Monday, September 16, 2013

Concept

The concept of the art foundation is to engage the user in manipulating and controlling how they move through and into major aspects of the site. For example, in the garden, large curving walls guide you into the garden space from the road and path above and these curves are continued throughout to create intimate spaces, open spaces and create walkways and seating.

Keeping intact the major buildings on the upper site is a major feature though modifying the external facades to strengthen the concept of directional flow and access, for instance, creating a curved façade on the Administration building to draw you down the pathway toward the existing cottage and to the lower site. The whale carving plays an important role as a point of congregation and celebration and ‘carving’ into the existing buildings to create an entry point is an appropriate relationship. An important throwback to the whale carving is the way of carving out seating and benches from oversized sandstone walls, this also manipulates where people have to sit, though as a minor juxtaposition to the concept, loose furniture is placed in strategic locations throughout the garden for the user to choose where to sit as the space will change throughout the day.

The café/Bar space on the lower site has a relationship to both the tunnels and the reconditioned wharf. The curving wall of the café leads you either into the tunnels or out onto the wharf depending where you are approaching from.

The use of curves to control direction is a way to ‘force’ the user to interact and explore the site without an intentional roadblock large wall blocking you. The curves will also react on a horizontal level, creating covered walkways and protected spaces.

Precedents

The idea of curves to create and control special relationships and access came from Andrew Burns, Crescent House, where delicate curves create internal space without blocking out the exterior space, which has an important spatial relationship to the interior. The work of Richard Serra uses a similar technique, where curves and openings draw you into the space inside without excluding the space outside.




Existing buildings and their relationship to the scheme




Perspectives




Models






These are various models of the coal
Loader tunnels at different scales. One shows all 28 art spaces in a 1:200 model. One is a 1:500 model showing the garden ontop, and the last is a 1:100 showing the first three art spaces and their relationship to the catwalk outside and the mezzanine. 

Models





The idea of this model is to show the relationship between the wharf, the cafe and the tunnels.

Overall scheme plan