THE PROPOSED EXHIBITION CENTRE PERADENIYA UNIVERSITY ADV CONSULTANTS

The laying of the foundation stone on the site the 28th August 2004

View of existing site 1: the pond

View of existing site 2: the trees and boulders

 N 4 2 5 3 1 SITE PLAN FOR PROPOSED EXHIBITION CENTRE, PERADENIYA SCULPTURE GARDEN EXISTING POND UDA PERADENIYA ROAD CANAL SITE PLAN FOR PROPOSED EXHIBITION CENTRE, PERADENIYA

 N 10 7 1 3 5 2 5 8 4 5 7 6 7 ENTRANCE LOBBY LECTURE THEATRE SOUVENIR SHOP VISITORS LOUNGE EXHIBITION SPACE TERRACE WALKWAY LIBRARY CASCADING POOL OFFICE 7 PLAN OF GROUND FLOOR FOR PROPOSED CENTRE

 N 3 5 5 2 4 6 1 6 7 PLAN OF LOWER GROUND FLOOR FOR PROPOSED CENTRE RESTAURANT LIBRARY KITCHEN COUNTER TOILETS TERRACE WALKWAY PLAN OF LOWER GROUND FLOOR FOR PROPOSED CENTRE

 ELEVATION OF PROPOSED CENTRE FROM UDA PERADENIYA ROAD N 

SECTION THROUGH PROPOSED CENTRE The visitor is encouraged to interact with nature as well as the art on show through the introduction of glass walls and interconnecting walkways that meander through the site. One enters from Uda Peradeniya Road into the lobby where the visitor is drawn by the view of the gardens into the lounge. The visitor then has the option of continuing through to the exhibition rooms or to stroll down to the restaurant on the lower ground floor

The entrance lobby is the first transitional space that the visitor encounters. With the sound of the cascading pond and the vista, the visitor is invited to experience the second transitional space of the lounge. SECTION THROUGH PROPOSED CENTRE

The lounge gives the visitor three options: 1 Walk on to the terrace and take in the view 2 Continue through to the exhibition spaces 3 Taking the walkway to the restaurant below SECTION THROUGH PROPOSED CENTRE Access to the gallery is connected through a series of ramps / walkways which continue and enhances the interaction between the building and environment

SECTION THROUGH EXHIBITION SPACE Each gallery space conforms to the site like a piece of fabric. Instead of having enormous, white cube spaces, the visitor engages with the artwork in context with the surroundings and vice versa. Yet if the artist does prefer to display his/her work within a ‘white cube’ the spaces can be changed from the inside.

SECTION THROUGH EXHIBITION SPACE The rooms are lit on both sides with the option of screens if shade is required. The paintings are centrally displayed on revolving panels that can be fixed to the discretion of the curator. The visitors are then encouraged to walk through the sculpture gardens, discovering pieces of sculpture hidden amongst the boulders and trees

SECTION THROUGH LIBRARY The library is the best example of how the glass walls are designed to bring in the reflected light and environment into it the building. The bookstacks are located in the centre perpendicular to the glass wall with reading areas around the perimeter. The upper floor is reserved for reference and the ground floor for lending. The reading terrace is designed to encourage avid readers to experience their books within the sculpture garden

 3D MODEL OF THE PROPOSED CENTRE As the site is on a slope the buildings are positioned on different levels on columns.

2 1 2 1 5 2 7 31 2 3D MODEL OF THE PROPOSED CENTRE 2 1 1 EXHIBITION SPACE WALKWAYS RESTAURANT COLUMNS ENTRANCE LOBBY LIBRARY LECTURE THEATRE 1 2 1 2 1 5 4 2 7 31 2

3D MODEL OF THE PROPOSED CENTRE 3 Viewed from the pond 

 3D MODEL OF THE PROPOSED CENTRE 4 Showing how the building conforms to the contours of the site. 

THANK YOU