ARCH1201 Project 3: FINAL SUBMISSION

ARCH1201- Model Progress

ARCH1201 Project 3: Finalising ideas/REVIT model

After last week's tutorial, I was advised to focus more on space, and pay more attention to how a person would experience a particular space. My proposed idea was fairly rigid, and too 'corridor like.' Thus, I have reconsidered my design to solve these problems.

Rodrigo suggested that I locate all the service areas on the 'darker' side of the building. My courtyard was also quite narrow; with the surrounding buildings around 10m high, the visitor would feel quite trapped in that space. To solve this problem, I have shifted my building towards the left of the site and expanded the courtyard, creating a more spacious area.

In this new design (shown below), the idea of 'weaving' is suggested through the way the niches jut in and out, forming an area for artworks/sculptures/paintings to be displayed. The niches are no longer all the same size. This has allowed me to create a more interesting area for the courtyard. On the second level, the roof juts out in-between the niches, forming a 'shelter' over the courtyard.

I have located the private living area upstairs, separating it from the two levels below. Private studio spaces are also available for hire on the same level.

Draft model produced in REVIT (Rendered)

• By creating a draft model in REVIT, I was able to create an accurate model, which I felt assisted the design process . The 3D view also proved to be very useful, as it gave me a general idea of what my building would look like.
  

ARCH1201 Project 3: Initial Design + Model Attempt 1

For my original parti diagram, I mainly considered the placement of the courtyard and semi-private spaces. After considering the placement of those elements as well as how I was going to use my spaces, this interesting form evolved. Despite liking the cubic forms, and not wanting to change my design, I have finally learnt that it IS OK to change and that I SHOULD change, as good architecture will only be produced when ideas are constantly experimented and reworked with.


My design aims to bring people together (as Newtown is a large community, where everyone is accepted and connected). Based on my study of Fiona Hall, who knits and weaves a lot of her artworks, I have adapted this idea of weaving and tried to weave my spaces/rooms together so that they are interlinked and continuous.

Externally, this idea of weaving is also present. The external sculpture courtyard also consists of bays, where sculptures could be slotted in. Other sculptures, possibly larger ones would be placed along the general courtyard area and not in these bays.

The space on the left is used as a semi-private space, where functions are held (both during the day and night). The courtyard is situated on the right side, with

The next step will be to work out the levels and heights of my building; (high ceilings, low ceilings...essentially, considering how the visitors will feel when they experience different parts of the gallery/shop)

My next focus will also be on lighting. The use of lighting is going to urge visitors to continue along the path, where there is something new to be discovered.

ARCH1201 Project 3: Parti Diagrams (Experimenting with form)

As discussed in my tutorial, Rodrigo advised me to change my approach whilst designing, and start off by thinking about a form. Form is not something to be created intentionally, but instead, should naturally arise from considering the use of the spaces; separating private/public areas. The diagrams below are quick parti/sketch diagrams that I came up with, after considering how I wanted people to experience my design.

ARCH1201 Project 3: Precedent Study

DANIEL LIBESKIND

Daniel Libeskind's work particularly interests me, as they clearly demonstrate the amount of thought he places into the form, light, and structure of his buildings. The way Libeskind positions his buildings on the site is interesting, as he leaves large amounts of open public/semi private space for the users. Similarly in my design, I want people to enter this sort of space, where there will be areas for them to gather, pause and get in the right mood before entering the gallery.

Libeskind's buildings strike the viewer upon encounter. For this project, I also intend to create a form that fascinates people as they pass; making the person curious and want to enter the space. This idea of connection (physical and visual) will be present, where people are drawn and brought together to form a sense of community. (Newtown is known to be a suburb of tolerance, where individuality is highly accepted and catered for.)

Lighting plays a large role in Libeskind's designs. He experiments with various ways of letting light through his buildings in order to create beautiful forms and spaces. My gallery will incorporate this idea, where the visitor is given a new experience when they enter each room.

Studio Weil,
Mallorca, Spain

This gallery responds well with the surrounding landscape

Skylights are placed above the interior gallery spaces, giving soft and diffused lighting as opposed to large windows.

Jewish Museum
Berlin, Germany

The slits in Daniel Libeskind's Jewish Museum let light through the building in a unique way.

Danish Jewish Museum
Copenhagen, Denmark

The Villa- Libeskind Signature Series

Forms that make the viewer curious and want to discover what is inside the space

ARCH 1201 Project 3: Initial Inspiration

By lifting the office/gallery space, the area at the bottom can be used for multi-purposes.


The light in this gallery space mainly comes from the lit cabinets, which creates a magical aura and experience for the visitor.

The diffused light from the upper opening that falls onto this gallery space captured my attention. It brings light into the space without harming any artworks which may potentially be in the space.

ARCH 1201 Project 3: Artists/Influences

ARTIST: Fiona Margaret Hall



Fiona Margaret Hall is one of Australia's leading contemporary artists, noted for her diverse use of art forms. These include sculpture, painting, installation, garden design and video. I am particularly fascinated with how Hall's artworks deal with themes such as violence, and convey a strong message about the defects in society.

The core theme throughout Hall’s work is the relationship between nature and culture. Throughout her career, Hall has maintained a lifelong commitment to teaching and studying as a means of furthering her art.

Hall’s choice of material and way she uses it, is critical to her art. Her art forms have the ability to speak to us, because they engage with contemporary life in intriguing ways. Hall deliberately transforms ordinary everyday objects and materials to address a range of complex contemporary issues such as globalization, consumerism, colonialism and natural history.

Fiona Hall builds up creations from tiny glass beads, as well as figures, heads and children’s toys woven with video tape from violent war films and baby clothes woven from shredded Coca-Cola cans. Hall’s art is essentially seductive to eye and challenging to the intellect. These works are all provocative and volatile, needing extreme care when viewed and handled.

Fiona Hall's extensive use of non-traditional media, materials and methods of display in her works reveal her attempts to break away from traditional art-making conventions, as a way to challenge mainstream values of histories and ideas.

Initial Idea/Concept:

Under the influence of hall, my Art Gallery Shop House is going to be created to a similar effect; the building itself is going to communicate the idea of deficiency and fragmentation, where spaces are separated yet connected. As many of Hall’s works are woven or knit, I have decided to bring the visitor on a journey of weaving through space, where they are led to find new meaning and make sense of the defects within society.

Project 3: Site Analysis [Site 3]

Site 3 with surrounding buildings

Intersection adjacent to site

View back onto King Street from Rear Lane Access Street

Rear Lane Access