Project 3: Wk5 First Attempt

Project 3: Wk4 Seventh Attempt

To try and create the sloped shard roof geometries I am experimenting with a technique of tracing the flat shape, and then as I elevate it, I add to it. What I'm not sure of is whether to use layers of thick gsm paper that can be easily bent, or cardboard which will require scoring to manipulate.

Project 3: Wk4 Sixth Attempt

I have situated the apartment at the back to suite my character's need for a quick and easy exit from the premises, to allow his family to have a view of the beautiful park, and a loading zone that does not conflict with the public's circulation through the site. There is a wall at ground level to provide privacy from the circulation of the public through the courtyard, and a quick exit route through the store room and loading room out onto Lennox Street. While I did spread the living room across an indoor room and outdoor terrace/balcony, I feel I didn't get the proportioning right and if I have time I will try and have another attempt at it.

Project 3: Wk4 Fifth Attempt

Have developed the treatment of the King Street entrance. I used the expressiveness of the geometry in Henson's 'shard' montage work as the basis, then applied the idea of a structural steel framework with glass. I feel that the angularity of the 'shards' is appropriate for the entrance as it gives a level of thickness that is not out of place with the surrounding shopfronts, and that it hints at the angularity of the spaces within. I also feel that it adds a sense of welcoming, as the public can look in from the street and be encouraged to enter, however it continues Henson's theme of tension by partly obstructing the view so they must enter to see the artwork properly. The shards will also allow for projected lighting effects, late in the afternoon when the sun is shining from the south.

Project 3: Wk4 Fourth Attempt

 At this stage I have a much clearer sense of the articulation of the organisational circulation 'armature' and the residual spaces that are a product of it. What remains is to determine an appropriate entrance and roof treatment. As I discussed with Felicity an interesting formal geometry to apply to both of these would be shards that are an important feature that some of Henson's photos explore. Felicity also mentioned two issues that need to be reconsidered and resolved, the need for a dark room for the resident artist and the entry from the car park. We agreed that the spaces do provide an appropriate atmosphere for receiving the unnerving/intensely personal emotions/tonally dynamic qualities of Henson's artwork. Also the opening up of the gallery onto the car park was an appropriate decision, as it parallels and incorporates much of the grunge of seemingly abandoned and unfrequented spaces on the edge of urban areas that are an essential setting and theme of the photography.

I feel that for the presentation the different mediums of model, poche and vignettes need to work to complement and support each other to present the design. So the model won't be as materially elaborate as in project 2, so the poches and vignettes will be essential to representing the materiality and dynamic changes in the atmosphere of the spaces.

What i'm most pleased to see in the model is a clear sense of modulation between horizontal and vertical spaces, which was one of the most important origins of the project in injecting the gallery with progression and motion to add to the experience of taking in the tonal dynamism of the artwork. The other idea that I had was to maintain the continuity of the walls underneath the gallery space to create the form of the gallery as a containing object from the outside- even though this is very wasteful of the spaces that could be incorporated into the courtyard. But this is where a single strong idea has to come through at the expense of others to maintain its integrity.