Final Drawings

concept


ground + first floor plan


roof plan + section a

section b

section c

siteplan (showing streetline proximity, and points of accessibility)

detailed poche of intimate gallery

perspective

Final Model

in context:
In terms of urbanity, the gallery attmpts to trace define the urban profile of King St. It's facade traces the profile of the existing retail building, aligned to both of its neighbouring properties to form a point of integration.


The facade, whose form is a derivative of its urban context, is composed of a series of sliding doors, opening up during the day to form an entrance courtyard. This public space becomes an extension of the street, becoming a space for the display of public art or social activities run by the gallery (such as holiday programs for school children nto come in and paint).






as an entity:


The wintergarden becomes a space of tranquility - catering for both public and private functions, a place for conversation and catharsis.

Light shafts articulated above each of the mezzanine spaces, with aperture filters to reduce the impact of natural sunlight. the light entering the space becomes diffuse - akin to the beholder.

Ideas 02

Material/Immaterial
Contrast between the mass of boxes and the floorplane was created through materiality - with horizontally laid jarrah cladding these volumes and sand blasted concrete tiled across the floor. The contrast between dark and light/ smooth and rough textures in this manner emphasises the conceptual significance of these masses.



Capturing the light
Light shafts aligned to each of the gallery mezzanine spaces do not directly bring light in, but filters them through an aperture to welcome a more diffuse, less impacting light - more akin to to humanity, gently guiding them through the gallery space. An open wintergarden provides a space for not only the display of sculptural/artistic works, but also for human conversation - where public or private events can be held. All glazed wall openings are shielded with a suspended timber grille, softening the light protruding into the gallery and providing a visual connection between spaces.

Timelessness
The gallery's form is derived from its urban context, following the rhythm of the street and tracing the profile of the existing building to solidly define its presence. The facade then became the profile of extrusion, stretching across the site and deriving the form of its interior (to be the expressed vault of a pitched roof).

The ground floor plane is raised from the existing building's demolition remains - providing a historical reference to the site, as visitors are able to look through brightly lit, open voids. This notion also gives the impression that the volumes within this space are levitating, accentuating the lightness of touch in the weight of its architectural presence.

Ideas 01

Programme
Functional requirements of the gallery were grouped and laid out accordingly to circulation - forming a sequence of 'block' like servicing zones and 'leftover' circulation space (used to guide people around the building and for the display of works). This became the basis for the concept of volumes in space.

The private appartment is positioned towards the front of the gallery, allowing for the owner to have direct access to the services provided by King St - a place inccuring social activity and cultural diversity. In the same sense, the storage facility is located at the rear of the gallery allowing for direct access from the public carpark for transportation docking artworks.

The entrance courtyard can be used for the display of public art, and also for social events and workshops, such as school holiday art programs. As an extension of this space, the reception area is integrated with an open workshop area, allowing for meandering visitors to view the process of illustration/sculpting (by freelance artists).




Volumes in space
The idea of the lightness of masses was developed from the weightless nature of Tran's and Jinks' works. Uniform blocks were then derived from a grid, each configures to define the spatial context in which they dwell. These volumes do not touch the structurally expresed ceiling, and protrude beneath a cantilevered floorslab, isolating themselves from the architectural to accentuate their lightness.



Solid/Void studies

Massing and Programme

Internal figure ground