Consider the journey through the spaces you create - both the studio spaces and the gallery space. How do you enter? Is there a sense of progression from one space to the next? Is there a sense of arrival? How can the artist move artworks through the spaces? How can you use this to create interest in the spatial arrangement?
Frank Lloyd Wright: Guggenheim Museum, New York City
The progression through this gallery space is paramount. The gallery spaces are arranged around a central drum-shaped void.
Guggenhiem: Gallery spaces
Each space is linked to the next via a ramp that circumnavigates the central void.
The fluidity of the circulation route and its progression throughout the gallery imbibes the experience of the space with a sense of continuity and calm - ideal conditions for contemplating the artwork on display.
Importance of Light in gallery and studio spaces
Keep in mind for both of your studio spaces and the gallery space in between, the introduction of natural light can be crucial to the success of the space. Consider orientation - the direction the light is coming from, its intensity and the amount of light entering the space.
Herzog + de Meuron: Sammlung-Goetz Gallery, Munich
Positioning of window openings will determine how light falls into a room.
Sammlung-Goetz Gallery, Munich
This is a two-level gallery building. Note the ceiling height. The gallery space is below ground level. The high-level windows you see in the interior shot are at ground level outside.
Kahn: Kimbell Art Museum, Fort Worth, Texas
A gallery comprised of an assemblage of vaulted spaces arranged side-by-side.
Kimbell: Section Detail
The vaults drawn in section - the light source is located at the apex of each vault.
The result is an even, indrect light that falls down the sides of the vault providing ideal lighting conditions for viewing the art.
Materiality and Texture
Following on from some of the discussion in today's studio, some images to consider about material qualities and different textures that are related to different materials. Think about the work of each of your artists and their process. Think about the characteristics of different materials and the process that is involved in working with that material. Is there a connection to be made between artist/process and material/process?
A 'plastic' material - traces of its process are left in the surface finish...
Nervi: Orvieto Aerodrome
Nervi experimented with the structural actions of the building that resulted in a visceral, textured surface.
Nervi: Palazzo dello Sport, Rome
Plasiticity can lead to moulded geometric arrangements that explain the structural activity of the building
Hadid: Phaeno Science Museum, Wolfsburg, Germany
Hadid uses concrete's plasticity to create a hyper-smooth architecture, 'cool' and 'fast'.
Fujimoto's 'Final Wooden House' uses timber in an elemental, massive sense. Structural and textural characteristics of the material lend an organic, human quality to the space and light entering that space.
ZUMTHOR: SWISS PAVILLION, HANOVER EXPO 2000
Stacked timber used to expore notions of transparency vs. enclosure...
PIANO: KANAK CULTURAL CENTRE, NEW CALEDONIA
Timber doesn't have to be straight...
Kanak Cultural Centre, New Caledonia
RSP Architects: Henderson Waves, Singapore
An aerial walkway through rainforest national park makes incremental use of timber to achieve a fluid result.
RSP: Henderson Waves
Floor plane, wall plane, ceiling plane morphed into one element...
Glass and Steel
Nouvel: Institute of the Arab World, Paris. An active steel shutter wall under a glass skin.
Nouvel: Institue of the Arab World
The shutter system repsonds directly to external light levels and references traditional arab architetural screens.
Nouvel: Institute of the Arab World
The screen generates a mosaic of light on the building's interior.