not will not be useful. The connection and the straight wall has not been consider the materiality fo the facade. facade is not fully walkable which is a the curved facades also need to improve.

Reflection

The pill of idea of the facade use of polycarbonate for the curved The inner facade is too boring lationship between the inner space inner wall also lack of windows which feeling. The internal walls should wall. Close up the curved facade problem. The close up space will the gallery and people still can see space.

Reflection

facade can be further developed. The curved facade has a nice outcome. and people cannot find the re space and the curved facade. The which gives the building a bunker should have connections to the outer facade could be a good solution of the will become the strip windows for see the curved walls from the inner space.

Reflection

The curved facades have very which will be difficult to hold structurally. essary structural elements and the the facade will lose the initial intention duce the angle of rotating the panels the design and

Reflection

very extreme overhangs and curves structurally. After adding the nec the glazing in between the gaps of intention of the design. I need to re panels to keep the balance between and structure.

Detail Section

Outcome

Yekun

The Re-work of the

“The decline of the White Box as an idealized format for the presentation of art and its persisting legacy in contem porary art spaces are phenomena inextricably tied to the history of performance art and its gradual transition from a staunchly avant-garde movement into an institutionally accepted part of the contemporary art milieu.” 1

Art galleries are often designed as a container that can accommo date different styles and then divided into different cube spaces to exhibit different artworks. Most galleries choose white walls as the main component of their interiors because that is the safest way to go. However, the façade and the design language of the gallery’s interior will lose their coherence. Linear white walls mainly serve the paintings. However, contemporary art is not only paintings. It can be performance art, sculpture, dance, or a song. Contemporary art is also becoming digital. Under the demand of such diverse contemporary art exhibitions, the white wall loses its strength, and the context of the venue becomes less important.

“Exhibitions are important not only because of the person al purpose they are exhibited but also because of the orga nizational system that the architecture brings to display them.” 2

The relationship between the exhibition and the art gallery is not limited to how it is arranged but should be a fusion of art and art gallery. The audience is enjoying not only the artwork itself but the artwork that the museum is setting off, which is unique and cannot be replicated in other art museums. The building is also an artwork, so it needs to show its characteristics rather than compromise too much to meet other exhibitions.

1. Ane Pilegaard, "Object/Display/Architecture: Integrating scales inmuseum exhibition design," Nordes, no. 9 (Jun, 2021): 1604-9705. doi: 10.21606/nordes

2. Copeland, Matheu and Lovay Balthazar. The Anti-Museum: An Antholohy. London: Koenig Books, 2017.

Yekun

Yekun

995142

995142

FFL 15.00m

F2 FFL 10.00m

F1 FFL 5.00m

FFL 0.00m

B1 FFL -5.00m

B2 FFL -12.00m

RF FFL 15.00m

F2 FFL 10.00m

F1 FFL 5.00m

G FFL 0.00m

B1 FFL -5.00m

B2 FFL -12.00m

Yekun

995142