After the critique I received last Thursday, I have quickly reconsidered some of the spaces in my art gallery/house:
- Second Floor: Removal of the two stairs leading from the first floor to the second. There is no point in having them there since the second floor is private use only and not public. The art dealer has his own staircase to get to the second floor (one is sufficient rather than have three).
- If I were to keep those two staircases, then I would need to create more gallery space on the second floor. However I don't like that idea because i) there will be too much gallery space, ii) there will no longer be a clear distinction between private and public spaces(which I initially wanted), iii) the private area might be too "restricted"
- Since the space will be cleared and bigger, I have considered the inclusion of a kitchen area/dining room/living room area to replace the stairs - that way the kitchen on the first floor will be dedicated to only the public (instead of being of both public and private use).
- Ground level: reconsider the maze-like walls and their widths. Perhaps widen the space between the walls but keep the towering walls.
Monday, June 16, 2008
PROJECT 3: Art Gallery - Model Analysis and Final Narrative
FINAL NARRATIVE:
A solemn, reflective space, with the sole intention of heightening and evoking an array of emotions and feelings, developed through the interpretation of unique, miscellaneous Aboriginal art and its glorification as well as through the spaces in which these are contained.
I had the intention of conveying the ideas I had gathered from the keywords mentioned earlier:
- Bohemian: My building, although "conforms" to the general 'box-like' structure of surrounding buildings, is non-conformist in the sense that its facade is made out of glass/glazing and that the rest of the building is made out of reinforced concrete. It also "challenges" the Art Deco style (by not mmaking use of it) and is mainly intended to allow the public to take notice of the Aboriginal mural (an integral element that contributes to my art gallery). The art gallery stands as an autonomous structure.
- Expressive stimulation: In order for the public to find an appreciation for Aboriginal art, an ambience needs to be created so as to enable one to experience some form of emotional stimulus. I find that today still, Aboriginal culture is not fully understood (and will probably never be completely comprehended), however, this "ignorance" should be minimised.
I tried to create a sequence of space that would make the public realise what Aboriginal people had endured in the past up until now. For example, on the ground floor, the maze-like circulation is intended to exhibit a sense of confusion (what Aboriginals would have felt upon determining the White people's real intentions). This confusion is heightened with the different heights of the walls. The spaces between the walls also fluctuate in terms of width.
This space then leads to the underground space (which is meant to symbolise the community succumbing to the White invasion), a very dark experience for them. This space can hold video installations dealing with those issues or small sculptures (David Malangi's 'Gurrmirringu and his wife') - the room is very dimly lit, with only spotlights on certain areas as either a form of display for an artwork or to lead the public from one place to another.
The first floor (with the courtyard) illustrates the positive change that has occurred between the Aboriginal community and the non-Indigenous Australians. the stairs slowly lead you up, the in-built display tables are in a t-shape, encouraging you to make your way to the courtyard - the open air - a new beginning.
- Purpose: “I have a dream” - what has been reflected and conveyed is justified with that phrase. The artists produced artwork as a means to speak out, feeling that they would be able to make people aware of their past. They persevered and never gave up.
- Solemn Monumentality: The use of different spaces (underground, courtyard/open space, different wall heights, the play with space height) all helped to convey that idea. This was emphasised with the neutral and Minimalist approach (the materials used were kept to a minimum - only reinforced concrete and glass).
- Glorification: Also similar to 'solemn monumentality', the artworks were glorified either through the use of light (e.g.: underground space) and through the Minimalist approach (only concrete was used so that in terms of colour, it was all subdued and neutral so that the colourful Aboriginal artworks could stand out.
A solemn, reflective space, with the sole intention of heightening and evoking an array of emotions and feelings, developed through the interpretation of unique, miscellaneous Aboriginal art and its glorification as well as through the spaces in which these are contained.
I had the intention of conveying the ideas I had gathered from the keywords mentioned earlier:
- Bohemian: My building, although "conforms" to the general 'box-like' structure of surrounding buildings, is non-conformist in the sense that its facade is made out of glass/glazing and that the rest of the building is made out of reinforced concrete. It also "challenges" the Art Deco style (by not mmaking use of it) and is mainly intended to allow the public to take notice of the Aboriginal mural (an integral element that contributes to my art gallery). The art gallery stands as an autonomous structure.
- Expressive stimulation: In order for the public to find an appreciation for Aboriginal art, an ambience needs to be created so as to enable one to experience some form of emotional stimulus. I find that today still, Aboriginal culture is not fully understood (and will probably never be completely comprehended), however, this "ignorance" should be minimised.
I tried to create a sequence of space that would make the public realise what Aboriginal people had endured in the past up until now. For example, on the ground floor, the maze-like circulation is intended to exhibit a sense of confusion (what Aboriginals would have felt upon determining the White people's real intentions). This confusion is heightened with the different heights of the walls. The spaces between the walls also fluctuate in terms of width.
This space then leads to the underground space (which is meant to symbolise the community succumbing to the White invasion), a very dark experience for them. This space can hold video installations dealing with those issues or small sculptures (David Malangi's 'Gurrmirringu and his wife') - the room is very dimly lit, with only spotlights on certain areas as either a form of display for an artwork or to lead the public from one place to another.
The first floor (with the courtyard) illustrates the positive change that has occurred between the Aboriginal community and the non-Indigenous Australians. the stairs slowly lead you up, the in-built display tables are in a t-shape, encouraging you to make your way to the courtyard - the open air - a new beginning.
- Purpose: “I have a dream” - what has been reflected and conveyed is justified with that phrase. The artists produced artwork as a means to speak out, feeling that they would be able to make people aware of their past. They persevered and never gave up.
- Solemn Monumentality: The use of different spaces (underground, courtyard/open space, different wall heights, the play with space height) all helped to convey that idea. This was emphasised with the neutral and Minimalist approach (the materials used were kept to a minimum - only reinforced concrete and glass).
- Glorification: Also similar to 'solemn monumentality', the artworks were glorified either through the use of light (e.g.: underground space) and through the Minimalist approach (only concrete was used so that in terms of colour, it was all subdued and neutral so that the colourful Aboriginal artworks could stand out.
PROJECT 3: Art Gallery - Model Images
Overall model/Front Façade
Images from first and second floor
The stairs (middle) are used by the art dealer/owner - for quick access to each level and particularly to his personal space (second floor)
Images from ground floor and first floor, the courtyard is also shown (top middle)
Plans (left to right): Second Floor, Roof
Second Floor (from the back the front): office, living room, bathroom + bedroom (left) and storage + bedroom + studio (right).
Plans (from left to right): Underground Level, Ground Floor, First Floor
Ground Floor: Reception, gallery space,work shop (far left), stock room (far right)
First Floor (from the back to the front): Gallery space, courtyard, kitchen
PROJECT 3: Art Gallery - Drawings
Rendered room plan and section - 1:50
Left: Section - 1:100; Right: Vignettes
Second floor plan - 1:100
Ground and first floor plan - 1:100
Site Plan - 1:500
PROJECT 3: Art Gallery - Model Progress - Images
Model completed
Roof
Second Floor - Private apartment
First Floor - Gallery Space with courtyard (centre)
Ground Level - Gallery space
Underground Level with site/base
Underground Level - Gallery space
PROJECT 3: Art Gallery - Finalised Model - Sketchup Images
Sections
Overall model
Overall model in relation to site
PROJECT 3: Art Gallery - Aim and New Working Narrative
At this stage, I would like to create a gallery that is a ‘simple box’ but which will attempt to reflect the emotions affiliated upon entering different spaces (reflective of the artworks). The focus is now on Aboriginal art, reminiscent of the culture and their history. One could say the program is a timeline of their history. Understanding and appreciating their art is a different experience each time.
NARRATIVE:
A solemn, reflective space, intended to heighten emotions and feelings developed through the interpretation of unique, miscellaneous Aboriginal art and its glorification.
NARRATIVE:
A solemn, reflective space, intended to heighten emotions and feelings developed through the interpretation of unique, miscellaneous Aboriginal art and its glorification.
Sunday, June 15, 2008
PROJECT 3: Art Gallery - Reconsideration of Artists
My initial focus on a number of different artists has been shifted to only Aboriginal artists. While the idea of exploring and expressing the gallery’s “capability” in exhibiting a range of art created in numerous media, the notion of Aboriginal culture has also been taken in consideration. I initially wanted to “glorify” the culture by also using the mural adjacent to my site however this glorification is rather limited and restricted and would most likely not be conveyed efficiently.
ABORIGINAL ARTISTS TO CONSIDER:
Gordon Bennett (Painting – social issues, issues regarding identity, the past):
Albert Namatjira (Traditional landscape paintings – depicts almost faithfully and beautifully the many landscapes of his native land):
Fiona Foley (Lithograph/Installation):
Tracey Moffatt (Video/photography):
Michael Riley (Photography):
Emily Kngwarray (Painting):
David Malangi (Sculpture/Bark Painting):
ABORIGINAL ARTISTS TO CONSIDER:
Gordon Bennett (Painting – social issues, issues regarding identity, the past):
Albert Namatjira (Traditional landscape paintings – depicts almost faithfully and beautifully the many landscapes of his native land):
Fiona Foley (Lithograph/Installation):
Tracey Moffatt (Video/photography):
Michael Riley (Photography):
Emily Kngwarray (Painting):
David Malangi (Sculpture/Bark Painting):
PROJECT 3: Art Gallery - Working Narrative
A solemn and non-conformist space that will provide a surreal and expressive stimulation through the glorification of a collection of meaningful art.
PROJECT 3: Art Gallery - Keywords
Some keywords picked up throughout the research and analysis:
Bohemian: A term signifying ‘artsy’, ‘arty’ or ‘non-conformist’. This reflects the intended project. Non-conformist – part of what has been talked about will be challenged and not be taken into account. For example, I am not considering of imitating the ‘Art Deco’ style, use materials other than aluminium and perhaps create an ‘autonomous’ structure that does not relate to its surroundings?
Expressive stimulation: The art gallery should stimulate the individual’s mindset as well as create the perfect ambience that will allow one to experience emotional and mental stimulus.
Surrealism: The individual should be taken to “another dimension” once they walk into the space. This idea is parallel to the individual being able to experience ‘expressive stimulation’.
Purpose: “I have a dream” at the entrance reminds, not only the up-and-coming artists, but also us that there is always hope, to persevere, never give up. The art gallery acts as a 3D representation of that notion, inspiring the public to pursue their beliefs.
Solemn Monumentality: Although restricted to certain requirements, the notion of conveying monumentality will be explored. How can one create grandeur within a space with restricted requirements? In my eyes it reflects Minimalist architecture.
Glorification: Works of art should be preserved and recognised. They should be given the rightful merit and praise they deserve – a celebration. They will be treated as almost sacred. Artworks are entities that are very meaningful; this is why they cannot be disregarded and must be shown in the most exquisite manner.
Neutral: The building should not be overly exuberant, the spaces for the artworks should not be flamboyant or colourful but rather more subdued - light, creamy colours should be used. For darker tones, use black, grey etc.
Autonomous: Independent - the architecture will not conform to its surroundings but will focus on its intentions and purpose – the exhibition of ‘new’ art.
Minimalist: This style embodies what has been mentioned and so it will be in this manner that the art gallery will be constructed.
Bohemian: A term signifying ‘artsy’, ‘arty’ or ‘non-conformist’. This reflects the intended project. Non-conformist – part of what has been talked about will be challenged and not be taken into account. For example, I am not considering of imitating the ‘Art Deco’ style, use materials other than aluminium and perhaps create an ‘autonomous’ structure that does not relate to its surroundings?
Expressive stimulation: The art gallery should stimulate the individual’s mindset as well as create the perfect ambience that will allow one to experience emotional and mental stimulus.
Surrealism: The individual should be taken to “another dimension” once they walk into the space. This idea is parallel to the individual being able to experience ‘expressive stimulation’.
Purpose: “I have a dream” at the entrance reminds, not only the up-and-coming artists, but also us that there is always hope, to persevere, never give up. The art gallery acts as a 3D representation of that notion, inspiring the public to pursue their beliefs.
Solemn Monumentality: Although restricted to certain requirements, the notion of conveying monumentality will be explored. How can one create grandeur within a space with restricted requirements? In my eyes it reflects Minimalist architecture.
Glorification: Works of art should be preserved and recognised. They should be given the rightful merit and praise they deserve – a celebration. They will be treated as almost sacred. Artworks are entities that are very meaningful; this is why they cannot be disregarded and must be shown in the most exquisite manner.
Neutral: The building should not be overly exuberant, the spaces for the artworks should not be flamboyant or colourful but rather more subdued - light, creamy colours should be used. For darker tones, use black, grey etc.
Autonomous: Independent - the architecture will not conform to its surroundings but will focus on its intentions and purpose – the exhibition of ‘new’ art.
Minimalist: This style embodies what has been mentioned and so it will be in this manner that the art gallery will be constructed.
PROJECT 3: Art Gallery - Precedents/Interesting Architecture
The Giorgio Armani stores by Claudio Silvestrin struck me the most. They are very elegant, modern and neutral in their design. They exhibit grandeur – but within a confined interior space, which I thought was highly interesting as I usually relate the word ‘grandeur’ to the exterior of a building – perhaps should it be described as ‘solemn’ (it is a “celebration” of art, it is ‘ceremonious’). Other keywords that come to mind: impressive, awe, inspiring, ceremonial. Although the Giorgio Armani stores appear ‘neutral’ and ‘autonomous’, they are somewhat very expressive and can be subtly perceived as works of art themselves. The lighting used was also very appealing and set a definite transcendent mood. Materials used: limestone, ebony.
Another building that grabbed my attention was the ‘Y House’ by Japanese architect Kei ‘Ichi Irie. The main reason was due to the heavy use of concrete that he used throughout the house. This reflects the Japanese approach to architecture in terms of ‘lightness’, ‘simplicity’ and ‘precision’. These are relevant keywords to note. The interior is composed of slightly, angled walls which gives the entire house a whole new dimension. It is reminiscent of Minimalist architecture – a style I highly admire. The building is not big in size, but the Minimalist approach has given the illusion that the space is vast. Materials: concrete, steel (stairs).
Stone Museum - Kengo Kuma: the layering of the stone turned into slats to enable small openings was astute in allowing the interesting passage of light as well as the elegant overall structure. This is actually slightly reflected in the current structure on my site (as mentioned before). He also focused on the idea of ‘lightness’ via two means: use of stone as slats of stone and hollowing portions of a solid wall.
Murcia Town Hall - Rafael Moneo: its façade is quite interesting, the window openings create this rhythmic pattern, providing dynamism to the overall composition, hence allowing the public to metaphysically interact with it.
Another building that grabbed my attention was the ‘Y House’ by Japanese architect Kei ‘Ichi Irie. The main reason was due to the heavy use of concrete that he used throughout the house. This reflects the Japanese approach to architecture in terms of ‘lightness’, ‘simplicity’ and ‘precision’. These are relevant keywords to note. The interior is composed of slightly, angled walls which gives the entire house a whole new dimension. It is reminiscent of Minimalist architecture – a style I highly admire. The building is not big in size, but the Minimalist approach has given the illusion that the space is vast. Materials: concrete, steel (stairs).
Stone Museum - Kengo Kuma: the layering of the stone turned into slats to enable small openings was astute in allowing the interesting passage of light as well as the elegant overall structure. This is actually slightly reflected in the current structure on my site (as mentioned before). He also focused on the idea of ‘lightness’ via two means: use of stone as slats of stone and hollowing portions of a solid wall.
Murcia Town Hall - Rafael Moneo: its façade is quite interesting, the window openings create this rhythmic pattern, providing dynamism to the overall composition, hence allowing the public to metaphysically interact with it.
PROJECT 3: Art Gallery - Artists Analysis
The following artists are the artists I initially considered for my art gallery:
- Aboriginal artists – Gordon Bennett (painting), Albert Namatjira (landscape painting – watercolour over pencil)
- Bill Viola (video)
- Jim Dine (drawings, paintings, sculptures)
- James Turrell (light installations)
- Fiona Hall (photography - gelatin silver photographs/installations/sculpture/etching)
The inclusion of many, if not all of these artists was meant to represent the want to promote as many up-and-coming artists as possible. While perhaps focusing on only two might create a better appreciation of their works, the intention was to demonstrate the gallery’s capacity and capability to exhibit a diversity of works no matter what the subject or medium is (media including painting, video, photography, etching, sculpture) with a lesser emphasis on the artists’ artworks.
- Aboriginal artists – Gordon Bennett (painting), Albert Namatjira (landscape painting – watercolour over pencil)
- Bill Viola (video)
- Jim Dine (drawings, paintings, sculptures)
- James Turrell (light installations)
- Fiona Hall (photography - gelatin silver photographs/installations/sculpture/etching)
The inclusion of many, if not all of these artists was meant to represent the want to promote as many up-and-coming artists as possible. While perhaps focusing on only two might create a better appreciation of their works, the intention was to demonstrate the gallery’s capacity and capability to exhibit a diversity of works no matter what the subject or medium is (media including painting, video, photography, etching, sculpture) with a lesser emphasis on the artists’ artworks.
PROJECT 3: Art Gallery - Site Images
Panoramic view of my site and its adjacent buildings
Panoramic view of buildings facing my site
Back alley
Saturday, June 14, 2008
PROJECT 3: Art Gallery - Brief Look at Culture
To have a better understanding of the site, a brief look at the suburb’s background is necessary…
Newtown is a suburb packed with a diversity of cultures and is highly described as conveying a bohemian ambience.
The north end of King St (where my site is located), past Newtown railway station, is the busier part of the street. Apart from the traffic jams and heavy foot traffic, commercially, there is an abundance of restaurants, cafés and fashion retailers (Highly appropriate and suitable for this project).
There is an Aboriginal history also attached to Newtown’s past and culture. The street allegedly follows an ancient Aboriginal track that branched out from the main western track, now beneath Broadway and Parramatta Road, and which extended all the way to Botany Bay’s shores. This strong reference to Aboriginal history has led me to want to represent it - “glorify” it so to speak.
Housing was also constructed in an ‘Art Deco’ style:
- Structure based on mathematical geometric shapes.
- Materials: aluminium, stainless steel, lacquer, inlaid wood.
- Buildings were straight white-rendered house frontages rising to flat roofs.
- Celebrated the Machine Age via the use of man-made materials, symmetry, repetition, Asian influences.
- Noted for its ‘simplicity’ and ‘practicality’.
Newtown is a suburb packed with a diversity of cultures and is highly described as conveying a bohemian ambience.
The north end of King St (where my site is located), past Newtown railway station, is the busier part of the street. Apart from the traffic jams and heavy foot traffic, commercially, there is an abundance of restaurants, cafés and fashion retailers (Highly appropriate and suitable for this project).
There is an Aboriginal history also attached to Newtown’s past and culture. The street allegedly follows an ancient Aboriginal track that branched out from the main western track, now beneath Broadway and Parramatta Road, and which extended all the way to Botany Bay’s shores. This strong reference to Aboriginal history has led me to want to represent it - “glorify” it so to speak.
Housing was also constructed in an ‘Art Deco’ style:
- Structure based on mathematical geometric shapes.
- Materials: aluminium, stainless steel, lacquer, inlaid wood.
- Buildings were straight white-rendered house frontages rising to flat roofs.
- Celebrated the Machine Age via the use of man-made materials, symmetry, repetition, Asian influences.
- Noted for its ‘simplicity’ and ‘practicality’.
PROJECT 3: Art Gallery - Site Analysis - Other Characteristics
ACCESS:
There are three access points:
- Main entry access via King St (Either from Princes Highway or Enmore Road).
- Side entry access via Mary St (approx. 40 metres from the front of the site to the intersection of King St and Mary St). Mary St can be entered from Lennox St
too.
- Side entry access via Erskineville Road (Road perpendicular to King St)
PUBLIC TRANSPORT:
The site is highly accessible via public transport:
- The site is within walking distance from Newtown station; they are approximately 130 metres apart.
- There is a bus stop in front of ‘King St Chemist’.
PARKING:
- Cars can be parked along Mary St.
- A parking area will be available at the side alley at the back of the gallery
SURROUNDINGS:
- There is a park that is located at the back of the site - 'Camperdown Memorial Rest Park'
There are three access points:
- Main entry access via King St (Either from Princes Highway or Enmore Road).
- Side entry access via Mary St (approx. 40 metres from the front of the site to the intersection of King St and Mary St). Mary St can be entered from Lennox St
too.
- Side entry access via Erskineville Road (Road perpendicular to King St)
PUBLIC TRANSPORT:
The site is highly accessible via public transport:
- The site is within walking distance from Newtown station; they are approximately 130 metres apart.
- There is a bus stop in front of ‘King St Chemist’.
PARKING:
- Cars can be parked along Mary St.
- A parking area will be available at the side alley at the back of the gallery
SURROUNDINGS:
- There is a park that is located at the back of the site - 'Camperdown Memorial Rest Park'
PROJECT 3: Art Gallery - Site Analysis - Reasons For Site Choice
- The parking lot is set back in relation to the surrounding buildings – which I found would allow for the public to progressively walk into the space (art gallery) and not just “go in and out”. Although it is a commercial space, I would like for the entrance to the building to differ to the entrances of the surrounding buildings. This “progression” symbolises enjoyment – individuals are entering a space of culture; something that needs to be enjoyed, something that one does not rush. Keywords: pensiveness, food for thought.
- The mural left of the parking space has a caption that gives a sense of hope towards the future: “I have a dream” (which is referencing Martin Luther King – who is depicted; coincidence his last name “King” is the name of the street this mural can be found?). The caption screams out keywords to consider: emotional, emotive, metaphysical, imagination, hope, another dimension, persistence, determination, aspiration, goal, vision – which are all reflective of what an art gallery and both the space and the artworks may evoke to the public. I will be using this mural as an influencing development to my art gallery. To me, it acts as an artwork itself (similarly to the last project) however the gallery will not be based purely on that mural but also on the artists chosen.
- The mural is also highly reflective of Aboriginal culture. As I said before, this is an artwork to me and not graffiti. I will be using this mural as an introduction to what is present in the art gallery. It can be perceived as a welcoming sign and is left open for interpretation. It attempts to loosen one’s mind, free it from “obstructions”, negativity (we need to keep in mind that the artworks may evoke aspects of negativity but this should not matter, I did not say free the mind to allow one to feel only contentment, but rather to have a “clean state” to enable oneself to approach and interpret the presented artworks in the manner they should be appreciated). Aboriginal art will be also used in the gallery at the start as a “follow-up” to the mural.
- The fact that the existing building is in actual fact a parking lot interested me because I think the space could be utilised in a more productive and efficient manner. To me it is a “waste” of space - the site is not utilised to its full potential. The appealing entity of it is that part of its façade has “missing” bricks that is reminiscent of Kengo Kuma’s Stone Museum. The setting is too attractive to be disregarded; people don’t pay attention to it and don’t take notice of that location, probably due to the fact that it is a car park, which is a bit of a shame. In choosing this site I would like to elicit its appeal.
- The site and the immediate buildings surrounding it have no relation to one another – particularly the buildings adjacent to the site. The building on the left appears to be made out of brick, whereas the building on the right seems a bit ambiguous (perhaps some form of stone work – edges of building; also exterior finish may be coloured stucco?). The site doesn’t relate well with the buildings that are flanked by its side, as well as the buildings in front on the opposite side of the street – their façades seem to be covered with white stucco. The materiality of each building leads to this query: Should the art gallery relate partly/completely to the surrounding OR should it conform to that idea of ‘uniqueness’ (as demonstrated by the two adjacent buildings) i.e.: it will stand out from the rest?
- The diversity and variety of retail shops and restaurants surrounding it. It clearly conveys ‘convenience’ and reflects on the diversity in and richness of culture.
- The mural left of the parking space has a caption that gives a sense of hope towards the future: “I have a dream” (which is referencing Martin Luther King – who is depicted; coincidence his last name “King” is the name of the street this mural can be found?). The caption screams out keywords to consider: emotional, emotive, metaphysical, imagination, hope, another dimension, persistence, determination, aspiration, goal, vision – which are all reflective of what an art gallery and both the space and the artworks may evoke to the public. I will be using this mural as an influencing development to my art gallery. To me, it acts as an artwork itself (similarly to the last project) however the gallery will not be based purely on that mural but also on the artists chosen.
- The mural is also highly reflective of Aboriginal culture. As I said before, this is an artwork to me and not graffiti. I will be using this mural as an introduction to what is present in the art gallery. It can be perceived as a welcoming sign and is left open for interpretation. It attempts to loosen one’s mind, free it from “obstructions”, negativity (we need to keep in mind that the artworks may evoke aspects of negativity but this should not matter, I did not say free the mind to allow one to feel only contentment, but rather to have a “clean state” to enable oneself to approach and interpret the presented artworks in the manner they should be appreciated). Aboriginal art will be also used in the gallery at the start as a “follow-up” to the mural.
- The fact that the existing building is in actual fact a parking lot interested me because I think the space could be utilised in a more productive and efficient manner. To me it is a “waste” of space - the site is not utilised to its full potential. The appealing entity of it is that part of its façade has “missing” bricks that is reminiscent of Kengo Kuma’s Stone Museum. The setting is too attractive to be disregarded; people don’t pay attention to it and don’t take notice of that location, probably due to the fact that it is a car park, which is a bit of a shame. In choosing this site I would like to elicit its appeal.
- The site and the immediate buildings surrounding it have no relation to one another – particularly the buildings adjacent to the site. The building on the left appears to be made out of brick, whereas the building on the right seems a bit ambiguous (perhaps some form of stone work – edges of building; also exterior finish may be coloured stucco?). The site doesn’t relate well with the buildings that are flanked by its side, as well as the buildings in front on the opposite side of the street – their façades seem to be covered with white stucco. The materiality of each building leads to this query: Should the art gallery relate partly/completely to the surrounding OR should it conform to that idea of ‘uniqueness’ (as demonstrated by the two adjacent buildings) i.e.: it will stand out from the rest?
- The diversity and variety of retail shops and restaurants surrounding it. It clearly conveys ‘convenience’ and reflects on the diversity in and richness of culture.
PROJECT 3: Art Gallery - Site Analysis - Site Ideas and Choice
Site Ideas:
I was initially tossing up between two sites (with close proximity from one another) but ended up choosing 'Site Idea 1' for a number of different reasons (which will be outlined in the next section).
Site Choice:
MAIN CHARACTERISTICS:
Site Address:
295-303 King St or 8 Mary St, Newtown 2042
Dimensions:
± 40 x 15 metres; the site is too big (it’s a parking lot) and does not meet the requirements of the brief, however I will be working on this assuming it is indeed 30 x 12 metres.
Orientation:
The site is located on the north end of King St (past Newtown railway station at the junction with Enmore Road) and is found on the “left” side of the footpath.
Relative to the North Point, it is approximately 33 degrees NW.
Adjacent Buildings:
Left side (as viewed when facing the site) – A brick building that comprises of retail shops such as ‘Crumpler’ (a bag retailer), ‘Photo Garden’ (a photo retailer) and ‘Fantasy Futons’ (a futon retailer).
Right side – A rather flamboyant and ambiguous stone-like building that only comprises of one shop - ‘King St Chemist’ (a local pharmacy).
Across the street – The building that is directly facing the site comprises of retail shops as well as hospitality – ‘ANZ’ (a bank), ‘Civic Video’ (a video store) and ‘Thai Pothong’ (a well established Thai restaurant)
I was initially tossing up between two sites (with close proximity from one another) but ended up choosing 'Site Idea 1' for a number of different reasons (which will be outlined in the next section).
Site Choice:
MAIN CHARACTERISTICS:
Site Address:
295-303 King St or 8 Mary St, Newtown 2042
Dimensions:
± 40 x 15 metres; the site is too big (it’s a parking lot) and does not meet the requirements of the brief, however I will be working on this assuming it is indeed 30 x 12 metres.
Orientation:
The site is located on the north end of King St (past Newtown railway station at the junction with Enmore Road) and is found on the “left” side of the footpath.
Relative to the North Point, it is approximately 33 degrees NW.
Adjacent Buildings:
Left side (as viewed when facing the site) – A brick building that comprises of retail shops such as ‘Crumpler’ (a bag retailer), ‘Photo Garden’ (a photo retailer) and ‘Fantasy Futons’ (a futon retailer).
Right side – A rather flamboyant and ambiguous stone-like building that only comprises of one shop - ‘King St Chemist’ (a local pharmacy).
Across the street – The building that is directly facing the site comprises of retail shops as well as hospitality – ‘ANZ’ (a bank), ‘Civic Video’ (a video store) and ‘Thai Pothong’ (a well established Thai restaurant)
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