Precedence towards art galleries
1. Tom Kundig hoists California gallery façade using gears and pulleys
A wall of windows winches up and down to reveal the interior of this gallery renovation in Los Altos, California, by Seattle architect Tom Kundig (+ slideshow).
Kundig, the principal designer at Olson Kundig Architects, added the new mechanical facade to a vacant 1950s building at the heart of the Silicon Valley community, creating a temporary gallery space able to reveal its contents to the neighbourhood.
The five-metre-high grid of windows is hooked up to a system of gears, pulleys and counterweights. To set them into motion, a pedal must be engaged to unlock the safety mechanism, before a hand wheel can be rotated to begin lifting or lowering the façade.
Key Design Parts:
Temporary Gallery
Steel and Glass Construction
Uses gears and pulleys in a retractable front glass wall
Designed to 'invite' public in
Sky lights to invite more light into the building
http://www.dezeen.com/2014/03/20/tom-kundig-242-state-street-gallery-california/
Kundig, the principal designer at Olson Kundig Architects, added the new mechanical facade to a vacant 1950s building at the heart of the Silicon Valley community, creating a temporary gallery space able to reveal its contents to the neighbourhood.
The five-metre-high grid of windows is hooked up to a system of gears, pulleys and counterweights. To set them into motion, a pedal must be engaged to unlock the safety mechanism, before a hand wheel can be rotated to begin lifting or lowering the façade.
Key Design Parts:
Temporary Gallery
Steel and Glass Construction
Uses gears and pulleys in a retractable front glass wall
Designed to 'invite' public in
Sky lights to invite more light into the building
http://www.dezeen.com/2014/03/20/tom-kundig-242-state-street-gallery-california/
A triple-height gallery housing a collection of prized paintings is concealed behind the wooden shingle facade of this house in Stuttgart by German architecture studio (se)arch (photos by Zooey Braun + slideshow).
Located to the south of the city, the gabled four-storey Haus B19 was designed by (se)arch as the home for a family of five, but the architects were also asked to include a gallery where the occupants could present a collection of artworks by "old masters".
The lofty gallery is positioned on the northern side of the building and is separated from living areas by a bulky concrete core that contains small rooms, utility areas and the main staircase.
Key Features:
Live/Work space
Galleries in a house
Different ceiling heights to represent different areas in the house
Central Kitchen and staircases to give two separate areas either side
http://www.dezeen.com/2014/01/14/haus-b19-stuttgart-house-shingle-walls-search/
The lofty gallery is positioned on the northern side of the building and is separated from living areas by a bulky concrete core that contains small rooms, utility areas and the main staircase.
Key Features:
Live/Work space
Galleries in a house
Different ceiling heights to represent different areas in the house
Central Kitchen and staircases to give two separate areas either side
http://www.dezeen.com/2014/01/14/haus-b19-stuttgart-house-shingle-walls-search/
The Sainsbury Centre for Visual Arts.
Norman Foster..........
Sir Robert and Lady Sainsbury sought to establish the Sainsbury Centre as an academic and social focus within the campus. The Sainsburys shared a belief that the study of art should be an informal, pleasurable experience, not bound by the traditional enclosure of object and viewer. As a result the Sainsbury Centre is much more than a conventional gallery, where the emphasis is on art in isolation. Instead, it integrates a number of related activities within a single, light-filled space.
Full-height windows at each end open the space up to the surrounding landscape, while louvres line the interior to provide a highly flexible system for the control of natural and artificial light. Large enough to display the Sainsburys' extraordinary collection, yet designed to be intimate and inviting, the main gallery - or 'living area' - evokes the spirit of the collection's originally domestic setting.
Key Design Parts:
Large glass windows - open the space up
Louvers to control the light in the space - more light mania - less light depressive
large gallery space
Underground area - storage
Sir Robert and Lady Sainsbury sought to establish the Sainsbury Centre as an academic and social focus within the campus. The Sainsburys shared a belief that the study of art should be an informal, pleasurable experience, not bound by the traditional enclosure of object and viewer. As a result the Sainsbury Centre is much more than a conventional gallery, where the emphasis is on art in isolation. Instead, it integrates a number of related activities within a single, light-filled space.
Full-height windows at each end open the space up to the surrounding landscape, while louvres line the interior to provide a highly flexible system for the control of natural and artificial light. Large enough to display the Sainsburys' extraordinary collection, yet designed to be intimate and inviting, the main gallery - or 'living area' - evokes the spirit of the collection's originally domestic setting.
Key Design Parts:
Large glass windows - open the space up
Louvers to control the light in the space - more light mania - less light depressive
large gallery space
Underground area - storage
Goetz Gallery, Munich
The Goetz Gallery by Herzog and de Meuron is a gallery split into separate parts, which is quite similar to my design idea. They have two floors of gallery space with on entrance at ground level. From here you either choose to go up or down to the respective galleries. But there is another part, there is an office area for private use on the ground floor.
Key design features:
Above ground and below ground galleries
Separate private and public spaces
Key design features:
Above ground and below ground galleries
Separate private and public spaces