project three: final details.

The Loft Gallery

A melting pot of photography, sculpture and oil paintings.

Site: Newtown.

I believe one of the most significant problems encountered by art galleries is the lack of fluid connection between the spaces. Galleries (and museums) have a notorious reputation for being difficult to navigate through, often causing visitors to backtrack their steps in order to figure out where they are, or even causing them to miss particular gallery spaces altogether.

While wandering and meandering aimlessly through art galleries is encouraged and even potentially enjoyable, I feel it is important for there to be a sequence to which visitors can follow and make sure they cover all the gallery spaces without feeling any confusion. This is especially important for a private art gallery, as it is acts as both a business and a display space. All of the spaces in the gallery should connect with one another in fluid motion.

I decided to situate the entrance at the side, as I want to maximise the exposure of window displays to the street in the main facade. I want the office by the entrance, as it enables the gallery owner to make sales in his office and also greet incoming visitors simultaneously (and keep an eye on people exiting the gallery).

The main gallery space will be a circular shaped room where people can gather to look at larger art installments and a few sculptures. This space would be ideal for showcase evenings, as it is comfortable and easy to move around in, has an elevated ceiling that spans two levels and allows catering staff to move freely amongst guests to access other parts of the gallery. All the smaller display spaces are connected to and stem from the main gallery.

The kitchen/storage spaces are located on ground floor at the back of the gallery to allow back lane access and for ease of delivery. A wall divider separates the main gallery spaces and the casual lounge areas to allow for some privacy and also to distinguish the display space from living spaces.

A set of stairs curl around the side of the main gallery and lead to the first floor where there is access to an open rooftop courtyard for sculptures and for outdoor gathering (i.e. good for sunny winter days). The private living quarters and private storage are situated at the back of the first floor, with a dividing wall for privacy. The workshop/studio lies between the private area (with attached access to the private storage room) and the outdoor courtyard, as it is used by the gallery owner, but can also be hired out to the public. I deliberately designed the indoor balcony to wind in a circular way around the main gallery so there is a view of the main gallery space from the floor above, and also to segregate private/public. 

project three: final drawings.

Plan (ground floor) - 1:100

Plan (ground floor) - 1:100

WITH ROOM TAGS

 Plan (first floor) - 1:100

 Plan (first floor) - 1:100

WITH ROOM TAGS

 

Section 1 - 1:100

Section 2 - 1:100

Rendered Section (main gallery) - 1:50

Rendered Plan (main gallery) - 1:50

Vignette

project three: final model.

Site model (materials): 3mm box board, 3mm grey card.

Gallery model: 1mm white card.

Adhesive: UHU All-Purpose Adhesive.

Tools: Cutting blade, cutting board, ruler.

site three

I was drawn to site three because of its dimensions and the fact that it had a rear access lane. I wanted to the gallery to have maximum exposure to the street (site two has more street exposure, however we were advised not to use site two unless we had a very good reason) and I wanted to work with the natural angle of the site. The rear access lane is a bonus for delivery of art and other goods, and for catering staff to arrive/depart.

precedents & inspirations.

I was interested in the way geometric shapes come together to form real world objects. We live amongst shapes, we move within shapes, we inhabit shapes that are aesthetically pleasing (or at least we want to).

project three.

details: final submission.

Painting:

The Art of Painting by Johannes Vermeer

1666, oil on canvas, 130 cm × 110 cm

Narrative:

A vanity room for a retired actress obsessed with preserving her youth.

Site: 

On a cliff in a small town in New Zealand - 'big fish, small pond' - hidden on the outskirts of a dense forest; exposed to sunlight, weather changes and the elements.

Concept: 

Two vanity spaces for the retired actress. Internalised fear of ageing through the use of a designated mirror room in which the actress gazes at herself and nitpick's her physical appearance, and the suspended mirror hanging from the ceiling of her dressing room (as a victim of her own circumstance, she puts pressure on herself). Floor to ceiling blinds cast lengthy shadows across her vanity room throughout the duration of the day, reminding her of time passing her by as natural weathering of her spaces occur due to the openess of the rooms.