Gasp 2.0 designed by Room 11

Gasp! 2.0 designed by Room 11

Photographed by Ben Hoskey 

Key Concept

‘Places to walk to and through’[i], GASP! Stage 2 is an urban design project in Tasmania’s Glenorchy. An end pavilion set within the landscape, reached after a 3km walk along the Derwent River which connects the user to the Museum of Old and New Art (MONA). Creating a sense of drama and theatre to the water’s edge, it heroically cantilevers over the river. As you arrive to the pavilion a sense of relief is created as it acts as a shelter from the elements with its blade walls drawing you in and the landscape beyond dramatically framed.

It looks at how architecture can become art in its own right. The use of coloured glass, in both red and yellow, frames the vast view and challenges the visitor to reconsider the way they would normally view the landscape. A 3^rd dimension is created when the shadows from the coloured glass cross over on the ground plane and create the 3^rd colour of orange. The dramatic sharp shadows that the concrete structure creates adds to the theatrical movement the space possess.

The architect Thomas Bailey believes, “We move on from nostalgic visions of place making and embrace interstitial ‘spaces’ with relish.”[i] It is the spaces in-between that can become something beautiful and elemental, and that is exactly what he does in the creation of GASP 2.0.

 Photographed by Ben Hoskey 

Selected Design Element

The way the built form connects to its landscape and relates to both the earth and the water is a key element of this project. The model I will be creating of this project will aim to celebrate its landscape, capture its dramatic theatrical qualities and vibrant use of colour that the GASP 2.0 pavilion achieves. It will be more about the landscape, form and the shadows it creates, rather than its acute details.

Using resin to represent water, which intersects with layers of uneven, marked stone used as contours, will create the dramatic setting on which the building sits. The building will sit proud on its landscape made from folded sheet metal, possibly burnt to give it the rough textural appearance of the pavilion. The use of coloured perspex will be cut to size and enclose the western edge of the model.

Photographs of the model will require direct lighting to highlight the movement of shadows along the structure.

Use of Resin and Stone to form the landscape 

How is the Key concept reflected in the design studio?

In my designs, working with the landscape and the local context is something I believe should be celebrated. This design exemplifies how architecture can be created to evoke meaning and drama, whilst adding to public benefit.

Photographed by Ben Hoskey 

The design on first arrival acts as any form of architecture would; a place of relief and shelter from the elements. However, once the visitor explores their surroundings the building unveils a more in-depth experience. It connects the visitor to its surroundings in a unique way challenging the perspectives of the landscape while it immerses you in the river as you stand on a cantilevered pavilion. The heavy concrete structure almost feels weightless as you stare out into the vast landscape beyond. It helps me to understand that the materiality of a project can have a vast impact on the way it is received. By using colour a piece of architecture is transformed into a piece of art.

It also is a space that has grown and been accepted with time; it is now a popular space used for musical performances as the space has excellent acoustics. This was not something the architect originally envisioned that the space would be used for, emphasising how architecture is about the people who occupy the spaces.

Description of the Geometrical shape.

A dramatic, bold, theatrical space; the pavilion sits proud and bold at the end of the bay cantilevering off the edge, almost like coming to a dramatic end after a long reflective journey. As you approach you are greeted by a large blade wall to your left as it embraces you and leads you into the pavilion, spanning 42m before you reach the covered ‘sheltered’ section, consisting of 3m high ceilings. This wall then continues a further 29.4m, blurring the lines between the sheltered and the exposed. The built form is long and narrow - only 29.4m by 8.4m of the pavilion is in shelter - however it opens to a large irregular shaped courtyard - approximately 42m by 30m - which was salvaged from former industrial uses. This courtyard removes you from the world in which you just walked and cocoons you in a reflective space removed from strong winds. Another blade wall is used to the south to create this courtyard which continues until it hits the water’s edge There is also small toilet block to the east and the water to the north which encloses the courtyard and creates a comfortable spot of reflection in its sunny northerly aspect.

Section 

Site Plan 

The strong use of colour dramatises the form, with its shadows creating movement and colour along its rough grey texture throughout the day; again, another way the architecture connects you to nature and sense of time. The intriguing nature of the architecture draws you in to explore the form and challenge your ideas and perspectives.

Photographed by Ben Hoskey 

Proposed Scale: 1:200

Proposed Material and technique:

Resin: cast

Stone tiles: Cut on water jet and layered as contours

Glue: used throughout

Metal Sheets: using metal work room  

Coloured acrylic: Used for windows   

Timber for base: Wood working workshop

Time Commitment:

5hours – Learning to cast resin, pouring and finishing.  

5hours – Learning to use water jet, preparing files, and layering  

6hours – Cutting steel  

2hours – Cutting acrylic   

3 hours – Creating timber base

4hours – Assembling and finishing touches

TOTAL: 25hours

Budget:

Resin: $50  

Stone tiles: Samples from suppliers  

Glue: $10

Metal Sheets: $20   

Coloured acrylic: $20 (unless can use off cuts)

Timber for base: $20  

Total: $120.00

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[i] Kernebone, Fenella. In the Field at GASP Pavilion Hobart. ABC Radio National, 6 Sept. 2014.

[ii] “GASP! Stage 2 / Room11.” ArchDaily, ArchDaily, 10 Jan. 2014, www.archdaily.com/464724/gasp-fase-2-room11. Accessed 29 June 2019.

‌iii Jury Citation. “GASP! Stage 02.” Architecture Australia, vol. 103, no. 6, Dec. 2014, p. 92.

‌iv Peters, Aaron, and Paul Owen. “GASP.” Architecture Australia, vol. 103, no. 1, Jan. 2014, pp. 25–31.

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