Add To Collection
Add to Collection
Gallery for Contemporary Art
Gallery for Contemporary Art
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
Gallery for Contemporary Art
Fabricating strata, gallery for contemporary art, uses a number of simple concepts to determine a boundary condition for the project. The first of these being found through the study of historic maps, which identifies the footprint of two preexisting buildings located on the site. These footprints become the outline of the two gallery spaces located within the building. The first, an adaptable space where numerous spatial configurations can be created with the use of temporary walling, making it best suited for use in hung works such as photography, painting and so on. The second of these spaces, being more prescribed, for use in displaying large and small-scale sculptural works.
The second concept implemented in the building is the treatment of the site as a palimpsest and the buildings the scripture. Essentially the building aims to add a new layer of history to the site much like the layers of history that are observed in the brickwork built up in layers around the site. This layering effect is achieved by the choice of Caithness slab used to build up the main gallery walls in a series a lamella. The saw tooth roof also adds to this effect where it overhangs the main structural walls drawing attention to it as a further layer upon the site.
The walls, which sit upon these outlines, are treated, as such, to create a strong presence within the overall structure of the gallery, thus making clear their significance within the project. Rather than try to recreate the past buildings in terms of materiality the decision was taken to build up these walls using Caithness slab, achieving the desired weight and thickness whilst emphasising the horizontality of the site. In order to emphasise the weight and thickness of the walls and allow the gallery visitor to enjoy this contrast created in building materials a number of techniques are employed. Between the two gallery spaces an interstitial space is created of glass and corten steel adding an inherent contrast in weight of material and emphasising the transitional moment from one gallery space to another. This contrast in material also takes place at the gallery entrance space, where a buffer space is created, once again of corten steel and glass, setting up the idea for the user of the transitional moment as they pass from one space to the next.
Within the buffer space and the interstitial space, thick walls from the main structure are pulled back, creating an intermediate panel, which serves to break up the spaces whilst keeping the building as one unified area. By pulling these walls back from the main footprint of the gallery space, the user is able to explore and enjoy the thickness and weight of the walls that create the gallery spaces. In addition, at each of these transitional points, the intermediate wall intersects the wall of corten steel and glass making the contrast externally evident. From a functional point of view, these walls also inform the visitor of the program within the gallery space they are about to enter.
The buffer space and the interstitial space also serve a second function. As the user passes through these spaces, with a lowered roof and a smaller internal footprint, they experience a sense of compression as they are channelled around the intermediate walls resulting in a sense of release as the user leaves the transition space and enters the gallery drawing attention to the great size of the gallery spaces.
Once the visitor reaches the sculpture gallery, they find themselves within a four-story height pyramidal shaped space. This pyramidal structure, situated at the end of the building is located at busy junction point making the structure visible from many directions and a great distance, thus establishing is as a beacon for the project. The pyramidal form also lends itself perfectly for the display for large sculptural works, providing adequate space and even lighting. Looking to the first gallery space and the saw tooth configuration that covers it, the pyramid compliments the form of this roof line establishing a common language between gallery spaces, clearly defining it from that of the interstitial space and buffer area.
Once the user has experienced the gallery spaces and is returning to the point of entry/exit, the visitor is given the option to travel up an external ramp cantilevering over the Water of Leith. Being on the outside of the building, the user passes through the thickness of the gallery walls onto this lighter structure again creating a moment here the user experiences the thickness of these gallery walls. Ultimately, this ramp provides the visitor with the opportunity for a moment of reflection on what they have seen inside the gallery while also creating a point where they can interact with the river and its immediate surroundings.
The second concept implemented in the building is the treatment of the site as a palimpsest and the buildings the scripture. Essentially the building aims to add a new layer of history to the site much like the layers of history that are observed in the brickwork built up in layers around the site. This layering effect is achieved by the choice of Caithness slab used to build up the main gallery walls in a series a lamella. The saw tooth roof also adds to this effect where it overhangs the main structural walls drawing attention to it as a further layer upon the site.
The walls, which sit upon these outlines, are treated, as such, to create a strong presence within the overall structure of the gallery, thus making clear their significance within the project. Rather than try to recreate the past buildings in terms of materiality the decision was taken to build up these walls using Caithness slab, achieving the desired weight and thickness whilst emphasising the horizontality of the site. In order to emphasise the weight and thickness of the walls and allow the gallery visitor to enjoy this contrast created in building materials a number of techniques are employed. Between the two gallery spaces an interstitial space is created of glass and corten steel adding an inherent contrast in weight of material and emphasising the transitional moment from one gallery space to another. This contrast in material also takes place at the gallery entrance space, where a buffer space is created, once again of corten steel and glass, setting up the idea for the user of the transitional moment as they pass from one space to the next.
Within the buffer space and the interstitial space, thick walls from the main structure are pulled back, creating an intermediate panel, which serves to break up the spaces whilst keeping the building as one unified area. By pulling these walls back from the main footprint of the gallery space, the user is able to explore and enjoy the thickness and weight of the walls that create the gallery spaces. In addition, at each of these transitional points, the intermediate wall intersects the wall of corten steel and glass making the contrast externally evident. From a functional point of view, these walls also inform the visitor of the program within the gallery space they are about to enter.
The buffer space and the interstitial space also serve a second function. As the user passes through these spaces, with a lowered roof and a smaller internal footprint, they experience a sense of compression as they are channelled around the intermediate walls resulting in a sense of release as the user leaves the transition space and enters the gallery drawing attention to the great size of the gallery spaces.
Once the visitor reaches the sculpture gallery, they find themselves within a four-story height pyramidal shaped space. This pyramidal structure, situated at the end of the building is located at busy junction point making the structure visible from many directions and a great distance, thus establishing is as a beacon for the project. The pyramidal form also lends itself perfectly for the display for large sculptural works, providing adequate space and even lighting. Looking to the first gallery space and the saw tooth configuration that covers it, the pyramid compliments the form of this roof line establishing a common language between gallery spaces, clearly defining it from that of the interstitial space and buffer area.
Once the user has experienced the gallery spaces and is returning to the point of entry/exit, the visitor is given the option to travel up an external ramp cantilevering over the Water of Leith. Being on the outside of the building, the user passes through the thickness of the gallery walls onto this lighter structure again creating a moment here the user experiences the thickness of these gallery walls. Ultimately, this ramp provides the visitor with the opportunity for a moment of reflection on what they have seen inside the gallery while also creating a point where they can interact with the river and its immediate surroundings.
Product Spec Sheet
Were your products used?
Join as a manufacturer to add your products.