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Design Statement
Our response to the project brief is to propose galleries that enhance the flow of spaces within the existing Art Gallery and Museum and unify the visitor experience. At street level, our proposal welcomes the public by creating a new pedestrian link between Clarence Street and Chester Walk, the journey through inviting informal exhibition opportunities and direct access to a proposed cafe and shop in the adjacent Hugh Casson building. Stairs rise dramatically to link bridges connecting new and existing gallery spaces creating a void that allows for larger art installations. Administration accommodation is moved to occupy a reconfigured number 51. Galleries, adjacent storage rooms and workshops are stacked above the open ground floor, in a thermally massive structure to maximise thermal stability. Natural light is allowed at the ends of each gallery with passive solar shading louvres to control heat gain. These also provide on site power generation by incorporating the latest high concentration photovoltaic cells. Using ground source heat pumps to assist in cooling coupled with the building fabric’s thermal mass, allows the thermal flywheel effect to reduce demand for expensive climate control. Naturally ventilated circulation reduces the requirement for critical temperature control to sensitive galleries, art storage and workshops.
We have proposed to locally source materials from within a maximum 50 mile radius of the site, the majority within 25 miles. Inspired by Arts and Crafts, materials are natural, self-finished and durable so that expensive future maintenance is minimised with detailing describing honestly their construction and assembly.
Cheltenham Art Gallery and Museum
Building for a new future
I just took this picture, check it out.
Don't ever think the reason I'm
Peaceful is because I don't like to Be violent!!
I came in this world screaming and covered in someone else's blood, I don't care going out the same way!! Tymdk™
the first comics arrived! Kuti Kuti from finland sended us a massive package with several issues of their free comic called Kuti. printed as an newspaper it is released quarterly. you can grab one of these beauties at the comicfest!
Yeah, die ersten Comics sind da! kuti kuti haben ein dickes Paket aus finland auf den weg geschickt. ihr auf Zeitungspapier gedrucktes Magazin Kuti erscheint viermal im Jahr.
Photographed in an abandoned children's asylum. I wanted to give you the understanding of framing emotion here and knowing how much emotion will be there, I'm sure my photos will definitely be asking you what happened or wanting to know the story.
Cheltenham Art Gallery Architectural Strategy
The design the new Cheltenham Art Gallery project brings three buildings together in a ‘warm handshake’ providing clear orientation and circulation routes from one to the other whilst celebrating their unique architectural characteristics. We see the project in 2 key stages:
Stage 1
The creation of a strong public route north-south through the 1980’s building from street café to courtyard shop and beyond to the leafy church precinct.
The creation of a strong public route east-west at second floor level between the 19th century building, the 1980’s building and a new building.
MESA-PLATEAU-CLOUDS
The creation of an architectural promenade in the new building rising from entrance foyer through public archives and exhibition spaces (MESA) to educational spaces (PLATEAU) and finally to new temporary gallery spaces at roof level (CLOUDS).
The creation of an architectural expression in a contemporary stone veil ‘peeled back ‘ to exploit surprising views up and down the street.
Stage 2
Removal of the detritus of stairs, etc from the 19th century building to create a stronger and more obvious connection at ground and second floor between this and the 1980’s building.
The addition of a new light weight structure at roof level containing further administration spaces.
In the spirit of Sir Hugh Casson’s original proposals, the addition of a more pronounced projecting bay window to the street and the setting back of the entrance door and screen to give the arch more portal character and entrance status as befits the entrance to a significant cultural institution.
Please vote for me here.
Reminded to submit mine by Irina's fine submission.
I highly recommend you vote for me of course, but there are some good shots out there. Be warned, there are many many nude or partial nude submissions.
Name: Martina
Age: 24
Occupation: Primary School Teacher, Kabale Uganda
Daily Salary: (100,000 UGX/month * 12 months/year) / 365 days/year =
3,290 UGX - when working, currently 0 UGX because of pregnancy leave
Restriction: service
Item: visit to the salon - hair washed, curled and treated
Cost: 8,000 UGX
Notes: Martina been working as teacher for 1 year, but stopped because
of pregnancy. She will stay home and take care of her son until next
school year starts at the end of September. Sam, her husband, doesn't
want her to go back to work just yet because he thinks she needs to stay
home for their son, at least for now. Martina of course wants to take
care of her son but doesn't like the fact that she doesn't have 'her own
money'. She normally makes 100,000 UGX per month, but because she's not
working now she had no income and has to ask Sam for money, which of
course she doesn't like to do.
There are two things she normally does with her hair. She can buy hair
at the market for about 1,500 UGX. Then in the salon they will braid it
for her, wash, treatment etc. this costs around 20,000 UGX but you can
leave it in for 2-3 months. The other thing she does is what she did
now: she gets her own hair washed, culled in and treated. This costs
8,000 UGX but will only last about 3 weeks.
URBAN TAPESTRY
A façade changing infinitely
The skin
A facade influenced by the Morris’s textile.
For the new part of the Cheltenham Art Gallery & Museum in Wiliam Morris’s birthplace, we propose a special and specific façade influenced by Morris’s textile which has patterns based on the organic, sinuous forms of nature.
Along Clarence Street the façade has been designed like an ever-changing
canvas. A huge undulating fabric will be visually penetrated by trees standing in a veiled garden. It seems as if pixilated tapestry is hanging on this historical street. The patterns or pixels will change day by day throughout seasons. In addition, as the façade has gentle undulations on the vertical surface, its appearance will be transformed gently, as the transparency and quantity of traversing light will infinitely change. This veil will create a certain intimacy, but also provide an insight into the exhibition spaces.
Its Materialization:
This huge tapestry of “weaved” bricks, will be made from kitchen garbage, clay and thinned wood. It is one of the sustainable and future oriented materials as it is made by transforming waste into a building construction material. Those bricks would be manufactured as a one self-supporting façade element.
We strongly believe that eco-friendly materials and sensitive beauty could be and should be co-existing.
Compared with the 20th century museum which clearly separate the exhibition rooms and collection storage, our proposal is to make the collection storage visible in order to share and enhance the intellectual property (=the collections).
The visible storage located on ground floor level, provides a front-to-back access. For the public the entrance will be on Clarence Street through to Chester Walk. The artwork will be presented in movable glass cases in order to easily rearrange the exhibition.
The open archive spaces situated above the visible storage will be perceived as suspended or floating rooms. Curators will access the open archive without crossing the public circulation.
The temporary gallery, situated 2nd and 3rd floor, provides a maximum of flexiblity for future various use, as it has a 4m ceiling height. It is directly and generously connected to the current Arts and Crafts movement gallery space.
Peter McKinnon has been hosting a photo assignment challenge while we're in quarantine, so I thought I'd participate. Week 3's theme is RED, so of course I busted out the fake blood from Halloween. What do you guys think?
Showy Tickseed made a nice blooming display at the Madison Avenue
Wildflower site in the spring months. This wildflower species was
part of a Roadside Mix that was planted this past fall.
April 10, 2015
Photo by Julie Johanboeke
Fotografía: Rai Robledo
Modelo: Patricia Moreno
Estilismo: Lucía Muñoz y Patricia Moreno
Más fotos en El blog
Twitter: twitter.com/RaiRobledo
Si quieres contratarme para hacerte un book, un reportaje fotográfico, cubrir un evento, hacerme una entrevista o cualquier otra consulta, envía un mail a: fotoraiworld@gmail.com y me pondré en contacto contigo en el plazo de un día.
Call for poetry submissions. Would you like to be one of the lucky few that is published to be seen by a global audience? Poets , writers , artists and photographers are all most welcome.We would love to run contests in the future for young minds and give great publishing opportunities.If you are of any age you are welcome to submit even on your child's behalf to:eleanor@poetryspace.co.uk No deadlines, no fees and open to all.
FORT CARSON, Colo. – Sgt. Jeffrey Desalla, instructor with the Fort Carson Modern Army Combatives Program Fight House forces fellow instructorStaff Sgt. David Sansolis to submit during a sparing match at the Fort Carson Fight House, Feb. 1, 2012. Units interested in using the fight house during physical training hours should contact the Fight House director at stephen.h.martin2.mil@mail.mil. The fight house instructors also conduct MAC Levels 1 and 2 classes regularly. Soldiers interested in formal Combatives training should contact their company training NCOs.(U.S. Army photo by Pfc. Andrew Ingram, 4th Inf. Div. PAO)
Summary
Our Design for the development of the Cheltenham Gallery is based on 4 key principles:
1)To restore clarity to the plan whilst maximising the interrelationship between the new and existing gallery spaces. This was particularly important in forging a clear spatial relationship between the new building and the key historic spaces of the tower and first floor gallery around it’s central lightwell. The resultant plan is one of two clear axis around a generous central circulation zone. The proposed layout also clearly relates to that of the library, allowing easy integration at a later date.
2)To create a clear visual link through the Gallery building to Chester Walk and the public library beyond.
3)To create an active street level with a clear wide entrance to the gallery as well as a café and shop which could operate independently to the gallery facility. It was considered essential that the Café should reflect the scale of the surrounding regency shopfronts, and the decision to retain the building at 53 Clarence Street was made on this basis. The existing tower is also proposed to be opened up and re-levelled to the street to provide the shop at street level.
4)To create a clear beacon with lit signage at roof level.
The brief was certainly an ambitious one in terms of spatial requirements, though efficiency dictated that major new gallery and concentrated office spaces should be stacked in a single volume. Whilst a basement was considered necessary, it was important that it received natural light.
It was considered that the 1989 building is not visually impervious enough for the status of the gallery and as demanded by the brief. It is proposed to strip the building back to its bones and adapt it to form the key transparent circulation axis of the redeveloped gallery. This circulation space is open enough at ground level to serve as an important community gallery and interface.
The essential control of light levels to the gallery spaces was dictated in accordance with a clear logic. It was considered important to restore the window openings to the historic gallery spaces, and that suitable permanent collection galleries would be housed in these light controlled rooms. The new galleries with double height ceilings and the basement educational areas are all lit from a central courtyard to allow for the careful control of indirect light as desired. The transparency of the central axis at ground level was considered essential to produce a permeable plan, though the upper level central galleries also contain no openings except onto the courtyard lightwell. This centralised control of light also helps to create an economical and thermally efficient building envelope. The desire to provide significant concentrated office space and the desire to take advantage of views of the surrounding townscape dictated that a glowing glass box of office space be located at roof level with an external terrace area to the street.
The cladding of the new building would be a simple palette of glass and grey Welsh slate slabs. Slate is the predominant natural roofing material of regency Cheltenham and the existing gallery building. The resultant design is a bold composition of solid and transparent volumes that restores the dignity of the ornate Victorian Gallery building, yet relates closely in scale to its regency neighbours. From a distance the glazed top office floor of the building will glow along with backlit signage it supports, making its prominence felt locally.
Our proposal is for an open welcoming design - one that encourages visitors to linger, to feel inspired, to get involved, and to feel comfortable. This gallery and museum will be a place to enjoy.
It is the function of museums and galleries to collect, to order, to display, and to inspire. How do you organise history and memories? We have approached this question by examining the way the Cheltenham gallery itself has evolved. We have also taken inspiration from Sir John Soane’s Museum in London, from the work of Dada artist Kurt Schwitters, in particular his Merzbau, from Brancussi’s studio in Paris and from early Victorian Museums. They all embrace vitality and complexity and celebrate the contribution of individual collectors and artists.
Our organizing theme reflects this complexity by layering, juxtaposing and intertwining elements of the building. The new facade evokes an image of museum display cabinets stacked over time - layered like geological strata and overlaid with a collage of information, display and signage. Existing buildings are included as objects on display. The interior will also follow this theme.
The articulation of the new building, which includes intense low relief modeling, strong horizontal layering, verticals and celebration of such key elements as the entry projection and the stair hall tower, is also inspired by the original 1889 building. The design is respectful of its place in the historic streetscape while making a confident statement for the 21st. century.
The design allows for the integration of the various components of the gallery and museum into a functional whole achieved over a number of stages. The plan is organized around a new lift and stair hall: a clear central orientation space that connects all levels. Relocating the vertical circulation here allows for later re-organization of the plan around the current stair and lift and the opening up of a strong connection to the galleries on the second and later the ground floor. The new Temporary Exhibitions Gallery is located on the second floor, with the other main galleries, allowing for greater operational flexibility and encouraging visitors into the heart of the gallery.
Environmentally sustainable design principles are integral to the building design.
Our design is about process and growth. It is eclectic in nature, adaptable and inclusive.
CHELTENHAM ART GALLERY & MUSEUM
Building for a new future
Description
“HOLISTIC SOLUTION”
Cheltenham Art Gallery & Museum has an opportunity to find a holistic solution for its future, to unify its several parts into one coherent museum. This task has to be considered in the context of the existing buildings and their collective use. The new extension needs to do more than just fill a gap between buildings - it is the chance to produce a building for a new future!
“WHITE CUBE“
or how to combine increased public presence and sensitive insertion
The façade appears as a neutral white canvas made of translucent glass, which discreetly integrates it in its surroundings. This visually-smooth screen exhibits a play of light by day and night and can also be used for projections. The expanded foyer serves as a venue for openings, concerts and temporary exhibitions and provides front-to-back access to Chester Walk. The independently operated pavement café serves events which are held in the foyer. Its façade can be opened to the street.
“ROOM SEQUENCE MEETS OPEN SPACE”
or how to strengthen the exhibition concepts
The sequential layout of rooms in the historic part, which is adequate for the permanent exhibition, will be simplified by opening up unused rooms and by positioning openings between spaces in corners. An open flexible space is provided for temporary spaces. In order to offer as much space as possible, the 1989 extension and the new exhibition space can be combined. Offices are pooled together in No.51 as this building offers the most suitable layout for offices. Artists´ studios are accommodated on its ground floor.
"THE BELT"
or how to enhance public circulation
The visible, open and representative circulation belt is logically located at the museums` centre. The sculptural main stairs spirals upwards into the two-storey foyer and forms the connection between old and new.
“THE PASSAGE”
or how to use the advantageous site conditions
The gap between high-quality existing buildings will be closed and their façade and floor lines will be adopted. The façade and main entrance of the 1989 extension will be retained. The museum’s foyer provides a front-to-back passage from Clarence Street to Chester Walk, to enhance access to the library and the gardens around St Mary’s Church. Delivery can be undertaken from both sides.
“SIMPLE AND COMPACT”
or how to find an environmentally solution within the budget
The compactness of the building achieves a good balance between volume and surface area. An economic construction of reinforced concrete is recommended. Only recyclable and approved materials are proposed, in order to save building and operating costs. Mechanical plant rooms can be accommodated on the roof.