1. THE PROPOSED EXHIBITION CENTRE PERADENIYA UNIVERSITY
ADV CONSULTANTS

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

3. View of existing site 1: the pond

4. View of existing site 2: the trees and boulders

5.  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

6.  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

7.  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

8. 
ELEVATION OF PROPOSED CENTRE FROM UDA PERADENIYA ROAD N 

9. 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

10. 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

11. 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

12. 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.

13. 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

14. 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

15.  3D MODEL OF THE PROPOSED CENTRE
As the site is on a slope the buildings are positioned on different levels on columns.

16. 2 1 2 1 5 2 7 31 2 3D MODEL OF THE PROPOSED CENTRE 2 1
EXHIBITION SPACE
WALKWAYS
RESTAURANT
COLUMNS
ENTRANCE LOBBY
LIBRARY
LECTURE THEATRE 1 2 1 2 1 5 4 2 7 31 2

17. 3D MODEL OF THE PROPOSED CENTRE 3
Viewed from the pond 

18.  3D MODEL OF THE PROPOSED CENTRE 4
Showing how the building conforms to the contours of the site. 

19. THANK YOU