Final Model

Narrative - An art gallery for a contemporary artist trying to draw the connection between landscape and building. This is a personal space where the artist can live and work at his/her freedom in order to provide quality art and sculpture to the public.



Above - sectional model, the section is taken in that way in order to provide us with better perspectives and establishes where exactly the light can be provided to the spaces within the art gallery. This also shows the main space in the center being the cube, this is a pivotal space within the art gallery as it connects different spaces together.



This room depicts how light enters the gallery at the main hallway which can also provide the public with a path towards the cube and enough lighting combined with artificial lighting to view the art and sculptures. There is also visibility of king street so that the gallery can still remain in the context of newtown.



This is a group model the team created together, it is a handy tool in seeing how the art gallery fits in with part of the site. It was created at 1:200 and I made a replica 1:200 model of my art gallery. From this we can see that I was trying to maintain privacy however still keeping that attracting characteristic once in front of site 3.



This image shows the two different elements of the section and how they can interlock to form a whole, it also shows how walls play a key role in creating spaces as well as impeding the light sources and making some more darker private spaces.



This front section shows how the cube sits in the gallery and how the entire gallery works around the display cube and how from almost any point in the gallery the display cube is visible to any client.



This section shows a more private space of the gallery where the apartment and kitchen is located. It would be unpleasant to locate an apartment at the front of the gallery, this was the reason behind placing them towards the back end of the gallery.



This is a front view of the sectional model, the glass is relatively smudged however we can still get an idea of how the glass starts to work well with the concrete finish. This also supports the idea of attracting the clients once they discover the gallery through the glass elements and therefore want to go in and have a look.



This is my complete model, which does not use the entire site because I wanted it to stand alone from the other surrounding buildings making it a piece of artwork on its own. It also allows for other things such as access down the left and right hand sides as well as a rear entry for stock delivery and other places to park cars etc.



MAIN IDEAS:

GALLERY STUDY: Limerick City Art Gallery
Artist Study: Gregory Euclide, Comtemporary forms of art ( Nature + Building)
Fascade Level 1: parallel to street, more appealing to clients.
Striped window wall- Surrounding building + not yet placed garden represents form of artwork.
Entrance - small, allows for gradual discovery of art gallery
Display area- 4 corners-4 separate items, automatic doors allows for easy access in or out.
Office/Shop: buy art, formal small place, placement at front for reception like service and exiting when buying something.
Storeroom: situated a far back as possible connect with real lane access, driveway for delivery of stock and artwork.
Circulation of lower level- allows for visitor to look at art while moving, direct path with very small variation in direction changes.
Stairway: connection between levels, situated far end to not disrupt art viewing.
Exit: owner exit through the back to car or lane.
Apartment/Kitchen- partially separated yet close to the workspace of the artist.
Bridges-allows for overlooking of art in cube display, allows for paintings to be shown along walls of bridge, is a connection between interior art spaces and workspaces and courtyard.
Facade level 2- transparency, allows for light to enter, parallel to keep it related to the site.
Courtyard- allows for view of street frontage, most life on this side of the site, life in newtown, light also gets in to the gallery.
Circulation Level 2: promotes movement, 2 separate routes, join back together at the courtyard, movement is also a journey through the gallery allowing the visitor to view as much as they can.
Roof- Shows that for each time of the day light can pass through either side, shape is due to the light being projected down into the artwork on the second level also touch the glass, this glass also can light up in different ways in different times of the day. Finally, it is higher than the surrounding buildings.

Final Renderings

These renderings are provided because I think they show how different lighting combined with different materials react differently and the renderings almost provide a real life version of the gallery giving us an idea of what to expect.

Final Drawings

The sheets below were printed from Autodesk Revit:

Some Views of Gallery in Respects to Neighbours

Early Revit Model

The whole idea of an early model in revit is to model out spaces using basic walls and floors to get a feel of how to make the spaces more celebrating for the gallery visitors.

These images show how walls can intersect each other to give an array of different spaces with the early though of stairs being the connection between two floors.

I think 2 floors is good because the surrounding buildings can somewhat overshadow the gallery if it was only one floor.

Also, 2 floors can allow light to penetrate through one floor into another in order to create light for the artworks and passage ways for the visitors.

At this stage I have also started to consider materials being used such as concreter flooring and finished walls with masonry white stripes applied to the exterior of the gallery to give a contemporary appeal.

Artist Study: Gregory Euclide

Gregory Euclide

My work explores the way I experience nature and how this is tied to the cultural practice of constructing landscapes as idealized images. !!
When I am in nature I experience the world through all of my senses in a dynamic way, but at the same time I am framing what I see through the cultural expectations I have absorbed through representational systems such as landscape painting, wildlife documentary, and travel guides. It is very difficult, then, to have a true, non mediated experience of nature even though I may long for it. My work explores the contradictions between the projection of idealized, picturesque views
of landscape and my desire to have an authentic experience in nature. !!
My recent compositions contain a mixture of landscape images painted on paper, which have been shaped into three-dimensional sculptures that protrude from the wall. The battered and wrinkled sheets of paper that are the foundation of these works carry a blend of imagery containing picturesque landscapes drawn from memory, photo transfers based on nature photography, abstract areas of raw paint, and actual artifacts from the land such as pine needles and bark. By employing multiple representational modes, I create tension between the cultural codes traditionally used to represent landscape. For example, pools of thick, raw, liquid paint at
once expose the illusion of representational systems and mimic the properties of the rivers and streams they are used to signify. Similarly, the exaggerated folds of the thick watercolor paper transform the flat, framed image of the traditional landscape into a dimensional topography that cannot be completely owned from one vantage point. The three-dimensional forms of these new terrains -- painted on both sides and containing hidden vignettes -- encourage the kind of exploration one might find in nature rather than a traditional picture. !!!!

2008

http://www.gregoryeuclide.com/EuclideINFO/Gregory%20Euclide%20Statement%202008.pdf

Examples of his work:

Early Concept

From the word go I looked at many different galleries given and some that I researched and found alot of unique characteristics that appealed to this task, some more than others I jotted them down and started to conceptualize a design for a gallery in newtown.

I also knew that my design was not going to be a classical building found in newtown and that I wanted it to be contemporary as to stand out from the rest of the buildings in the street.

Here are some scans of the early design concepts:







The reason for pulling the gallery back is to maintain the privacy of the artist and to reduce noise from the main road, however it isn't being pulled back enough to seclude it away from everything.