Atmospheres

Development ideas on what experiential qualities could be induced by the Gallery.


Levitation of volumes, with expressed structure to emphasise its architectural presence, and to bring a sense of rhythm which guide the behoder throughout the building.


Lifting the floor plane above the ground level, expressing the excavation beneath and making a historical reference to the site.


Staircase Scheme
This scheme for a full height staircase puts emphasis on the heaviness of architectural elements, monolithic in its presence, inducing a sense of permanence.






Case Study: Paddington Reservoir (Tonkin Zulaikha Greer)
A short visit to this renewed site provided ideas on how the essence of lightness (portrayed in both Tran's and Jinks' work) could be conveyed architecturally.

Delicate columnar supports which hold up massive architectural elements.


Providing bridge links between masses of space.



Lights placed beneath the floorslab - illuminated towards the edges to imply the idea of a floating mass.

Case Study 02 - Vahalla (Tanner)

I was in Glebe the last Friday, visiting some friends at their design studio in the Valhalla. What used to be a heritage cinema had become refurbished (By Tanner Architects) into a beautifully designed studio space on the urban sprawl of Glebe Point Rd. The continually changing levels in each floor and alignment of voids are very well articulated - contributing to the atmosphere of the space.

Unlike many buildings I enter today, this is a place which actually feels good.








If you are interested in fashion design, Jacqui Alexander and Zac Midalia were the guys I saw at the Valhalla, click here to have a look at their upcoming label. It's the next big thing.

Case Study 01: Museum of Modern Literature (David Chipperfield)

In germany, this museum is one which restrains its manterial pallette intentionally, allowing the diffuse light entering through grilled openings to illustrate its monolithic presence.

Horizontally protruding skylight, illuminating the space.

Differentiation of spaces formed through interlocking volumes.

Materiality, and welcoming.

Light casting shadows amongst the colonnade, forming a sense of rhythm about the exterior.

Client, Narrative and Artists

Client + Narrative
"A young woman and friends, in search of independent artists - weightless illustration and realist sculpture."



Selected Artists

These two emerging contemporary artists practice in completely different workfields. Despite, their works display a similarity in the theme of lightness. Neither ever feel heavily impounding nor attention seeking.



1. Kevin Tran - Illustrator
http://www.kevintrandesign.com/


Media:
Oils, Acrylics, Ink

Kevin Tran is an Sydney based Illustrator. He creates works which have a lightness of touch regardless of the subject's true heaviness.



2. Sam Jinks - Sculptor
http://www.samjinks.com/

Media -
Silicon, Paint, Human Hair

Sam Jinks is an Australian Sculptor. His work focuses on the emotive human being, deep in self conversation, suspended in an ocean of air.

Site Analysis

Aerial

Photos

King Street View of the site, currently Franklins retail store (approx 11m wide)


Approach from Whateley Lane - glimpse of left hand side.


Church facing the site on King St. Reference for form/ reflections/ approach.


View of the Public Carpark behind the site - accessibility points.


Camperdown Memorial Park - to the rear of the site.


Depth

Proximity studies.

Relationship between the site (urban infill), Camperdown Memorial Rest Park and Church. The issue of linking these two iconic elements of the site arises - how is the gallery going to provide a neutral ground and thoroughfare for the public. This study also looks at how the building will be approached, from both the City and Newtown areas. The gallery needs to welcome people approaching from both directions as a place of social activity and recreation.

Elevation Studies.

Defining the street is an issue which will influence the outcome of the design for this gallery. The existing site currently breaks the rhythm formed by its two neighbouring properties (inclusive of the dendy) - rising up a level taller. The question is whether to trace this profile, or to continue this line of the street - either of which will form a solid integration into the site.

Plan Study.

Site boundaries and its relationship to public services - the public carpark, retail, religious and recreational.

Project 3 - Gallery in Newtown

Bohemian simplicity.
Newtown is a Sydney suburb which has seen much growth from the late 20th century, with many refurbishments/restorations occur. Despite this, its solid culture is sustained, reputable as the home of Sydney's working class, its occupants continue to sustain their minimalistic lifestyle often associated with the bohemians.

Final Submission - Project 2

Final Drawings

Concept


Ground Floor Plan


Roof Plan


Sections



Axonometric


Final Model:

Light.



Light through the skylights onto the preparation platform and resting bench - initiating places to pause and reflect. The refracted light through the skylight in the preparation space is also seen as scattered - bouncing off the angle of its corresponding wall.


Light providing proximity to the resting bench, marking the end of an enlightening cycle.

The light as it enters from the base slit of the studio space (providing a sense of weightlessness), through the exit glazed panel (accentuating the end of the journey), and through the shadow gap at the entrance.


The diffuse light entering the dance studio - a rhetoric of rhythm.


Space + Material.


The studio space is orientated north - taking advantage of the strecgth of natural light and symbolising maturity and acceptance.




The skewing of the resting bench is used in drawing the character into the final space

The junction between the 3 spaces - open to one another to imply the freedom of movement obtained by the character as she dances.




The transition between spaces is subtle, yet differential - implying the crescendo involved in a choreographic piece.


The form is a reflection of the landscape - drawing the depraved character into the architecture via the nature of the slope.

Concept
The building is based upon the stages of enlightenment - seperated into 3 conjoined spaces and each reflecting the emotion of the character as she processes.

The Site
Hypothetically, the edges of the Swiss Alps. Relatively terrained, yet flat, isolated and segregated from reality - becoming a sanctuary for self clarification.


Context.


Society. (Photo by Canary Wharf, Flickr)


Parti



Materiality
Rendered brick - used in a sense that the thickness of the render varies across the architecture. The preparation space has the contains the thinnest render (representing a capsule of the character's emotions), exposing the brick beneath to illustrate the raw and unfinished nature of the space. The studio space contains a slightly thicker render, with less of the brick showing to imply that the process of enlightenment is being engaged in. The resting space has the thickest render, completely veiling the brick beneath to show how the process of dance has cleansed her.

Space:
Subtle, and free flowing. The form reflects the movement of a dancer.





Preparation Space
- The notion acccentuated in this space is contraption. The entrance path to the building is excavated under the ground, descending to a cave like room.

- The thickness of walls is expressed at the entrance, framing the full height pivot door to emphasise the heavy/dense and enclosed nature of this space.

- Spatially, it is narrow, short and dark, reflecting the ongoing trauma inccuring in the character's life.

- A thin (100mm) skylight trails the shape of its respective kinked wall - a guiding point for the character to manouvre through the darkness of the preparation space. This light reflects against the wall to not only guide the character through the density of the space, but also to provide a sense of hope. This skylight becomes larger towards its end (as a 'blob') to punctuate the threshold of the preparation space.

- This light leads the character to a slightly elevated platform which is lightened by a skylight above, indicating to the character that it is a place to pause, reflect and prepare for dancing (i.e. the process of enlightenment).






Dancing Space
- This space opens up in a subtle manner - as a continuation of the preparation space. With both being on the same ground plane, it encourages the character to flow into an 'outburst' of movement from the preparation space.

- The increase in ceiling height absorbs the character into the space - a rhythmic crescendo in movement towards the room. Furthermore the subtle turn in the wall's concavity differentiates the studio and the preparation space - almost like a turning point.

-A heavenly light is provided by the window positioned above the height of the character - bringing proximity to the dancing space. The frosted glass used here illuminates the view outside to form an internally concentrated space - private and enclosed to illustrate the personal nature of dance.

- In the same way, there are no wall openings in this room, implying the internally bound nature of dance. The ambience that results from this is an influx of the light and shade excruciated by the character as she dances, i.e. the light and shade of a choreographic piece. In a way, this variation of tone in the space becomes the rhythm for the character in a silent room.

- Articulation of the space as a cantilever (as opposed to being excavated under the ground as in the preparation space) is brought into the interior through a slender opening which runs along the base of the walls - illustrating the lightness of the room and making the character feel as though she is floating. This provides her with the light-hearted feeling that she is being released/ freed.

- The mirrors in the dance studio not only reflects the figure of the dancer, but also the wall and floor planes, accentuating its massiveness and hence its relieveing aura.

- Placement of the intentionally delicate barre in between the two mirrors allows for the character to observe her anatomy as she stretches/exercises - emphasising the concept of isolation as the ocean of air about her becomes widened.



3. Resting Space
- The thin light at the base of the walls from the dance studio continues into this smaller, yet more exposed space - providing proximity to the end of the journey of enlightenment.

- The ceiling height is also sloped downwards to the exit, the space tapered and a small convex turn is articulated in the wall - differentiating spaces and initiating a clean slate which has resulted from her self expression.

- A full height glazed door is articulated at the end of the room, forming a vista into the vast open landscape where the character is able to finally release herself back into reality, enlightened and clarified.

- A courtyard space is integrated amongst the exterior of room and the preparation space - an extension of the interior which allows for the character to inflect upon her journey.

- The skewed seat bench in this area allows for the character to sit and rest, a relief of her expression and physical activity. It also draws her into the resting space as a subtle gesture of direction in an ocean of air.

- An aspect of climatic accumulation is expressed here as the miniscule opening to the open landscape drives the dancer towards it - opening up to the macrocosm of reality.