Wednesday, June 9, 2010
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:
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.
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.
Inspiration
These images found on archdaily.com, helped me get ideas for possible design concepts within the art gallery itself.
Ideas such as the cube, the stair way and lobby areas were attained.
Ideas such as the cube, the stair way and lobby areas were attained.
Gallery Study - Limerick Gallery of Art
Limerick City Gallery of Art
http://gallery.limerick.ie/
LOCATION: LIMERICK, IRELAND
Limerick City Gallery of Art invites you to see the best of contemporary art through the exhibition programme and to enjoy our extensive Collection of Irish art. LCGA is the largest contemporary art gallery in the Mid-Western Region, annually exhibiting national and international artists in a diverse exhibition programme.
Limerick City Gallery of Art: curating and celebrating artistic creativity, past, present and future.
Limerick City Gallery of Art is one of the leading contemporary art galleries in Ireland and home to an important collection of Irish 18th to 21st century art in all media, amounting to 831 works. One quarter of the collection is on permanent display in the gallery including works by Camille Souter, Evie Hone, William Orpen, Sean Keating and Paul Henry. LCGA also holds the National Collection of Contemporary Drawing and the Michael O’Connor International Poster Collection consisting of over 2800 works of international design.
LCGA aims to:
Provide an innovative exhibition programme, which offers regional, national and international artists the opportunity to experiment, develop and display their work.
Acquire, conserve, research, communicate and exhibit the Permanent Collection, for purposes of study, education and enjoyment.
Deliver a high quality public service for local communities, national and international visitors to participate in and to enjoy exciting cultural experiences.
Reference:http://gallery.limerick.ie/
Chosen Site: SITE 3
Site plan above (1:1000)
Site 3 Reasons why chosen:
- Bigger Facade
- Rear access
- sandwiched in between two buildings
- surrounding buildings are relatively
- ability to create spaces spaced apart
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