Conclusive Thoughts

I thoroughly enjoyed working on this project, as I see it being a hybrid of the previous two projects. The task was chosen to be a real-world site, in Newtown, with real design problem, such as specific spaces with specific areas. The "reality" factor of this project which reflects the first assignment was only half of the task. The second part reflects the second task's brief which is to create a narrative. The way in which I configured the spaces and overall design was almost based on a narrative on a gallery owner, with the art being displayed reflecting the design of the gallery.

Site Model

With the site model photos, I orientated the entire model so that it matches the given site plan. Taking the photos at around 2pm, I captured the real life shadows that would have been cast on the art gallery if it were in Newtown.

Final Model with Lighting

Newtown - Site 2

Site Plan

A 1:500 plan of site 2 and its immediate surroundings.

Poche Drawing

A drawing showing the quality of light of the main exhibition space in plan and section

Courtyard

Just a small note on the courtyard and the reasoning behind it. I wanted to place the courtyard relatively close to the living quarters, however, not so close that it becomes a private space. Again, referring to Garnier's vision of the opera experience beginning well before the opera itself, I wanted this courtyard to be a place which strips all the stress and negative feelings of the gallery owner prior to entering his living quarters, and ultimately be a place of peace.

Plans

Lower Ground Floor (entrance, exhibition space and workshop); Ground Floor (main exhibition spaces, office and storage); Level One (courtyard); Level Two (toilet, bedroom, living space, kitchen).

Sections

Cross-Section; longitudinal-Section

Vignettes

Initial Sketchup Model

On the front facade facing King street, I chose to create a small bend which acts as a lure, stopping people and making them glance at the building. The facade with the entrance I chose to lean slightly forward in order to create a sense of monumentality and grandeur of the structure - becoming almost monolithic. The back corner appears to have no support which reflects the main concern of post-modernism that is to confront the beholder. Above is a sketchup model.

Combining Plans with Facades

Initial Sketches of Plans

Initial Sketches of Facades

References to Other Concepts

Another such concept is derived from Charles Garnier's "Opera". He believed that the entire experience of the Opera is not limited to the show itself. It begins from the moment you begin to dress for the occasion. Consequently, the experience continues as you arrive to the Opera building, before even entering. For this to work, he designed the building, so that it is appropriate for the occasion (highly ornamental, lavish, etc).

I wanted to re-create a similar experience with my art gallery, in the sense that one's experience of art begins before entering the gallery. I wanted the gallery to be an art piece in itself, with an overall exterior suggesting the interior function.

There are a few minor ideas which were in my mind since the beginning of the design process. One of them was the interdependence of different elements to create one whole. This is evident in the Roman triumphal arches. There is a network of horizontal and vertical components which connect the different details of the arch. For example, the top horizontal line of the small arches runs across and joins up to the large central arch.

Concept Drawing

When creating my concept drawing, basically, all I wanted to explore was the intersection of lines to create triangles (and ultimately spaces) and by shading the resulting triangles in different tones, this would represent the quality of light within the art gallery, ranging from completely dark spaces to ones which are largely exposed to light.

Basis of Design

My design principles were based around 2 striving notions: manipulation of geometry - in particular, the triangle; and using this geometry to create a dynamic circulatory path.

The whole idea about post-modernism, is to take in the past and recycle it into the present. The classical period was all about perfection, proportion and geometry. The triangle was considered to be almost divine, as any shape can be comprised of a series of triangles. During the renaissance, the triangle was still seen as divine, although in another light. It represents the holy trinity - the unity of the Father, Son, and Holy Spirit as three persons in one Godhead. In our postmodern context, I wanted to strip the classical perception of the triangle and use it purely as an aesthetic tool. This contrast is further accentuated by the church next door to the site. Hence I wanted to create a series of spaces, and facades constructed on the basis of manipulating triangles.

My second notion - that of circulation - is a direct result of the first. The idea behind this, is that the acute corners of the triangle would push people away, and force them to travel in a particular path.

Precedents