DESIGN IN THE DETAILS

TED TALK BY PAUL BENNETT ABOUT HOW DESIGN AND THE MOST PROVOKING IDEAS CAN SPRING FROM THE SMALL, THE OVERLOOKED, THE OBVIOUS.


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click to view submission
ALTERNATIVE LINK TO SUBMISSION FILE
http://issuu.com/keenana/docs/final_gallery

click to view submission

ALTERNATIVE LINK TO SUBMISSION FILE
http://issuu.com/keenana/docs/gallery_model

KEY IDEAS

ENTRANCE AS ONE OF THE KEY FEATURES OF BUILDING

• DRAWING PEOPLE IN FROM THE STREET INTO THE GALLERY
  
• FACADE TURNS AWAY FROM THE STREET BUT INFORMS ENTRY/GIVES GLIMPSES OF INTERIOR AT THE SAME TIME
• INVITING ENTRANCE BY BEING AT HUMAN SCALE AND BY EXCITING CURIOSITY
  
• FACADE PROVIDES VISUAL BREAK FROM THE REST OF KING STREET FACADE

ART GALLERY AS HAVEN FROM URBAN LANDSCAPE

• CREATING A SENSE OF 'HAVEN' BY ALLUDING TO AND INTEGRATING NATURE INTO INTERIORS
  
• FACADE TURNS AWAY FROM THE STREET
• ENTRANCE LEADS ONE DOWNWARDS
• FRONT GARDEN ACTS AS A 'BUFFER' FACILITATING THE TRANSITION BETWEEN THE BUSY STREET INTO THE GALLERY

MOVEMENT AND VERTICAL INTERACTION WITHIN THE BUILDING

• LINEAR MOVEMENT THROUGH THE MAIN GALLERY
• RAMP CREATING A FLUID TRANSITION BETWEEN LOWER LEVEL TO UPPER LEVEL GALLERIES
• VISUAL CONNECTION BETWEEN TWO LEVELS. UPPER FLOOR OVERLOOKS LOWER LEVEL
• RAMP COMMANDS MOVEMENT THROUGH THE GALLERIES BY LOCATING ITSELF AT THE CENTRE OF THE BUILDING
  

SEPARATION OF FUNCTIONS

• ALL ADMINISTRATIVE AND SERVICE SPACES ARE CONCENTRATED TO ONE SIDE OF THE BUILDING
• GALLERY AND SERVICE SPACES ARE DELINEATED BY RAMP
• BOTH AREAS ARE ACCESSED SEPARATELY

FLEXIBLE SPACES

• MINIMISE COMPARTMENTALISING MAIN GALLERY SPACE
• PROVIDING GENEROUS CEILING HEIGHTS FROM MAIN GALLERY
• SECOND LEVEL GALLERIES FOR INTIMATE EXHIBITS OR WALLS CAN BE OPENED UP TO EXTEND EXHIBIT SPACE

LIGHTING

• NATURAL LIGHT DIFFUSED THROUGH SKYLIGHTS AND REFLECTED BY OUTER WALLS AND IN THROUGH GLAZING
  

INITIAL IDEAS: I FIRST TRIED TO EXPLORE HOW I MIGHT ARRANGE THE SPACES IN THE BUILDING. FIRST THE OUTDOOR AND INDOOR AREAS. THEN THE PUBLIC AND PRIVATE ACTIVITIES WITHIN THE BUILDING. FINALLY THE MOVEMENT OF BOTH THE GALLERY GOERS AND THE GALLERY OWNER/ARTISTS THROUGH THESE SPACES.


FIRST SCHEME: I TRIED RESOLVING THE BRIEF INTO THE INITIAL SCHEME ABOVE. HERE THE BUILDING, ITS ARRANGEMENT OF SPACES AND CIRCULATION REVOLVES AROUND THE COURTYARD. THE USE OF TWO RAMPS PROVIDES CONTINUOUS MOVEMENT.


DEVELOPMENT: AFTER CONSULTATION, I TRIED TO EXPLORE VARIATIONS OF THE INITIAL SCHEME. HERE, PUBLIC AND PRIVATE FUNCTIONS ARE COMPLETELY SEPARATE. GALLERY SPACES ARE SANDWICHED BY COURTYARDS.


NEAR RESOLUTION: REFINEMENT OF DEVELOPED SCHEME, MAKING USE OF ONE RAMP AS THE AXIS OF THE BUILDING. GREENSPACE RUNS ALONGSIDE THE BUILDING, EXTENDING THE INTERIORS OUT..

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THESE WERE THE TWO ARCHITECTURE FIRMS THAT I WAS INSPIRED BY FOR THIS PROJECT. BOTH ARE CONTEMPORARY FIRMS WHOSE TECHNIQUES IN ARRANGING SIMPLE GEOMETRY TO CREATE ARCHITECTURE WITH IMMENSE IMPACT I GREATLY ADMIRE. SOME MIGHT ARGUE THAT THEIR RESPECTIVE STYLES ARE QUITE SIMPLISTIC AND MAY BORDER ON 'TRENDY,' BUT I FIND THAT THESE FIRMS HAVE MASTERED THE CREATION OF RICH SPACES THAT SPEAK VOLUMES IN THEIR STRAIGHTFORWARDNESS.

THEIR BODIES OF WORK HAVE BEEN CHOSEN AS PRECEDENTS FOR THIS PARTICULAR PROJECT FOR VARIOUS REASONS

• EFFECTIVE USE OF SPACE GIVEN NARROW/LIMITING SITES
• INNOVATIVE WAYS OF BRINGING LIGHT IN THROUGH SKYLIGHTS
• INTEGRATION OF OUTDOORS INTO INTERIORS
• CREATING 'HAVENS' FROM URBAN SETTINGS
• EMPHASIS ON ENTRANCE

SUPPOSE DESIGN OFFICE, JAPAN

HOUSE IN MORIYAMA

HOUSE IN OBAMA






HOUSE IN SINMACHI

ISAY WEINFELD, BRASIL

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IN KEEPING WITH THE VIBE OF NEWTOWN, THESE ARE THE SORTS OF ARTWORK THAT MY GALLERY WOULD EXHIBIT. I WANT TO CREATE A SPACE THAT WOULD BE ABLE TO HOUSE LARGE INSTALLATION PIECES AND HAVE INTIMATE SPACES FOR SMALLER ARTWORKS SUCH AS PHOTOGRAPHY PRINTS. I BELIEVE IT IS ALSO IMPORTANT THAT THE ARCHITECTURE ITSELF DOESN'T DETER ATTENTION AWAY FROM THE ARTWORKS, AND ACT INSTEAD AS A CANVAS ITSELF FOR THE ART PIECES.

INSTALLATION ART

CARDBOARD CLOUDS BY FANTASTIC NORWAY
for the Centre for Design and Architecture student exhibition in Oslo, Norway

STREET ART

FREE HAND MASKING TAPE STREET ART BY BUFF DISS
a Melbourne based artist

PHOTOGRAPHY

SELF PORTRAITS BY LEE FRIEDLANDER

NEWTOWN, SYDNEY

The Historic 19th Century inner city precinct of Newtown balances classic Victorian Architecture with cutting-edge modern city life. It is home to Sydney's most colourful mix of cosmopolitan and bohemian cultures. All of this prominently on display on King Street, the central Newtown promenade and a mecca of alternative street life. King Street is packed with cheap restaurants, quirky cafes, late night bars, off-beat fashion stores, left-of-centre bookshops, cinemas and much, much more.

"Do King Street" as a local and mingle with the great diversity of its inhabitants: from academics and students from nearby Sydney Uni or School of Performing Arts, to the musicians, punks, poets and artists who have all made Newtown their home. Newtown is renown for having the highest concentration of independent theatres and live performance spaces in Sydney.

http://www.billabonggardens.com.au/newtown.html

CHOSEN SITE:
SITE 3
311-317 KING STREET, NEWTOWN

SITE 3

SITE

SURROUNDING BUILDINGS

SURROUNDING BUILDINGS

SITE ANALYSIS

DESIGN AN ART DEALER'S SMALL GALLERY IN THE CITY. THIS ART DEALER WORKS AND LIVES IN THE SAME PLACE. GREAT ATTENTION SHOULD BE GIVEN TO THE SPATIAL, LIGHT, AND TEXTUAL QUALITIES OF THE INTERIOR, AND THEIR POTENTIAL MEANINGS. THE RELATIONSHIPS BETWEEN THE STREET AND THE INTERIOR, AND BETWEEN THE LIVING SPACE (HOUSE) AND THE WORKSPACE (GALLERY) SHOULD BE ARCHITECTURALLY ESTABLISHED.



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