Submission! The Model

The model is built from matboard, white card, limited foamcore, acetate sheet and glue. I have cut slightly off the axis but at a similar angle, allowing one to see what happens along such a diagonal path.

Main Entrance at the rear.
So many entries to choose from...

The sectional cut.

This attempts to show the approximate axis on which many elements are based (note also how the height of the peepshow room has been lowered to a more intimate level (2.1m) ). The window of that room has also been made an actual circular hole for some extra distinction.

Interiors

Whilst cut on a diagonal section, floors and roof are also removable where possible to give one a better navigation and investigation of the building design.

Plan view of the section

Frontal facade

This is rather literal but i think the effect is quite befitting. The fact that the small windows are low mean there is no direct, harsh light on the artworks. Possible glare through large windows are eliminated by satin curtains.

Side facade

Note how its start blends in with the King St facade, whilst it desintergrates into more human scaled windows as it reaches more private space.

A more perspectived view of Rear-main entrance and courtyard.

The angles that suggest projection from the railings have been simplified but the idea remains. The courtyard can also be used for displaying larger works.

Close up of main entrance/glass block detail.

This was created by making a frame from acetate sheet, and filling it with glue, letting it dry, then applying more glue. It looks a quite a lot like water, but i find the effect surprisingly pleasing.

Submission! Renderings

Shown below are some renders i did for final submission which document the movement through the major spaces of the Gallery. These were done with watered down black paint and ink.

Entrance/Foyer (from here, the more appealing choice to most people would be focussed towards the gallery)Gallery (note the translucent drapery, reminiscent of Jullieit's work)

Looking towards the kitchen/bedroom

Upstairs living area/ bedroom entrance

End of the corridor/approach to studio

Studio and storage area

Submission! Final Drawings

Seen above are my final submission Plans, drawn at 1:100. The changes i've made to these since the previous post are as follows:
- To enter, a person now must pass through an entrance that is primarily a block of glass, to further emphasize the notion of the lense. Whilst clear, the reflection and refrection that result from its density mean that the client retains a sense of privacy.

-Upper Level: The walls defining the entrance of the office, hair/make-up room, studio and storage have been eliminated. This gives a much more open area, which offers more flexibility and also gives a sense of freedom and accessibility. The sense of room is retained by the last known wall presence, and the storage is defined by a slightly heightened ceiling.

- The doors at the entrance have also been replaced by sliding glass doors. They seem more befitting as they provide a 'softer' sense of boundery and do not break the continuity of the lense curve


Notes in the setion are the inclusion of a skylight over the studio. Although Jullieit had explicitly said there was no need for natural lighting in the workspace, i felt its presence vital. It marks the space's significance to the outside, and provides an OPTION of having light if desired. This will have shutters and can be closed if required. Steps have also been developed to compensate for the slight gradient of the site.

Shown here are 2 1:50 poche diagrams demonstrating the lighting found in the 'peepshow' room. The single peephole window plays a minor role, and works are illuminated using small lamps hovering above. The dimmer lighting means a viewer would have to crouch much closer to view the intimate works.

1:200 finalizing of ideas

1:200 Ground Floor Plan
Notes:
-Small 'peepshow' room for the more intimate works, eg. Tattoos, piercings etc.
-Courtyard of property fenced with multiple doors, providing options, but only a familiar guest would know which door is the closest to the entrance.
- Inside railing also points towards the main facade, foreshadowing/preempting projection

1:200 Plan Level 1.
- The bedroom has been given a decorative lense shaped window to overlook the gallery. As floor heights are fairly high, those below would not be able to look into her living space.
- There is a fairly long corridor leading from her living area to her studio space. This coincides w/ the segregation i tried to achieve between living area and studio
- Note how many parts of this scheme pertrude into each others space, giving a presence of the 'other' space without any real indication of what it is or how to get in there.


1:200 Sections.

Other notes: on facades, i was hoping to portray on the main facade an idea of viewing though a projection.

On the side, to reflect the gradual increase of massing and privacy, window size would gradually decrease in size back to a more human proportion the further one looked from the King St facade.

On the Rear, i was hoping for something more different and more subjective, suggestive of the actual lense and the act of entry/ personality of Jullieit.

Shown below is a draft model i've built at 1:200. It is missing a few things, but the main focus is to demonstrate how the facades would work.

Development

Here is a more developed relationship diagram. It is not meant to be anything more than showing the interlocking nature of the rooms, but i do think it is indicative not just in plan, but also sectionally.

Here i've started to develop the design of the actual building, possible layout of spaces etc.
I wanted a key idea here was that the King Street facade would be able to look into the space, and through lighting effects, see the image of the interior just like a photo.



Some ideas for lighting... Perhaps i could use lenses insead of standard flat windows, allowing for a greater control of light. Perhaps white shields to disperse the light entering?


Here is a more developed idea of how i can lay out the rooms with regards to form. On the idea of Lenses, i've put a Biconvex lense at the main entry, which focuses people into a Negative Miniscus lense, which expands and projects outwards.

The main entry has been located at the back as a reflection of Jullieit's status. Meaning that although all can see inside, only those already familiar with her work could truely enter. You can see that i've created an axis between the doorway, which i see as a lense capturing the people entering, towards the far left corner. This, combined with the right wall, creates a sense of projection for those entering. Also on the bottom is a sketch of the possible massing.

Interview with the Artist

Coming up with predictions of what the artist wants and needs in a design is undoubtedly a necessity, but also holds a high "Hit or Miss" factor. So instead of trying to deduce what Jullieit would need in a living space/gallery, i thought i'd just ask her...




Above is the actual facts i found out from asking and below are some notes i took afterwards, with a better informed deduction.

Some Initial Ideas

Here are some initial ideas that i've come up with, as (tutor) Anna suggested that we dont start designing yet, but make very clear the ideas we wish to convey regarding the ideas, and how rooms will relate with regards to this. That was how we were to build our narrative first.


Some initial ideas conveying the theme. I thought i'd really push the idea of lighting and thought of possible ways i could manipulate light as a photographer like Jullieit does, to make advantageous for her gallery.
Jullieit's work is a strong part of her life, carrying a camera with her at all times; at the same time however, her online status segregates her works from her lifestyle; and her professional works are kept strictly separated from her leisure shots. This relationship makes for a very interesting interaction as far as rooms are concerned.

To reflect this, the three primary spaces of Living space, Studio/workshop and Gallery will be interlocked although with very solid boundaries as far as transition is concerned.


I also thought about this from an elevational point of view. Perhaps her private life becomes more and more segregated as one moves further from the ground (most accessable) floor? this would be indicative re. the wherabouts of the gallery and living area etc..


With regards to that, i came up with less a 'circulation diagram' but rather a connectivity and accessability diagram of the required rooms, which do not show the whereabouts of rooms, but the links between them which would best reflect the said connection.

Here are some basic ideas of interlocking masses to give me a rough idea of mass placement

Project 3 begins

The omen has come true and project 3 we now have to do...

I've selected site 2 to do my art gallery on. I like the compact nature of the area, and the high degree of exposure/frontage that the site gives. This however, is also what makes site 2 "the hardest". Many options for spatial arrangement, 3 facades and 2 corners to have to deal with... watch me.

For my artist, i've selected the beautiful Jullieit, whose work can be found at http://jullieit.deviantart.com/ and with whom i share a close relationship. She is a photographer who holds a substantial online status, as well as a developing following amongst the Sydney and Hong Kong photography communities.

Briefly on the style of her work:

A key idea in Jullieit's work is the interplay of light with the model, frequently though fabrics or objects. She also has a collection amongst her work involving darker subject matter, such as tattoos, piercings and scarification. This combines a sense of whim with that of the nightmarish in her portfolio.