GASP – STAGE 2 BY ROOM 11

GASP stage two is the penultimate gesture of the Glenorchy Art and Sculpture Park (GASP!) .  It is composed of architecture that responds to  the scale of the surrounding landform. 

 

Blunt forms frame and command the superlative Tasmanian landscape.  Colour and architecture have been used as a vehicle for  re-evaluation and re-appreciation of place. 

The re-forming of the shoreline embraces the expanse of Elwick Bay, the bay becomes integral to the experience, a unity has been created. architects

“Room 11 Architects in collaboration with Megan Baynes designed the long low boardwalk, defined by balusters painted in a cacophony of colours to represent Glenorchy’s diverse community.

The boardwalk comprises three fully accessible lengths totalling some 800 metres, a large barbecue pavilion (the ‘Grove Pavilion’) and a small entry pavilion (the ‘Little John Rivulet Pavilion’) at the northern end.

Sitting just above the high tide level, the boardwalk cuts a consistent datum line through the site. Oblique views reveal the 44 rhythmically composed colours and a striking moiré effect rolling across the structure, matched to the walking or driving speed of whoever views it. The structure is wired for sound.

Spanning the space between landmark trees, the partially enclosed Grove Pavilion offers a place to sit or barbecue out of the wind at the walk’s midway point.

Concrete blade walls clad in ironbark battens form the vertical structure and a very thin, flat, pre-tensioned roof is designed to complete a frame to the river view.

A long timber bench running along the length of the pavilion invites repose, with its ironbark cladding at an ergonomic angle, while a lovely quirk is a large pane of orange glass in the rear wall.

From the road it shifts the river view into sepia. From within, it looks back to a dramatic, amber-toned Glenorchy sitting at the foot of Mount Wellington.” Judith Abell, Architectural Review Asia Pacific.

Location: Glenorchy, Tasmania, Australia

Architect: Room 11

Team Lead Architect: Thomas Bailey

Project Team: Megan Baynes, James Wilson, Aaron Roberts, Ryan Cawthorn, Nathan Crump

Length: 3km

Materials: timber, stainless steel, concrete, glass & paint

Year: 2013

Client: Glenorchy City Council

Photographer: Ben Hosking

IRAN PAVILION EXPO 2015 BY NEW WAVE ARCHITECTURE

New Wave Architecture was designate as one of the eight architectural firms to present its proposal for Iran’s pavilion at Expo Milan 2015. The designers’ vision towards the Persian Garden is inspired by its self-sufficient and compatible identity.

Therefore, the main concept of the project is an abstract deduction of a natural tree organism which is simply sustainable in its essence. Iran’s pavilion should be an alluring depiction of its long-time civilization, art, historical characteristics and cultural events with having close connection with agronomics, food and technology.

Configuration

As an initial step, preserving the Expo’s codes and guides, a legible and impressive character is gradually shaped while the border of the pavilion and its surroundings is faded. Meanwhile, to absorb maximum and efficient sunlight, facets stand obliquely while the hierarchical accessibility and fundamental elements of a Persian garden - natural light, water streams and trees - configure the basis of the design.

A simple cuboid

We start the design by imagining the whole space available as a simple cuboid. While displaying the site and its height restrictions, this plain cuboid indicates the legal boundaries and general proportions for the pavilion design.

Division starts

Identifying the functional requirements for the pavilion, the mass is divided to smaller parts to start the space organization puzzle of the project. Considering functional aspects and space qualities, every divided element is scaled and extended to its appropriate proportion to play an efficient role in the whole space.

Orientation

The scaled elements are oriented and positioned systematically, reflecting the urging visual movement on the basis of the function. While the main axis is broken, spatial organization is preserved and hierarchical accessibility is configured gradually.

Spatial organization

While vertical accessibility facilities are located in different parts of the pavilion, the main circulation and spatial organization of the pavilion differs throughout the day and the night. This means visitors experience various activities and events depending on the time of their visit.

The functional spaces are housed on different levels which are accessible by lifts and stairs. After walking through the arcades and achieving the top floors, an awe-inspiring panoramic view is offered from the Expo’s landscape. According to our scenario, the four main climatic zones of Iran are proposed as the journey destination of the visitors’ in the form of four pavilions.

They confront the compelling challenges, feel the ambient pleasantly and wet their appetite to taste Iranian foods. The stylized lands subtly depict the culture, farming method achievements and innovative organic food production and presented via digital media, three dimensional pictures and installations.

The maintenance areas are housed in ground floor while the first level is allocated to food court .The galleries are considered in the above level to approach panoramic views of surroundings. Ultimately the green roof offers a wide context to night events and gathering spaces.

Location: Milan, Italy 
Architect: New Wave Architecture 
Architect In Charge: Lida Almassian/Shahin Heidari 
Project Team: Zahra Hamedani, Helaleh Alaei, Mohammad Keshavarzi, Fatemeh Dehghani, Soheila Zahedi, Golnaz Baharami, Mona Ramzi, Maryam Shokouhi, Sara Milani Nia 
Year: 2013

ART AND SCIENCE PAVILIONS BY LAB ARCHITECTURE STUDIO

"Located on the West Tai-hu Lake, the design for the 8th Chinese Flower Expo pavilions explores the aesthetics of the relationship between the water and the petal.

Also experiment the tension between the Natural landscape and the iconic culture body. The designs of the two related pavilions (Art Exhibition Pavilion, Science Exhibition Pavilion) draw upon the natural geographical features of the area and use ecological building design principles to improve the relationship between art, architecture, and the environment whilst furthering the Flower Expo building society’s view to promote sustainability and the natural ecology.

To create a performance orientated building as the very primitive intention, both pavilions have a 140 + meter expanse of sweeping, curvilinear forms constructed of tri grid steel members; with more than 8000 control points (5000+ for science pavilion, 3800+ for art pavilion).

An structure in association with highly translucent ETFE weatherproof membrane, shielding the 2-storey exhibition halls underneath, which could reduce the heat gains during mid-noon in summer. The zigzagged in house façade promotes the possibility of passive ventilation in the galleries.

The pavilions, both the Art Exhibition Pavilion and Science Exhibition Pavilion, operate as twinned, but separate sites, following similar formal expressions, but different planning and accommodation arrangements, as befits their different exhibition sequences.

The Art Exhibition Pavilion is more enclosed and intimately focused, with smaller displays and objects for viewing and study. The Science Exhibition Pavilion displays projected films and animations, relying on larger, audience interactive forums and spaces.

Both Pavilions following curvilinear arrangements, with the entering and exiting flow of visitors at the scale of a major expo of primary concern. The monocoque creates an in-between space for people enjoy the surrounding natural scene within the building.

It is responds the simple self-spin gallery profile and beautiful natural landscape to enhance the experience and interactive opportunity during the journey. The planning and configuration for both comes from loops and overlapping ellipses.

This concept includes the indoor, outdoor courtyard and transition space. Both pavilions could trace out a single round pattern as very primitive iconography. And this notion indeed absorb Chinese spacial concept - Architecture is not only inside; nor outside; and never a mono-object.

That is body/mechanism of inclusive outdoor, indoor and in-between. The entire petal-like composition of the project responds visually and tectonically to its environment to create a distinct and powerful sense of place as well as a breathtaking backdrop for the 8th Chinese Flower Expo." Description from the architects.

Location: Wujin, China
Architect: Lab Architecture Studioin collaboration with Chris Yiu-hang Chan & Stephanie Mee-lee Tan
Architect in Charge: Donald L. Bates, Andy Wang, Chris Y. H. Chan, Stephanie M. L. Tan
Project Team: Ryuji Miya, Irene Yang, Ada Ou, Shayne lacy
Local Design institute: Shanghai Sunyat Architecture Design Co.,Ltd

Year: 2013
Photography: Ryuji Miya, Gary