The brief for DANGROVE demanded a new approach to standard museum art storage to support the requirements of the client’s nearby gallery. It required art storage to be integrated with curatorial, conservation, research, library, workshop, administration, exhibition and performance spaces and other related functions.

The architecture blends pragmatic storage and technical facilities with a hierarchy of experiences created by special spaces, their inter-relationships and the use of light. A journey through the building is choreographed to enhance viewing opportunities and experiences of the collection as well as the back of house working areas required for the gallery and operations to meet the global demands of the collection.

The building is over two levels and approximately 10,500m². The ground floor serves as the main operation of the facility with secure parking, pedestrian entry, a security hub, loading for large vehicles, plant areas, workshops and a variety of specialised storage areas. The upper floor presents the main ‘front of house’ with reception, administration, research, library, conservation, a sculpture courtyard, and two large art evaluation spaces in addition to more storage area.

The evaluation spaces define the interior experience of DANGROVE. The first is experienced on arrival at the upper level and is placed between an external sculpture court and a large north facing window spanning the width of the site, overlooking the street. The capacity for special functions and the exhibition of objects held in storage is supported by amenities nearby including kitchen facilities and the library. A sculptural concrete ‘scoop’ brings northern daylight at the entry point to the second art evaluation space and the functioning heart of Dangrove, commonly described as ‘The Great Hall’.

The Great Hall is a grand space for art to be temporarily displayed, evaluated and curated. It also serves performance requirements including theatrical and musical events. A soft, even light floods this space through a double skin of UV reducing polycarbonate walls above a wall datum of polished concrete. Another sculptural concrete skylight terminates the Great Hall and heightens the sensory experience of natural light within.

The brief for DANGROVE required a low carbon footprint achieved by construction designed for a minimum 100-year life, waste minimisation and low net energy use. The sloping roof accommodates 558 PV cells providing power to reduce conventional energy demands of museum standard storage. Water collected from the roof is stored and recycled to support plant equipment and building maintenance requirements. Services are exposed for ease of maintenance and future retrofits. Building mass has been maximised to stabilise indoor climate conditions. Fire egress corridors are placed at the perimeter of the building to provide fail safe waterproofing and enhance insulation.

Material selections, colours and textures are neutral in greys, blacks and whites to enhance the appreciation of the collection on display. The architecture is characterised by precision and care as demonstrated in the cost-effective assembly of its elements.

DANGROVE aims to set a new benchmark for art storage and curation reflecting the vision of the client, an important collector, philanthropist and artist.

Translucent elements in Sydney art warehouse

Architectural firm Tzannes designed a modern art storage facility in Sydney for the art collection of Australian philanthropist Judith Neilson. Behind a double skin of translucent polycarbonate panels lies the "Great Hall" – the heart of the Dangrove Art Storage Facility. The hall provides space for the curation, storage and exhibition of the artworks.

When planning and building art storage facilities, functionality and security are paramount. These requirements do not necessarily preclude high architectural standards, a fact that is demonstrated by a construction project by Australian architectural firm Tzannes. Dangrove was built to store and display philanthropist Judith Neilson´s substantial and significant art collection. The Australian is one of the founders of the White Rabbit Gallery in Sydney and possesses a unique collection of fine art – contemporary Chinese art in particular. The storage facility has a central location, in Alexandria, northeast of Sydney Park, close to Neilson´s gallery.

Functional spatial concept
The art warehouse is designed as a steel and concrete structure and has approximately 10,500 square metres across two levels. The ground floor serves as the main functional area for the operation of the facility. This includes the pedestrian entrance, the delivery area, a security area as well as specialised storage rooms and workshops. The upper floor houses the reception, the administration, research and conservation areas, a library, a sculpture courtyard and two large spaces for art along with additional storage areas. One of the two art evaluation rooms is in the northern part of the building. This space is used for special events as well as the exhibition of stored objects. 

Special atmosphere
The architects succeeded in balancing practicality, functionality and security with architectural ambition by means of elegant spatial sequences and the use of materials that are both functional and aesthetically pleasing. Concrete and steel dominate the interior and the chosen colours and textures are predominantly neutral. This deliberate reticence skillfully draws the eye to the art objects. 

"The Great Hall"
The special atmosphere of the building manifests itself most notably in the so-called "Great Hall". This second art evaluation room forms the heart of the building and is 90 metres long and 20 metres wide.  The hall´s most striking feature is its enormous stepped ceiling. At its lowest point, the room height is eight metres, and at its highest point, it is 30 metres. The large space provides ideal conditions for temporary exhibitions and the curation and evaluation of artworks as well as for events such as theatre, concerts and even performance art. This is due to the size of the space as well as the design of the exterior envelope. While the lower area resembles a closed structure in polished concrete, the hall opens up towards the top like a bright and transparent tent.    

Soft light 
For this purpose, the structural framework of the hall, which is made of steel, was clad with a double skin of polycarbonate panels. The translucent building elements from Rodeca GmbH provide soft, even and natural light in the hall. Rodeca´s 12-layer-panel PC 2560-12 was chosen for the structure with opal to the exterior and DuoColor crystal-opal on the interior. The neutral colour scheme creates a pleasant lighting atmosphere that enhances the natural viewing experience of the objects on display. At the same time, the polycarbonate panels block 99 per cent of UV rays up to 380 Nm and therefore protect the artworks from damaging influences. On both ends of the large hall, sculptural concrete skylights increase the natural influx of light.

Energy approach
Saving carbon dioxide was a key focus in the construction of the art storage facility. The aim was to achieve the smallest possible ecological footprint while designing a building with a minimum 100-year design life and low net energy use. This objective is reflected in the construction method in particular. For example, the large sloping roof is covered with photovoltaic elements that supply the modern warehouse with sustainable and climate-friendly electricity. The thermal mass of the primary concrete structure also contributes to stabilising the indoor climate, while the translucent polycarbonate panel cladding reduces energy demands by letting in natural light. Water on the roof is collected and recycled and used for plant equipment as well as upkeep of the building. The supply lines in the building are easily accessible to facilitate more efficient maintenance. 

PC 2560-12 panel

The translucent and thermally insulating PC 2560-12 building element covers a total area of 3,947 square metres. Loch Garmin Roofing Pty Ltd installed the panels and fastened the elements to both sides of the steel structure. This creates a transparent and homogeneous envelope both externally and internally. PC 2560-12 panels are 60 millimetres thick, have a building width of 500 millimetres and have twelve layers and ten air chambers. Thus, the panel achieves a U-value of 0.75 Watt per square metre and Kelvin (W/m²K). The building element meets the criteria of fire class B-s1, d0 according to EN 13501. It is hardly inflammable and fulfils the additional requirements of "no smoke" and "no burning droplets/droplets": an essential safety feature for the operation of the art warehouse. Due to their resistance to solar radiation and hail, the lighting elements are also well suited for the long service life of the building.  

Dangrove sets new benchmarks in the field of art storage. "The architecture blends pragmatic storage and technical facilities with a special atmosphere created by spaces, their interrelationships and the use of natural light," says Alec Tzannes, managing director of Tzannes.

Interested parties can obtain further information at www.rodeca.de/en.