BENV 1080 - Comparison Study

7/30/2019 BENV 1080 - Comparison Study

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ASSIGNMENTThe National Portrait Gallery , Ca

Hilton Hotel , Sydney

BENV1080

ENABLING SKILLS AND RESE

z3352973

Kainaaz Farhad Variava

[email protected]


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C

ONT

ENT

SPART ONE

National Portrait Gallery

Keywords

Site and Design

Hilton

Keywords

Sensuality and Design

PART TWO

National Portrait Gallery

1. Site

2. Design

Hilton

3. Sensuality

4. Design

3-10

3

5

6

7

9

10

Endnotes

Image Credits

22

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PART ONE

NATIONAL P RTRAIT GALLERY

Fig 1 : The main entrance exterior of National Portrait Gallery.


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There are three forms of visual art:Painting is art to look at, sculpture is artyou can walk around, and architecture isart you can walk through 1 Dan Rice-


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KEYWORDS

ARCHITECTS INFERREDHeritageEgaliatarianBuilding CharacterHonesty and StraightforwardEnagement with PeopleResponse to surroundingBuilding InspirationClimate AjustabilityContemporary Relevance

CultureSiteDesignSpaceMaterialsAnalogia

Fig 2 : Gallery Space Fig 3 : Entrance Hall


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SITE DESIG

The National Portrait Gallery is sited in the

Parliamentary Triangle.It responds to its site by

connecting key vistas , levels and alignments

around the precint.It has followed Grifns plan

with Five Fingers of Space which is arranged

perpendicular to the Land Axis and the Gold-en Section creating a harmonious arrange-

ment in correspondence to the surrounding.

The design of the building is built to crea

rich experience for visitors and adding a v

of spaces to galleries and visitor facilities

are unique to Canberra.It also connec

both the visitors and passer-bys with bu

and landscape.The main design is inspirVitruvian notion of proportion of build

be corresponding to that of a person.

Fig 4 : North Elevation of the building Fig 5 : Section Elevation of the building


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HILTON HOTEL

Fig 6 : With the Solid Podium Fig 7 : Construction Phase Fig 8 : Podium replaced with open facade


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All architecture is shelter, all greatarchitecture is the design of space thatcontains, cuddles, exalts, or stimulates thepersons in that space. 2 Philip Johnson-


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KEYWORDS

ARCHITE

CTS

INFERREDComplex for clear ideas

Tight site analysisLocation ImportancePodium Facade

Marble BarRe - construction of Rooms.Structure for RestaurantsGlass StructureOval Columns

Site analysisPodium reconstructionDesign of glass structureRe-design for space and sensua

Transition of public through the

Fig 9 : New Glass Covered Space Fig 10 : Transformation Phase Fig 10 : Original Structure


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SENSUAL

ITY

The re - development has created a sequence of dramatic , sunlled civic

scale public spaces that re-establishes the original romantic shopping

street - The Royal Arcade.The rich mix and natural syndery between

used to create an active , vibrant , public ground oor too.The spaces

create a sensual expierence for both visual and sense of surrounding

for occupants and passer- bys.

Fig 11 : The coloured , are the spaces created in place of podium

Design has emerged fr

constraints and opportunities

site and existing building.It has

about open site to view , sunli

and ventilation .Also provide

strong linkage to civic heart of

city and creating new public spa

approporiate to the precint.

Fig 12 : Front glass cladded faca


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PART TWO


1. Site2. Design

HILTON HOTEL

3. Sensuality

4. Design

Fig 13 : The ofcial arrival court .

Fig 14 : The structure on the whole.


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The mother art is architecture. Without anarchitecture of our own we have no soul ofour own civilization 3 Frank Lloyd Wright-



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1 . SITE

The building is in the Canberra

Parliamentry Triangle site.It

responds to site by using the

buildings geometry to connect

with key vistas and alignments

around the precint. The build-

ing is embedded into the land-

scape so as not to not tower

block the Questacon buildingand National Library of Aus-

tralia .This gives the visitors the

ability to see through the build-

ing to the open transparents

landscape and even surround-

ing trees shade the building

Fig 15 : Site Analysis in corresponse to surrounding - Golden Section



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Fig 16 : Grifn Plan Fig 17 : Five Fingers Space

The building is a series of ve bays , each more than 70m long , are arranged perpendicular to the land axis referring to Wa

Grifns early conecepts for National Capital. The building sitting in the landscape and relationship to its neighbours , its exte

, the internal spaces and individual components and details are all based on the Golden Section. It joins the High Court as tas the dening Arts and Civic Campus.The 45 degrees angles of the High Court intersect with its own 90 and 180 degrees g

informs the shared landscape deisgn.


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2 . DESIGN

Fig 18 : Detailing of the ceiling structure

Fig 19 : External Night Light

The desig is inspired by notion

that the proportion of abuilding should correspond

to that of a person.It has

a harmonious relationship

between the visitor , space

, material , light and art.

The spaces are dened by

concrete walls , and each

space enjoys natural light

from translucent glazedclerestory windows , reducing

need for articial lighting.

The detailing of crafting and

materials , both natural and

manufactured have made

the character of building

bold and intimate.

The detailing of crafting and

materials , both natural andmanufactured have made

the character of building

bold and intimate. The

circulation gallery ceilings

are made from Spotted

Gum half round rods xed

to a simple suspended

steel frame.This motif is

through out the building,providing a consistent grain

and proportion. There are

glazed walls at either end for

opportunities to observe the

landscape to west or east.

The spaces pace the visitor

experience and provide rest

and access points.


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Architecture is the will of an epochtranslated into space.4 Ludwig Mies vander Rohe

-


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HILTON HOTEL3. Sensuality

The experience provided in this structure is amemorable one with its latest technologies

of light including the natural sunlighe space.

ht and ventilationopening.The tall sunfulled

lobby is centralized in the heart of the site and

incorporates the porte oochere , circulation

stairs , escalators and bridges which focus

on the theatre of people moving through.

Limestone lobby oors and walls create feelings

of space and light; while extensive use oftimber combined with plush fabrics provide a

luxurious feel.The strength of the scheme resides

in its urbanism in the driveway/courtyard/

foyer sequence, and in the remaking of Pitt

and George Streets with new street walls and

activities that are robust, elegant, almost

seamless extensions of the urban scene

Fig 20 : Olivers coiling spiral design


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HILTON HOTEL4. Design

There is a clear identication of the functional

parts of the development ( ex . Hotel , Public

, Private , Commercial n Car park).It has

maximised the use of being in a prime location

and being able to look from inside the building

outside .Keeping the building alive is the

movement and experience given to the visitors

and passer bys from in , out and through the

building.It has created a whole new public

space and still contains its contemporary

architecture in sympathy to its scale , texture

and matrials of the precint.Adds an abundance

of space, natural light and capacity to the

existing structure and was developed in

sympathy with the grain, texture, scale and

materials of the Town Hall and Queen Victoria

Building heritage precinct. Details of Plan and

section are as shown in next page.

Fig 21 : Glass tting and the View of Queen Victoria Bu


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Fig 22 : Ground Floor Plan


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Fig 23 : Section of the building


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Architecture is a social act and the material

theater of human activity. 5 -Spiro Kostof


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1. Dan Rice , accessed on 20 april 2011 from : http://www.globaldesignworkshop.

com .

2. Philip Johnson , accessed on 20 april 2011 from : http://www.globaldesignwork-

shop.com .

3. Frank lloyd Wright , accessed on 20 april 2011 from : http://www.globaldesign-

workshop.com .

4. Ludwig Mies Van Der Rohe , accessed on 20 april 2011 from : http://www.

globaldesignworkshop.com .

5.Spiro Kostoff , accessed on 20 april 2011 from : http://www.globaldesignwork-

shop.com .

6. Paul Van Ratingen , Hilton (JPW , Sydney , 2011 )

7.Graeme Dix , National Portrait Gallery (JPW , Sydney , 2011 )

8.Paul Van Ratingen , Hilton , presentation, JPW ofce , May 3, 2011, MP3,

47:46.

9. Graeme Dix , National Portrait Gallery JPW ofce , May 3, 2011, MP3, 39:40.

ENDNOTES


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IMAGE CREDITS1. Johnson Pilton Walker, NPG Competition Perspective Entry (Sydney: Johnson

Pilton Walker, 2011), jpeg

2.Johnson Pilton Walker, NPG Competition Perspective Entry (Sydney: Johnson






5. Brett Boardman, Brettboardman_Circulation Gallery 2 (Sydney: Johnson Pilton

Walker, 2011), jpeg

6.Brett Boardman, Brettboardman_Circulation Gallery 2 (Sydney: Johnson Pilton

Walker, 2011), jpeg


Walker, 2011), jpeg


Walker, 2011), jpeg


Walker, 2011), jpeg

10. Brett Boardman, Brettboardman_Circulation Gallery 2 (Sydney: Johnson Pil-

ton Walker, 2011), jpeg

11. 1. Johnson Pilton Walker, NPG Competition Perspective Entry (Sy








15. Johnson Pilton Walker, NPG Competition Perspective Entry (Syd



Pilton Walker, 2011), jpg



18.Brett Boardman, Brettboardman_Circulation Gallery 2 (Sydney:

Walker, 2011), jpeg

19. Brett Boardman, Brettboardman_Circulation Gallery 2 (Sydney

Walker, 2011), jpeg

20. Brett Boardman, Brettboardman_Circulation Gallery 2 (Sydney

ton Walker, 2011), jpeg

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