Design Of The Building A Gallery

From the outside of the building much can be observed. By standing across the street, almost the entirety of the front of the building can be observed. It is completely light grey as it was most likely built of cement or concrete. The blocks form a staggered, brick-like pattern with a thick row of blocks topped by a thin row, topped by a thick row again and so on. There are not many windows on the front side of the

The building consists of a canteen area, an office for admin duties, two toilets, a locker

This fire station build in 1993 has a form that resemblance Ringwood Library with a reverse curved roof acting in lieu of a dome to render the building monumental (Annex J). This time it was marked with a series of tubular skylights and vents which serves as a dome lanterns. Cream colour brick wall covers the façade of this building as a shell of a core of local red brick and concrete columns architecture internally which was a legacy of Melbourne’s everyday warehouse and factory architecture of the 1920s. The design had 2 constraints that Corrigan had to consider. Firstly the garage, reception area and dormitory had to be squeeze side by side within a tight space along Albert Street. Second the building was a replaced of an earlier fire station by Seabrook and Fildes whom was Melbourne’s leading early modernist and it was also near to two Modern cinemas.

The building is four stories high made of brick, tile, and concrete. The east façade also has Classical features such as a frieze, dentils, cornice, raking cornice, entablature and an architrave. The front of the façade was adorned with floral coffers, corbels, as well as post and lintels (Photo 2).

The background architecture is in 45 degree perspective and features a gray pill shaped pillar as the front facing corner with narrow dark arches down topped with square windows down each side of the building. The sky is cloudy and there are flags blowing in the wind on the opposite corners of the building. In the shadow of the building is 2 small figures smoking.

elegance, and color. The structure is an octagonal exterior wall placed under a golden dome. The

the Pennsylvania entrance is the one with the several large semicircular arches.and they are used there to indicate the main entrance way. The feature also improves the visual appeal of the entrance way. The triangular pediment is found on the clock tower of the Old Post Office Building. This feature is quite iconic to the sense that people have nicknamed the building after this clock tower. However, the clock is not just there for telling time alone, but to also give directions, location, beautification and it has developed in to a credible tourist attraction feature. When a person sees the Clock tower, he immediately recognizes the location to be Washington D.C thereby making it a landmark. Pilasters also characterize the Old Post Office Building. Pilasters refer to the tall rectangular columns that are seen at the Old Post Office hallway. The pilasters are effective in supporting the building as strong columns and ensuring longevity. The pilasters are famous as Romanesque architectural designs and also the Ancient Greek. As a building, the Old Post Office is rich in Romanesque

The Vogelstein addition is unique in that is combines two dramatically different styles in the same building. The addition respects its predecessor, while borrowing from, and reinterpreting the original. The mass of Vogelstein acts to balance the overwhelming presence of Avery’s façade, as the addition’s layers hint at the building’s depth, while remaining far less distinctive. The windows are highlighted with burnt orange window frames, comparative to the white window frames that dominate the façade. While different colors, the color contrast itself is complementary, as it serves to highlight the windows in both structures. Further, while much simpler in shape, these windows serve to continue the building’s tradition, without dominating focal attention. The glass doors reflect the façade’s windows, while the glass towers reinterpret both elements, acting as a transition. The canopy above the entrance is orange as well, creating a sense of balance between each of the building’s

* Old sites, such as the Garden festival site has been which had now been derelict for 20 years has been purchased for re - re development. This shows continued investment and development in the area highlighting the success of the scheme.

From the observation tower the horizontal building’s three parallel bands can be seen that extend into the lush landscape. The architects’ concept was to immerse the museum in nature by creating a set of three bracketed pavilions under one roof surrounded by gardens. The roof can be seen as

built around a square or town plaza.  The central area of the square was left

The main building of the Art Institute is constructed mostly of masonry, with few windows, and feels very heavy and overpowering. Grand staircases and large columns dwarf visitors as they move through the galleries. This is similar to the way the art in the space makes you feel: small, unimportant, and sometimes even afraid. The Modern wing in constructed of steel and glass, and is very open and bright (except when intended not to be). The large north wall facing Millenium Park is one large expanse of windows, letting in plenty of indirect sunlight, and opening the gallery to the park. The space feels very light, in both senses of the word. As with the old building, the art feels similar to the space in that it is more open and less opressive.

The entryways of the building come from four different sides and meet in the middle. The overall shape of the building creates different views and facades. The building was not created just on the looks of it; it is made up of a three dimensional, stimulating, tactile human thing.

Park Terrace comprises listed terraced houses constructed in 1869. Property numbers 32 and 36 have undergone redevelopment since the 1980s. Property numbers 30 and 34 are in a dilapidated condition.

Stability and balance is also achieved through the incorporation of the vertical and horizontal planes. In the southwest facade of the building the vertical slits are balanced with the horizontal planes created by the cubes, cornice and the ornamental horizontal band that runs halfway through the walls. These vertical and horizontal planes further dictate a rhythmic continuity throughout the building. Building's scale is rather modest in comparison to its site and the surrounding landscape and the smooth texture of the facade helps its integration to the environment. (Figure 4)