Overview
Glenn Murcutt’s 2019 studio stream saw students design a regional art gallery to revitalise Sofala, a historic gold mining town located between Bathurst and Mudgee.
There our cohort studied the site, camping outside where we intended to build. We were immersed in the natural conditions of the place, experiencing sub zero temperatures, beautiful morning fog, and nights huddled around the warmth of a shared fire.
My site analysis and initial design conception ocurred on-site, combining freehand fineliner sketching and film photography with a 1990s Panorama Wide Pic camera.
My site analysis and initial design conception ocurred on-site, combining freehand fineliner sketching and film photography with a 1990s Panorama Wide Pic camera.
Master Planning
My design sought to mediate a relationship between the town, visiting artists-in-residence, gallery attendants, and the flooding cycle of the river.
The planning strategy involved extending the
town westward, reusing the old bridge,
providing spaces for town recreation
(including fishing and child play), and inviting
the artist in residence into the community
while providing them with a monastic, almost
aescetic experience.
These requirements prompted a series of buildings that reduce in size as they approach the town and do not impose on the town through their form.
The return of the bridge to its prominent position over river is an affirmation of Sofala’s heritage and character, as it was destroyed many years ago in a rare flooding event. Its reconstruction in a manner that can resist flood allows the natural flooding cycle and the township to coexist into the future.
These requirements prompted a series of buildings that reduce in size as they approach the town and do not impose on the town through their form.
The return of the bridge to its prominent position over river is an affirmation of Sofala’s heritage and character, as it was destroyed many years ago in a rare flooding event. Its reconstruction in a manner that can resist flood allows the natural flooding cycle and the township to coexist into the future.
Material Logic
Earthen mass construction sits in tension with lightly suspended textile artwork. A focus on facilitating sculpture and textiles supports art from cultures foreign and local, contemporary and ancient.
Murcutt’s goal of “touching the ground lightly” was the basis of my construction system, which aimed to use adobe brick from the site in balance with lightweight timber framing.
My process of free, explorative sketching iteratively evolved this aim in support of the space planning process. I used steel fins embedded in an adobe brick mass, which in turn supported a Cross-Laminated Timber (CLT) structure. This was reinforced in bays using steel cross-tensioning cables.
This system creates naturally darkened space for complete light control, bays that can display large-format tapestry work, and the ability to obscure and reveal with screens and fabrics.
My process of free, explorative sketching iteratively evolved this aim in support of the space planning process. I used steel fins embedded in an adobe brick mass, which in turn supported a Cross-Laminated Timber (CLT) structure. This was reinforced in bays using steel cross-tensioning cables.
This system creates naturally darkened space for complete light control, bays that can display large-format tapestry work, and the ability to obscure and reveal with screens and fabrics.
spatial planning
The program called for the construction of a gallery, studio, and artist’s residence. The decision to rebuild the old bridge and split the building functions acknowledges the history of the town through massing size and embrace of heritage.
Splitting the massing into three spaces let be independently known to the town by their program, rather than combining the spaces into a singular development that could be interpreted as in opposition to the built context.
Likewise the earthen construction is humble in relation to the town, with sheet cladding roofs and CLT timber that echo the double brick and tin roof local vernacular.
Likewise the earthen construction is humble in relation to the town, with sheet cladding roofs and CLT timber that echo the double brick and tin roof local vernacular.
bridge
The original town bridge has been
repurposed as a pivoting viewing platform, a structural decision that will help it survive the catastrophic flood which demolished the original bridge.
The beautiful upriver view is revealed upon passage through the trees. When the river returns to its full strength it will function as a wharf to fish off. In the event of a flood, the bridge’s connection to the land is weak enough to allow the whole structure to pivot and have its short side face onto the Eastern flow. This mechanical adaptation is a conquest for the town over the flood.
The beautiful upriver view is revealed upon passage through the trees. When the river returns to its full strength it will function as a wharf to fish off. In the event of a flood, the bridge’s connection to the land is weak enough to allow the whole structure to pivot and have its short side face onto the Eastern flow. This mechanical adaptation is a conquest for the town over the flood.
gallery
A considered approach to light was the principal driver for the main gallery space, as well as the studio and residence buildings.
The gallery’s longer, thinner passageways are intended for two dimensional works, likely paintings. The central room is a dark room, and it is used primarily for film, projected photography, and other artworks that require low light conditions or spot lighting. The larger spaces to the East and of the gallery are to house larger sculptural work, as well as installations.
The gallery’s longer, thinner passageways are intended for two dimensional works, likely paintings. The central room is a dark room, and it is used primarily for film, projected photography, and other artworks that require low light conditions or spot lighting. The larger spaces to the East and of the gallery are to house larger sculptural work, as well as installations.
studio
The studio is split between a space for
consistent Southern light and a space for
beautiful Northern light that will filter through
the surrounding trees, facilitating the varying practice of any artist-in-residence.
The studio space is designed so that the light from the Northern sun never directly shines into the Southern light space. Coreten steel barn doors modulate the light coming through the glazed Northern deck.
The services and equipment are stored in the thermal mass that separates these two spaces. This thermal mass services core is warmed by the winter sun and shielded from the summer sun.
The studio space is designed so that the light from the Northern sun never directly shines into the Southern light space. Coreten steel barn doors modulate the light coming through the glazed Northern deck.
The services and equipment are stored in the thermal mass that separates these two spaces. This thermal mass services core is warmed by the winter sun and shielded from the summer sun.
residence
The artist’s residence functions as a monastic retreat at the river, with the organic ability to open up onto the town when the monk is ready.
The sliding barn doors on either side are taken from the amado storm shutters of traditional Japanese architecture. These provide choice between connection to the town, pure isolation, or immersion in nature.
The orientation to the Eastern view of the water provides solace. Different floor heights and tatami-style furniture encourage mindful changes in behaviour. Double casement windows to the East and West can be opened to provide ventilation in line with predominant winds.
The sliding barn doors on either side are taken from the amado storm shutters of traditional Japanese architecture. These provide choice between connection to the town, pure isolation, or immersion in nature.
The orientation to the Eastern view of the water provides solace. Different floor heights and tatami-style furniture encourage mindful changes in behaviour. Double casement windows to the East and West can be opened to provide ventilation in line with predominant winds.
off-grid strategy
The gallery was required to function without mains power, water or sanitation, both in service of respect for the natural environment and respect for the existing town’s service provision.
Power Supply
Crudine Ridge Wind Farm lies to the North West of the site, and is scheduled to supply sustainable energy to the Mid-Western and Bathurst region as of late 2019.
Installing three phase aerial bundled cable between the wind farm and existing power lines running between Crudine and Sofala would provide Sofala with dependable power if combined with on site battery storage.
This is a superior solution to installing solar panels on site as it uses less unsustainably procured materials and preserves the green, hilly character of Sofala’s Southern side.
Water and Power Storage
Earth from the site is dug up to be filtered of organic material and clay. The resulting aggregate is used to construct thick, thermally insulating rammed earth walls.
The Earth is excavated from the places where the buildings will rest. The space below these buildings houses bladder tanks for water supply and salt water batteries as a lithium-free, non-toxic backup electricity supply for the town.
Waste Management
Reed beds are placed up the Southern hill far from the river but close enugh to the town’s topographic level, simplifying piping of waste for treatment. They are layered in terrace, aligned with the topography.
Crudine Ridge Wind Farm lies to the North West of the site, and is scheduled to supply sustainable energy to the Mid-Western and Bathurst region as of late 2019.
Installing three phase aerial bundled cable between the wind farm and existing power lines running between Crudine and Sofala would provide Sofala with dependable power if combined with on site battery storage.
This is a superior solution to installing solar panels on site as it uses less unsustainably procured materials and preserves the green, hilly character of Sofala’s Southern side.
Water and Power Storage
Earth from the site is dug up to be filtered of organic material and clay. The resulting aggregate is used to construct thick, thermally insulating rammed earth walls.
The Earth is excavated from the places where the buildings will rest. The space below these buildings houses bladder tanks for water supply and salt water batteries as a lithium-free, non-toxic backup electricity supply for the town.
Waste Management
Reed beds are placed up the Southern hill far from the river but close enugh to the town’s topographic level, simplifying piping of waste for treatment. They are layered in terrace, aligned with the topography.