For this architectural competition, a completely new form of exhibit space is proposed. The organic forms, generated by computer technology, create a unique spatial dynamic inside the museum. This gives a strength to the galleries which responds to the challenges of contemporary art. The current trends of contemporary art are not classifiable within the conventional framework of paintings, sculptures, etc..
Contemporary art is often characterized by its "site specific" nature. For instance, a "site installation" art work is only meaningful within a specific spatial context. Conventional art works are framed and travel to many different galleries. The modern museum tried to respond to this by preparing infinite and flexible gallery spaces. There, the gallery walls are moveable to be adaptable to various types of art works and the space itself is kept as neutral as possible. These characteristics of modern art museums define "2nd generation" museums: "2nd generation" as compared to a "1st generation" museum, of which the Louvre is an excellent example.
By contrast to these predecessors, the site specific art pieces will not move. They may disappear in a short period. New media, computer, and video, are often used for such art. These trends necessitate a fundamental change in the design of exhibit spaces. Rather than a flexible and neutral space, a definitive space, which might inspire the artists, might be desirable. A gallery which possesses such a spatial nature might well be called a :3nd generation" museum.
The redevelopment program of the National Gallery consists of mainly two parts: the remodeling of the existing structure and the extension of gallery spaces and relevant facilities to the present Grimwade Garden, just behind the National Gallery. The extension itself mainly consists of the creation of temporary exhibition spaces and media art galleries, eventually doubling the total floor area. The National Gallery has a comprehensive collection of European paintings from the Renaissance, Indian and Chinese antiquities, Japanese art, etc. However, the greater portion, of course, consists of 20th century Australian paintings. This illustrates the most important issue in the redevelopment program, the enhancement of the contemporary art galleries. Our scheme reorganizes the existing structure and optimizes it as 1st and 2nd generation museums. The new structure is dedicated to the creation of the 3rd generation museum.
Our extension is comprised of organic forms, created by series of curved surfaces. The entire composition is a combination of three different objects. The temporary exhibition galleries are housed in one of these organic objects, consisting of six fragments of curved walls. The other two pot-like objects accommodate a multi-purpose hall and a small theater. These two pot-like objects are linked together by another series of curved walls. Between these organic objects and the existing rectangular structure, with its rather classic composition of square courtyards, a great glass roof spans overhead and houses a foyer/lobby space inside. This foyer space function as an indoor sculpture garden.
The curved wall of the temporary galleries are developed from our previous experience of clothoid geometry in the design of the Nara Convention Hall (1992-) and the Interactive Museum about Humans, La Coruna (1995). The entire object consists of a set of fragments of curved walls. each fragment is twisted and thus the fluid nature of the space is emphasized. The fragments intersect sharply and the resulting gap allows natural light to filter inside. The skylight system is created by following the profile of sine curves of different frequencies. This roof system was used in the design of The Center of Japanese Art and Technology, Krakow (1994). The entire shell encloses a rectangular floor of 2,000 square meters and has a minimum, ceiling height of 7.2 meters. the Great Hall is a multi-purpose hall, adaptable for various functions, with a capacity of 800 persons. The interior of this Great Hall resembles a huge conch shell. the skylight above fills it with natural light. The other pot-like object is a small theater, with a seating capacity of 250.
Mathematically, these organic forms are all defined by "nurbs" (non-uniform rational b-spline). This 3-dimensional computer modeling method was developed by de Casteljau and Bezier during the 70's and currently considered as the most useful means of manipulating curved surfaces by computer. This surface is transformable and editable by computer. The complex entity of a curved surface is mathematically defined in one unique formula. This fact guarantees the communicability of a drawing and eventually assures its construction. The surfaces and curves can be manipulated in computer almost as easily as cubes and spheres. this results in a practical change in design process: Firstly 3D-models are created, then the model is sliced by horizontal and vertical planes to obtain referential lines for floor plans and sections. By the system, the adaptability of architectural programs and internal organizations are simulated.
This entire process can be conceived as and evolution of architectural geometry. The existing structure of National Gallery, he continued working on the design of the State Theater and the Concert Hall on the adjacent site. These public buildings were completed the the mid-70's. The rectangular National Gallery, the elliptical State Theater, and the circular Concert Hall stand on a platform of locally produced bluestone. Together they form Melbourne's cultural center.
Our National Gallery proposal is located within this contest of geometries. Advanced computer technologies are utilized to create a new geometric form, a form which responds to the current direction of contemporary art.
Melbourne, Australia　September 1996
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