Nestled into the historic gardens stands the dramatic glass façade of the Underground Gallery. Strikingly sculptural yet refusing to impose on the beauty of the surrounding landscape. As I walked along the lawn approaching the building, it became clear that the windows act as frames, emphasising both the artwork inside and the open-air scenery. The pathway runs parallel to the exterior, leading me idly towards the entrance without much thought. Large glass doors merge seamlessly into the framework, opening automatically, inviting me inside.
The use of warm-tinted timber, running in horizontal planks, from the entryway all down the interior length of the building, automatically drew me into the space and created a direction to follow. The reception area provided an unrestricted view, allowing me to anticipate what I would encounter, instantly calming my apprehension upon entering such a large-scale structure. I studied how people were using the space and concluded that most followed the direction set by the timber panelling; starting at reception and working down the corridor into the zoned galleries. Benches are set at regular intervals along the hallway, holding the weight of admirers. Symmetry is a noticeable concept, reflected in the location of the benches in relation to openings and timber beams. The transparent frontage forms a protective barrier of panoramic views that almost seizes to exist, creating a relationship between exterior and interior. The sun shone through the unobstructed wall, flooding the main corridor with warm light which continued into the individual gallery rooms due to the lack of doors. The natural lighting used alongside a strategically neutral palette enhances the exhibits on display, reducing the need for artificial luminaires. The use of raw materials such as timber, concrete, stone and natural lighting are all organic forms which I already use throughout my designs and will continue to do so after witnessing how dramatic a stripped back space can look with these features.
After researching into the design of the building, I found the original brief “create a flexible space which would be of neutral character to enable accommodation of a wide variety of collections. It was essential to maintain a visual and physical connection with the immediate surrounding landscape” (Elliott Architects Ltd., 2015). Reflecting on my response, I would conclude that the Architects successfully accomplished this and will refer to this in my future work. Working with the existing environment is important to me as seen in my Exhibition Stand project.
Some may see this building as ‘too contemporary’ to be set in such a natural environment however I feel as though the purposeful contrast between the starkness of the monochrome interior and the thriving green plantation complement each other. The use of warm white spotlights alongside the honey-coloured timber provide a sense of mellowness, even on colder days, which is unexpected for an ‘open’ structure of this scale. The Architects have been ‘sympathetic to the buildings context’ by using organic materials, focusing on the surroundings as well as considering sustainability with a solar panelled roof. Sustainability is a growing concept in the world of design, a subject that I would like to research further into and reflect in my own projects.
The corridor is a piece of admirable structural artwork with complimentary views and my favourite part of this building. The sunlight casting vast shadows, sharp against the white surfaces. The suitability for all seasons… permanently functional; your sensory experience being just as exhilarating and defined in both heavy rain and summer sun. I would love to design a space that has this positive impact on an individual’s mood. To be admired by all as an experience, not just a space. A time-less design.
References
Elliott Architects Ltd. (2015). Underground Gallery. Retrieved from https://www.elliottarchitects.co.uk/project/underground-gallery-yorkshire-sculpture-park/
Photos – Authors own