BENV2242 Suzhou Chinese Gardens

Day 1, 5th December
We instantly got to know the other members of our culturally diverse Taxi Group; Malaysian Edwin and Italian Alarico! Whilst Alarico is missing in this photo, Mei snapped an awfully handsome pose of him somewhere else in the garden :D

Day 2: 6th December

Whilst the water and hand crafted mountains were spectacular sights, i soon realised my fetish for walls and shadows!! This was my favourite photo from the day - a portal from the dark depths of solitude, to finally unveil the golden hues of the garden.

Day 3: 7th December

The notion of Feng Shui is evident through the thoughtful, balanced composition which establishes harmony between the different elements of water, land, natural and built forms.

Day 4: 8th December
The sunshine disappeared from Suzhou! However the dreary weather had little effect on the enthusiasm and inventiveness of Alarico and Jason :)

Day 5: 9th December

Catching a taxi is too difficult in Suzhou, especially in wet weather during peak hours! It was also the perfect excuse to risk our young lives on bike/taxi vehicles :) The narrow road meant we hardly rode along side each other and therefore i have only a fleeting snapshot of Alarico! (with Mei beside him)

Day 6: 10th December
My wall fetish continues!! Instead of light and shadow effects, the rainy weather highlighted a diverse palette of colours and textures. The eroded facades evoked a mystical sense of time and my appreciation for how the presence of Ancients lingers to this day.

Day 7: 11th December
If the hues were green/black, it would look like something out of the Matrix! The 5-star stay was even more exciting because i wasn't aware the Grand Hyatt was located in the Jinmao tower - a building i had researched and discussed in an essay last year! It felt very much like a dream come true :)

Day 8: 12th December
Ethan, a Shanghai local, took us out for dinner and shopping :) Yet at midnight we still weren't satisfied!! So with an additional visit to food markets (a very different & risky experience compared to Department Store eating), JJ, Jabez, Mei, Ethan & I had an additional late-night snack.

Day 9: 13th December
Heading out for dinner on the coldest day yet! However we soon discovered that fat jackets not only keep you warm, but erase the gender of its wearers!!

So take a guess: Which one is Wen (the 5th year Male) and which is Mei (the 2nd year Female)?

Day 10: 14th December
The Finale!! After a 1.5hr back massage (with heavy discounts because they were new and we were students), we settled for a 2am McDonalds snack and then 4hrs of Karaoke. In this photo there are actually 4 people sleeping - can you tell who? :D

Project 3 Reflection

The first thing i would like to mention, is that the amount of time this final project demanded was beyond my expectations. I believed 6 days (dedicated to design alone) would be ample but instead i only just managed to complete the requirements by the presentation date.

I took a few new approaches with this final project:
1) My drawings were presented on 300gsm paper and perspectives were drawn with 6B, as opposed to my previous submissions on cartridge paper with graphite. The difference is astounding and i really wish i made the switch earlier! I spent much less time shading and yet was able to achieve significantly bolder effects.

2) This time I made a serious attempt at investigating materiality. Unlike my 2nd project where i just used tracing paper because i had it at home, this time i searched the art shop for different materials and their connotations. One reason why i was scared to experiment was that alien material may be difficult to cut - however even though this occured, it still was not impossible and i believe the visual effect was worth the effort.

3) This was also the first time i modeled with curves. As i am aware of my modeling inaccuracy, i was always afraid to deal with curvilinear structures. Although i have not done a perfect job, i am glad i have finally surpassed my fears and experimented. Paola mentioned steaming balsa to get curves which is what i should try later on - these curves i achieved simply through glue and force.

4) Serious consideration regarding how the model would best represent my ideas. Previously i always made models (unless specified) with a removable roof as it was easier than building in sections. This time however, to really sell my idea, i spent a long time organising the separation of the model so that it could maximise communication. I also thought carefully about how building elements were joined as opposed to my previous method of just jumping into modeling. Thus walls are continuous as opposed to being disrupted by floors etc.

Things that could be improved:

1) Handling of glue. I always have huge chunks of dried glue across the material surface and i believe it's largely due to my use of glue straight from the tube. I have observed other students dabbing the glue on. So far i have not used that technique to save time but i will strive to be more neat in the future!

2) Making sure that angles are 90'!!! This is my major flaw and therefore my model, despite bearing the correct dimensions, just refuses to slot together nicely. While i tried to use a protractor to determine angles as i worked, somehow it was still not an entirely trustworthy method.

3) I thought that it was impossible to buy 300gsm paper larger than A1 (true at Eckersleys) and so made-do with an ugly attachment of extra paper to an A1 sheet. However i was told that Oxford can custom cut and therefore i will go there in the future.

Overall thoughts of the Task:
A vast majority of the students chose Site 1 because of its unique shape and interesting context; located near the cinema and church on King St, it was also opposite a memorial park and adjacent to a carpark. However only upon designing did we realise what an enormous challenge it posed. The site was much larger than we expected and yet unconveniently narrow. However i did not have an extremely difficult time attempting to fill the extra space due to the vast possibilities attached to the needs of my client. I hold strong feelings for ArtExpress due to my personal involvement with the 2008 exhibition & ever helpful tips from my Art Teacher (thanks Mrs Profilio!), and therefore it was a huge source of inspiration to keep persisting with the design.

The task was challenging in its focus on exploring light and the size of the site. The modeling was challenging due to my detailed design and the need for several sections to interlock. The drawing was time-consuming due to unfamiliarity with perspective drawings.

However compared to any other design task i have experienced so far, this was definitely the most rewarding. I have truly expanded my modeling ability alongside knowledge of architectural design, through greater sensitivity to the context, client, light and materials.

Project 3: ArtExpress Art Gallery, Newtown

Model (1:100):

View from King st

View from Lennox St

Drawings:
Sheet 1: plansSheet 2: sections

The perspective drawings did not scan well so here are photos of the drawings:
The Gallery front when viewed from the street and beyond the glass panelThe play of light in the main gallery spaceThe mezzanineThe small exhibition space and use of hollow columns

Chosen Site: Site 1

Clients: ArtExpress

After conducting research into the 'essence' of Newtown, i was determined to choose ArtExpress as my client because both the suburb and community of artistic youth, strove for tolerance.

As one tourism website declared, "You can be whoever you want to be in Newtown", it is evident that Newtown accepts and celebrates difference. In the same way, ArtExpress desires to enhance understanding among the public. In the 2008 exhibition theme of "Australian Beauty", many works challenged accepted notions of beauty so as to encourage a break from mainstream thought and find the value in everything.

Design of Gallery Front

The design for my gallery front integrates 3 main ideas.

1) The Deception of Simplicity. Newtown shops bear humble and plain facades which disguise the richness hidden within. The suburb is actually highly eclectic with each shop bearing strong, individual character.
2) Yet the eclectic shops are integrated through the continuation of prominent horizontal lines. Therefore as i desire my Art Gallery to sit harmoniously within the urban fabric, i will maintain the rectilinear forms.

However the modernity of the building will still be apparent through the choice of material. Utilising window film on glass (see High Performance Window Films) it will appear on the street as a large graphic sign announcing ArtExpress. Its semi-transparent nature will also entice the public to explore the building as they can capture a glimpse of the forms behind the glass panel.

Meanwhile when viewed from within the gallery, the public will be able to enjoy views of King St as the window film is entirely transparent from the opposite direction.

3) The appreciation of a warm public guesture. King St is incredibly long and so abundant with rich, individual shops that an experience in the suburb can actually be highly exhausting. Yet there are rare places to stop and rest - the mood remains busy, the tempo fast. Thus this cafe immediately caught my eye with its cosy and friendly offering. In the same way I desire my Art Gallery to present the public with a welcoming guesture so that it can act as a refuge against the hectic city, and a place which proudly serves the people.



Sketch of proposed street facade: deceptively simple through the horizontality (which acts as a graphic sign and maintains the urban fabric) and offering of public seats.

Model representation. View from King St.

Sketch of the gallery facade hidden behind the glass panel: the real nature of the building is complex, rich and diverse but hidden by 'supposed simplicity'.

Model representation. Richness is conveyed through the play with light, layering of forms and contrasting curvilinear vs rectilinear elements.

Meanwhile the room which projects out on the second floor is open to the public as a multimedia/internet hub. It can also be booked by classes which visit the Art Gallery for excursions. The room is essential to the gallery considering the modern interrelationship between technology and art; not only has technology redefined the very notion and purpose of art, but also artmaking and role of the audience. Through technology, modern viewers are granted great flexibility and power in responding to and shaping art.

As the public approach the entrance to the gallery, they will see students discussing and researching on computers in the multimedia room. This immediately tells them that the purpose of the Art Gallery extends beyond displaying works - it also desires to encourage public involvement, so that people become part of the artistic experience and form their own understanding of art.

Foyer:
In contrast to the busy entrance and gallery facade, the foyer upholds simplicity. Light is emitted through the frosted glass in the external wall (located behind the public seats).

Large Gallery Space
My main inspiration was I.M.Pei's Eastern Wing at the National Gallery of Washington. I was fond of a few features and translated them into my design:

1) The vitality achieved by triangulated light. It captures the energy of youth and encourages active public participation within the gallery
2) The monumental openings which allow the public to observe human activity, so that the viewers of artworks contribute to the notion of Art.
3) The monumentality of the mezzanine achieved through its simple but defined form
4) The great sense of open space

Sketch of the main gallery design. The curves introduced in the gallery front continue through the curved roof. A sense of monumentality is achieved through the great expanse of walls and prominent openings.



The change in materials to timber walls and marble floors is to achieve a more sensual experience. Triangulated light projects down on the two platforms so as promote an energetic atmosphere which encourages the public to stop there and observe the scene, or discuss with one other.

Artworks will be hung on the walls while large installations can fill the central space.

Mezzanine
Sketch of the mezzanine revealing sources of light.

In the main gallery there are 2 sets of stairs and both lead to the mezzanine which wraps around the back of the gallery. The stairs on the left lead to the multimedia room, while the stairs on the right lead around to the semi-private and private spaces. The function room and apartment respectively.

Function Room
The function room will be used for celebrations such as an opening night and therefore will only be accessible in the evening. It is encased by glass walls which grants views over both the Main Gallery space and courtyard. However the public will not be observing artworks alone, as human activity is integral to the energy of the space. Art is not defined as objects alone, but instead encompasses the presence and actions of people.

Courtyard: (encompasses apartment and workshops)
Another source of inspiration was Louis Kahn's Yale Centre for British Art due to the great expanse of walls composed of beautiful materials, and sense of layering framed views. Thus i transferred over to my design the same monumental walls and openings which frame human actions.



The public will be drawn immediately from the main gallery space into the courtyard due to the abundant sunlight and open space. As the Art Gallery encourages discussion, the steps which lead down to the courtyard also operate as seats for rest and talk.


The change in materials in the courtyard symbolises the use of masonry and all the rooms behind the masonry wall receive Northern sunlight. The bottom floor consists of workshops which can be booked by students or artists who don't have their own studio spaces. With windows elevated 2m above the courtyard ground level, passerbys will not disturb their concentration and yet if the public stands a distance away, they can observe their work like a moving artwork. Once again human actions are inseparable from the notion of art. The small doors on the bottom floor lead to the bathrooms.

Meanwhile the upper storey consists of a public kitchen (which is easily accessible for function events) and private apartment. The apartment enjoys unrestricted views as the wall located opposite and on the site boundary, is only 2m high.

Small Exhibition Spaces:
The public area ends with small exhibition spaces. Intimacy is achieved through the low ceiling height of 2.8m and timber walls. Light is admitted into the room through Kahn's 'hollow columns' and once again vitality is promoted in the space through the triangulated light.

Meanwhile the private area encompasses the ramp which leads up to the delivery and storage rooms. Furthermore there are stairs which lead upstairs to the office.

View of Art Gallery from Lennox St. Bottom floor contains the storage and delivery room. Upstairs is a large studio space and office.

Covered Seating Area:

In most galleries, the public is supposed to leave immediately after viewing the works. Therefore seats aim only to cure momentary tiredness, rather than welcoming long periods of rest. However by valuing human presence and participation, this Art Gallery presents a final resting place which permits the public to stay as long as they like. Reflection and discussion of the artworks is again encouraged. The triangulated shading system continue the curves from the gallery front so that it flows through the structure. Meanwhile the 1m high baluster enables the public to restore their connection to the context. Previously the high walls of the gallery deprived the public of views of the surrounding, so that they were lost in an alternate, artistic world.

The last room is a large studio space for group work.

Final Exhibition Space
Sketch showing how Northern sunlight reflects off the wall and onto artworks located in niches in the wall
This is the final space within the Art Gallery where the gradual ramp leads back up to the foyer. Overhead is the mezzanine floor and to the right are a series of niches. The smaller spaces are for displaying artworks while the two larger spaces serve as seats so as to again promote public discussion.

Project 2

Spatial Narrative: A room for a busy housewife to take a break and dream of the day she will travel the world.

(The concept i transferred over from my painting was how Internationalisation can serve as an inspirational and spiritual refuge from tiresome reality)

Context: Suburb of low lying houses and narrow blocks but on high land. Therefore there are unrestricted views to the North as the surburb is situated on a cliff edge.

Entrance to house faces the south and is extremely narrow, almost lost behind the two imposing walls. They appear to reach out to the occupant, as if to swallow her into the domestic confinement.
Meanwhile the north is situated on a cliff edge with unrestricted sunlight and views. Her room is located there, with a more intimate heigh level of 3m as opposed to 5m+ so she doesn't feel intimidated and overwhelmed by the space. She is reconnected with the outside world and can seek both relaxation and inspiration.

Narrow entrance

Domestic confinement is illustrated through:
1. thick imprisoning walls to suggest no escape from house work
2. entire floor plan is covered in stairs of 300mm tread which creates a fast rhythm to the space - suggests no rest, where one workstation flows onto the next. It is an endless cycle of work
3. Openings are few and possible only because the wall has been carved away to form furniture for workstations (clothing line, kitchen bench, work table). Therefore light and work are inseaparable notions - windows are not a luxury or privelage. This is reinforced through their high placement, so she can not have views of the outside. She is entirely separated from the world and its opportunities.

Detail of kitchen workstation. The dimensions of her workstations are quite cramped and only just large enough for her to perform tasks. Again no luxury or comfort.

Her release from such a stressful and exhausting space begins on the set of curved stairs:
1. The use of semi-translucent material captures and reflects the overhead light source so the stairs appear to glow
2. Treads are 1000m so she can walk at her own pace and slow down
3. Risers decrease as she ascends to illustrate how easily she can glide into her refuge
4. Surrounding balustrades are ordered and straight, as opposed to disorderly and unstable (see previous photos of interior)
5. Thick walls surrounded her room are protective as opposed to confining
6. Introduction of curves to rectilinear space suggests a natural and feminine retreat, as opposed to the mechanistic and lifeless ordeal of performing housework