Newton Gallery - Parti

The idea behind the design was to create a space that celebrated in the arts. My focus was on movement through the building and using ramped surfaces that guided the people.

I wanted movement to seem natural and not forced, hence the reason why spaces appear to roll into each other through the use of ramps; while distinction is still achieved through narrow entries and varying ceiling heights.

I then overlayed this idea with a post-modern design, which is fitting considering the space is intended to exhbit post-modern art. The use of angled walls and varying cieling heights not only contribute to this, by assist in creating a certain atmosphere. In particluar, the use of low and high rise cielings have been used to inspire the feeling of being uplifted, while angular walls contain the human within the space.

Plan & Sections

The plan has been organised according to movement, as the ramped floor tilts you toward the next space. Furthermore careful consideration has been given to the placement of windows so as to provide snapshot views of the exterior and interior of the building, encouraging interaction between people, place and space. It should also be noted that windows have been oriented, so that there is no visibility of surrounding buildings. This assists in the creation of a personal and intimate gallery.

Spatial Analysis

The highlighted space, is the centre piece of the architecture reconciling the individual rooms. As shown in the sections below, its walls invade each space. This is inherent to my design, giving the building integrity whilst maintaining notions of continuity and alternation; as each room is unique while paying homage to this central space. I have given this space an almost ceremonial quality using the class roof and an abundance of natural light; opposed to the entry space which is dark and the third which mediates the two.

Perspectives

Model

This entry is pivotal to the process of moving through and experiencing the architecture. It references a traditional colonnade in creating an intermediary space between the interior and exterior of the building. As patrons enter they are quiet exposed, before the wall closes to become more sheltered and private. This allows people from the street to get an idea of the activities within the building, reinforcing the idea of interactive spaces. The below staircase in another feature where social interaction is encouraged through the architecture. The stair is placed within two walls which meet at a central point, drawing on perspective notions, meanwhile functioning as a stair and place to sit and observe the art.

Edward Hooper - "Nighthawks" (1942)

"a tumultuous couples escape from the outside world, looking through the callous glass"

The Site

The chosen site is the hillsides of Hollywood. I feel this is relevant to my narrative as Hollywood is home to the worlds most instrusive media, thus reflecting the notion of "the outside world looking in".

Poche` Drawings

First & Ground Floor Plan

Section

In my design I have focused on the use of glass and the implications of light and shadow. Glass has been used to create an uneasy atmosphere, to evoke the feeling of being watched. This can be seen in the entry tunnel, consisting of large glass openings with thin framing walls. This inspires a feeling of being stalked as you walk through, being fully exposed by the glass and then slightly sheltered by the walls. This feeling is enhanced by the shadows cast, providing for a suspenseful entry into the house. As the occupants make the transition from the tunnel into the house, this feeling of being watched reaches a climax, with an open plan design. This space is not interrupted by restricting walls or dividing spaces instead consists of glass walls and floor to ceiling windows. Therefore the occupants are deprived of any sense of security and privacy, and are fully visible to the “outside world looking in”. I have implicitly implied the notion of escape, using the tube staircase which protrudes through the floor. Placed in the center of the room, it achieves a sense of movement, as the occupants are forced to circulate around it when inhabiting the space – giving the building an almost rhythmic quality. Furthermore there are several smaller spaces such as the balcony and rooftop terrace, which are dead-end almost pointless spaces; failing to unite with the reminder of the design. This is intentional and meaningful when reinforcing the idea of trying to escape but being trapped. The level of exposure and uneasiness in the first floor is contrasted to the private and very enclosed space of the ground floor. The tube staircase accentuates the transition between the two, being semi-private almost reconciling the conflicting spaces. It is in this private space that the “tumultuous couple” find their escape and peace with each other, which is reflected through the architecture. Thus my design follows the nature of a narrative, with an introduction, climax and conclusion.

Axonometrics

Model

Robert Venturi's "Mother's House" Model

Robert Venturi's "Mother's House" - Parti

Robert Venturi's "Mother's House" - Poch'e