Project 3---Concept Development

This is a contemporary Aboriginal painting, this is the basic painting that gives me a lot of inspirations.

What we can read from this painting is "solid+void", the significance of this painting is reflected from these "solid+void"

There are many units in this painting, voids remaind me of courtyard, solids seem like rooms

Because the project include gallery space and residentail space, I combined these two units into the site, each one of them will have a courtyard. I think the theme can be defined as "courtyard" theme

Project 3---Client

Inflenced by the aboriginal history in Newtown, I define the dealer of this art gallery as a fan of aboriginal culture, the art works in the gallery include aboriginal paintings and sculptures.

Project 3---Site Analysis (2)

My decision is site 2, reasons for that:

Site 2 is a corner site, has three facades exposing to the streets, which can ensure a more outstanding position of the new design.
As a commercial gallery, to attract vistors come into the gallery is important, site 2 is wrapped by three streets, which all can bring vistors to the gallery


The facade of existing building

Google map

Vehicular Access, King St is the busiest street around the site

Pedestrian Access

Adjacent Buildings

On the left is a heritage building---Post Office(10m high)

On the left side is a shop (9m high)

Existing Cafe at the back corner

Environment around back corner


Analysis:

1. Be aware of the adjacent building, especially the dialogue between the heritage building

2. How to attact more vistors to come in, King St occupies a more important position.

3. How to place the building into urban context, the height of the new building, the form....
4. How to deal with sun light, northern and southern light

Project 3---Site Analysis (1)

There are three sites that we can choose from. All of them are in King St, Newtown.

Background of Newtown

Aboriginal history

The Newtown area was part of the land of the Cadigal band of the Eora people, who ranged across the entire area from the southern shores of Sydney Harbour to Botany Bay in the south-east and Petersham in the west. It was through the land management methods of the aboriginal people that the extensive grasslands of predominantly Kangaroo Grass, commented upon by Watkin Tench were maintained as ideal breeding grounds for kangaroos.The first Aborigine to receive a Christian burial was Tommy, an eleven year old boy who died of bronchitis in the Sydney Infirmary. He was buried in Camperdown Cemetery, in a section now located outside the wall. The cemetery also contains a sandstone obelisk erected in 1944 by the Rangers League of NSW, in memory of Tommy and three other Aborigines buried there - Mogo, William Perry and Wandelina Cabrorigirel, although their graves are no longer identifiable. When the names were transcribed from the records onto the monument, there was an error in deciphering the flowing hand in which many of the original burial dockets were written. It is now known that the fourth name was not Wandelina Cabrorigirel, but Mandelina (Aboriginal)

Commercial area

King Street is the main street of Newtown and centre of commercial and entertainment activity. Enmore Road branches off King Street towards the suburb of Enmore at Newtown Bridge, where the road passes over the railway line at Newtown Station. Enmore Road and King Street together comprise a 9.1 kilometre round-trip of some 600 shopfronts. The main shopping strip of Newtown is the longest and most complete commercial precinct of the late Victorian and Federation period in Australia. King Street is often referred to as "Eat Street" in the media due to the large number of cafés, pubs and restaurants. Newtown is a centre of Thai cuisine, but its diverse culture has attracted an astounding array of cuisines, including Balinese, Chinese, Vietnamese and Japanese, Indian, Italian, Greek, Mexican, Spanish, African, French, Turkish, Sri Lankan, Lebanese and both traditional and modern Australian. Cafe's, restaurants and galleries can also be found in the streets surrounding King Street - in particular Enmore Road, Wilson Street and Australia Street. Erskineville Road's cafes and pubs are also a short walk from King Street.

Project 3---Programme

1. A large room capable of displaying paintings and sculptures up to 5 square meters and for relatively large installations.
2. Smaller rooms for displaying items such photographs, watercolours, prints and small sculptures.
3. An office, minimum of 10 square metres.
4. A workshop minimum 20 squares meters.
5. A stockroom minimum 20 square meters.
6. A small bed-sit apartment with bathroom, minimum 40 square meters.
7. A living area adjacent to the apartment which has kitchen facilities for gallery functions, 20 square meters.

Project 3---Study Period

What are the architectural features of a gallery, a commercial gallery?

Because the function of a commercial gallery is to exhibit art works and impressing vistors to purchase the artworks, therefore, a commercial gallery has double characteristics. It is supposed to be a place that can give the best the most suitable environment for art work displaying, making the art works showing their beauty and value as much as possible.

During the lecture and my own study period, i found that lighting and the size of the space are the most important elements in gallery design.

Here are some valuable notes:

Lighting Design in Museums


Visibility: Visibility requires a minimum level of illumination, good contrast without shadows, good colour rendering and avoidance of glare. Objects made of light or video installation must be shielded from light that would distract the observer, while large objects such as monuments or excavation sites should be shown in as natural a light as possible, without however, being exposed to damaging weather conditions.

Illuminances of 50 lux for paper and textiles, and 150 lux for paintings on canvas have been established. The potential damage to objects form the thermal effects of lighting should be taken into account (tension, stretching, crack formation). Heating of objects due to heat radiation that can lead to damage must be avoided, so ‘cold’ light without infrared is recommended.Window glass with ultraviolet filtering characteristics is used in museum buildings today in order to protect the interior rooms from energy-rich spectrum of daylight.

Light openings should be positioned correspondingly high. Directional lighting with corresponding shadowing is advantageous for spatial orientation and for the perception of objects (spatial forms, surface structures). Extremely soft, non-directional lighting, for example through a high proportion of reflected indirect lighting should therefore be avoided, just as overly contrasty lighting should as well.

High rooms and windows placed high on the walls, immediately under the ceiling, are advantageous. Light-deflecting devices in the windows can be helpful as well as ceiling cavities lined with light-reflecting materials that deflect the daylight into the depths of the room by means of multiple reflections through a light-disseminating ceiling underneath (cf. Kunsthaus Bregenz by Peter Zumthor).

The lighter the sufaces, the better the light distribution by multiple reflections and the general lighting of the room.

Room lighting is used to ensure that visitors can move safely through the museum. For this kind of lighting, 20 to 50 lux is already sufficient, for example, for the corridors. Room lighting also has the task of making visitor’s stay in the museum comfortable, for example for relaxation phases after concentrated observation or stimulation through changing of one’s spatial situation. An evenly lighted exhibition quickly leads to fatigue, and the visit becomes strenuous.

Project 2---Final Model

Overall view

The project is located in Netherland the Northern Hemisphere, wrapped by the sea, which not only provide a romantic environment for two lovers but also echoes the rhythm of music and leaping notes by its waves or movement

Lighting and shadow effect, specially, the roof intervals

The room for the gentle connected with meeting room, shadows created by the interior walls

Top view without roof

Facade openings

The opening on the back, which can be viewed out to the sea.

The room for the gentleman is characterized as open, transparent, fitting the man's charater which is brave, and takes the initative.

The room for the girl, light can shine into through the glass walls, solid timber walls make a contrast with glass. Because the girl is more shine, she needs more privacy than the man, also, the more leaping walls fit the girl's psychological actions.

Opening:
windows in this project are not like conventional windows in the buildings, it is better to call them as openings. Openings in this project, are created according to the music, the staff the notes. in other words, they are totally realted to music, shadows formed by them also have rhythm which are easier to be identified. The openings in contrast with the solid, play a game of positive and negative spaces as well. As you moving through, changing is occuring all the time, dark and light, narrow and wide, long and short, all these are associated with openings, providing sense of rhythm.