My client is a man in his late forties who evidently has a passion for the arts and enjoys cultivating new talent. He seeks his artists in unexpected places and opens his mind to art as a way of evoking completely different psychological experiences for the viewer. For him, modern art cannot be defined and thus he required a space that eschewed defined lines, levels and "rooms". Consequently, a space is evolved from feeling rather than just usage and each space becomes a unique place of ambiguous ceiling heights and wall boundaries. He is a man of quiet intelligence who does not play host extremely well, but prefers to stand back and watch the crowd his gallery attracts. His apartment space on the uppermost level has both privacy, but more importantly, allows him to view all that lies below from a ggenerous balcony. At one with his guests, he does not like to distinguish himself as the owner of the gallery and thus there is no private staircase or door for him, instead he travels through the space as anyone would.
The main conceptual idea behind this gallery is the notion of the building as a place of performance - A stage, for the artworks to play to the audience and the audience to play to each other.
Sunday, June 15, 2008
PROJECT 3 - MODEL
The spaces, with their changing wall heights alter the ambience of each "room". One can stand in one space, whilst still hearing, and even seeing the happenings in an adjacent space.
The courtyard area is a haven to sit amongst sculptures and artworks and watch those who study the works. The large windows allow the greenery of the enormous trees behind the chosen site to add visual depth.
The basement level allows a large space for both a workroom, stockroom and an office without imposing on the upper gallery levels.
The doorways into each space are like small incisions through which one must pass carefully. They are not spacious or particularly grand, yet I feel they intruige the visitor to see what is beyond and give little away about the new and unique space they will enter.
The entrance steps are large and the buildings facade is recessed. The intention is to create a place for people to sit and engage with the space without even entering the building. It is perhaps a prelude to the theatrics of the building the lies within.
Light is directed through the building from the north side of the courtyard through to the front entrance space. To travel through the spaces appears to be somewhat of an enlightenment or transcendance.
The large spaces at the front of the building would accommodate large sculptures as well as providing ample space for guests at gallery openings. As the visitor enters below the guests, it reinforces the theme of the building as a stage to view not only the artworks, but the guest. The small balconies on th upper levels add depth to this concept. After hours of viewing the works, one may stand in the dark spaces and watch what goes on below. Verbal communication in this space is not really required as there is a visual relationship between the artwork and the audience at every level. The balcony openings further enhance the circulation as one on a lower level may glance upwards and be intruiged by the happenings above, thus drawing them through the spaces. Incisions in the roof allow sunlight to fall into the building without being overwhelming.
The gallery nestles itself back into the site in an attempt to remove itself from some of the chaos of the street life and transform into a sanctuary and haven for the people of Newtown to come and visit.
ARTIST INFLUENCE
Artistic influences such as emerging contemporary artists Darcy Arnold, have influenced the design of my space as I envisiage work of a social nature being displayed in the gallery. The gallery however, is intended as a space to house myriad different young artistic exhibitions rather than focus on one or two artists. In this way, I feel the gallery will reach out to a larger audience and provide a pedestal for young upcoming artists of any background or reputation.
PROJECT 3 - DRAWINGS
Drawings use a mixture of three mediums: ink, graphite and watercolour. I felt this allowed me a freedom of expression to illustrate depth, light contrasts and the intended fluidity of the spaces.
Site plan and sketch perspective:
Sub-floor plan and Entry level/First floor plan
Second level and Third level apartment plan:
Sectional Elevation:
Room plan and section:
Vinettes of main spaces:
Site plan and sketch perspective:
Sub-floor plan and Entry level/First floor plan
Second level and Third level apartment plan:
Sectional Elevation:
Room plan and section:
Vinettes of main spaces:
PROJECT 3 - ARCHITECTURAL INFLUENCES
The distinctive form of this gallery house determines its interior, which is characterized by curved walls, ceilings of unequal height and strong light contrasts. I find the ambiguis and non traditional spaces very intruiging.
This house is situated down the road from me in Watsons Bay. As a child I hated the large white wall as it was so unfamiliar to me as a place of inhabitance. As a student however, I love this home. The wall was heritage listed and thus essential to keep, a house has evolved around this wall.
The lines of the Yokohama International Port Terminal are fluid and do not force themselves upon the viewer. To me, they are quiet, yet dignified and create a completely unique space.
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