Building Connections is a multi layered resource aimed at supporting the PART teaching of architecture units as part 2 of the Visual Arts Syllabus Stage 6. It is divided into 3 parts – the frames, conceptual framework and practice, Conceptual and focuses on the architecture of six Framework art galleries and museums. It explores the connections between architecture and other art forms, investigating ideas and themes through images, text, artmaking activities and links to other information. Two of the galleries are examined in more detail through essays and descriptions of practice, demonstrating how architecture can be considered within broader discussions of the Visual Arts.
Part 2 includes two essays that demonstrate how architecture can be discussed through the Conceptual Framework. The essays could be used as part of a wider case study.
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object.com.au architects.nsw.gov.au Why do contemporary artworks make particular demands on audiences?
The relationship between an appear to be aggressive and artwork and an audience is overwhelming. The Guggenheim informed by an artist’s intentions. Museum Bilbao challenges the Frank Gehry was chosen to design notion of the contemporary art a museum that would act as a key museum as an ideal geometric element in the renewal of the city form - a white cube to display art. of Bilbao, which was in decline Doug Hall, former director of the since the 1960s. The city’s port Gallery of Modern Art, Brisbane zone on the river Nervion had been contends that contemporary art neglected due to the contraction is best shown in a simple setting. of the local steel industry. It was Some critics believe that Gehry’s hoped that the partnership between structure takes precedence over the the Solomon R. Guggenheim art inside. Architectural theorist View of museum from bridge Sitting on the edge of the river, Photo David Baron Foundation, the city of Bilbao and Nikos Salingaros views Gehry’s the Guggenheim is a large and the regional Basque Government architectural style as ‘an aggressive sculptural structure consisting of would revive the city, with a focus assault to human senses’ not to enormous shining metallic forms Architectural theorist Nikos on the riverside site. mention ‘an attention seeking inspired by the shapes of the fish Salingaros views Gehry’s irreverent flamboyance that and boats often found in such a Gehry’s work is often considered dominates the site rather than architectural style as ‘an setting. The curves of the building iconoclastic, controversial and complementing it sympathetically’. aggressive assault to human were designed to appear random, dramatic. His characteristic For others, Gehry’s work achieves senses’ not to mention yet with the purpose of catching forms—complex, organic, an integration of function and ‘an attention seeking the light. The various access points fragmented and dynamic, aremade sculptural form that has a irreverent flamboyance that to the museum via the bridge and possible through the use of transformative effect on the pathways offer new perspectives dominates the site rather sophisticated computer technology. individual and the site. of the building at every turn. While than complementing it It is these forms that can often the museum is a spectacular sympathetically’. monument when viewed from the river, at street level it is quite modest and does not overwhelm its traditional surroundings. Part 2 BUILDING CONNECTIONS 2 THE ART The internal spaces of the museum vary in size and echo the sculptural form of the exterior. This move away from the traditional rectangular division of interior space was for many a demanding concept. It was only when the work of Richard Serra was installed in the Arcelor Gallery that the relationship between architecture and sculpture become apparent and the interior spaces better understood. Serra commented that he would ‘like to see museum architecture supply a sense of volume and space.’ The Guggenheim Museum Bilbao has The Guggenheim Bilbao is a solved a problem of housing large powerful and energetic building scale contemporary sculpture. that engages the audience Outside the Guggenheim through the use of dramatic forms looms a large sculpture by Above, Richard Serra’s, The Matter of Time, 2005, inside The Arcelor Gallery The Matter of Time by Richard and a metallic skin. The use of Louise Bourgeoise entitled Photo La Tete Krancien Serra provides an experience of technology to create these forms Maman. The sculpture alludes Far right, Exterior of museum with the massive scale, created by the has allowed Gehry to challenge the to the strength of her mother, Louise Bourgeois sculpture, Maman Photo Phillip Marsh high dark walls enclosing the audience’s perception of a museum with metaphors of spinning, body of the visitor which can be experience, and engage them weaving, nurture and claustrophobic and intimidating. both physically and emotionally. protection. This provocative Like Gehry’s Guggenheim, these The Guggenheim Bilbao has now work evokes emotions ranging works demand a response – they become a destination for tourists from playfulness to terror. Like dominate the viewer physically and and locals, achieving its original the Guggenhem Bilbao and psychologically; the building with intention of reinvigorating the Serra’s, The Matter of Time, the its flamboyance and complexity, once forgotten city precinct. This sheer scale and materiality of the sculptures with their has been achieved by creating a the work encourages emotional essentially simple but confronting building that demands that the and physical engagement with monumentality. visitor engages with it in new and the audience. interesting ways.
Part 2 BUILDING CONNECTIONS 3 Examine how documentary evidence enables the viewer to recreate the meaning and context of the artwork.
In your response you may consider constraints, of the early 20th documentary evidence such as century and the place of well photography, newspapers, film, designed architecture, in providing video, manifestos, diaries and a community with a sense of correspondence. identity and civic pride. Maitland Regional Art Gallery The two older buildings in is comprised of three buildings. MRAG are well documented by The grand older building was heritage architect, Eric Martin. the Maitland Technical College In his findings he describes the designed by NSW Government engineering innovations and The new college building is architect Walter Liberty Vernon in diverse stylistic qualities of the made of brick with Ravensfield Sourced State Library of NSW 1908. The more modest building architecture such as the Gothic stone dressing and slate roof, arches, cantilevered floor and was completed by Vernon a the general design being complex of two buildings on the discrete distance away in 1911. the Art Nouveau window. Martin perpendicular Gothic. The site. He begins the description Both buildings have been adapted makes reference to other buildings with ‘a contemporary gallery that High Street façade forms to accommodate the new functions by Vernon including the Art Gallery completes the adaptive reuse an imposing but quiet and of a gallery and together with of NSW, Sydney’s Central Railway of a major regional educational the new ‘infill’ building designed Station, and the Newcastle dignified aspect, being flanked building’. The case study describes by Paul Berkemeier Architect in Courthouse, thereby recognising at each end with gables and the historical context of the older association with Barry McGregor & Vernon’s importance in the history massive rectangular piers, buildings and how ‘they tell a of public buildings in NSW. Martin Associates, an impressive series of while the balance of the design remarkable story about the change structures have been realised that also acknowledges the intent of the has been well maintained. in architectural expression that serve both the local and broader community in Maitland to preserve occurred in the early 20th century’. Between the two gables the communities. these outstanding local examples Berkemeier makes reference to the of architecture. front is divided by three half The available documentary high standard of craftsmanship in octagonal piers, standing well evidence about MRAG allows Paul Berkemeier wrote a case the brick and stonework. He claims an audience to understand the study titled Maitland Regional in relief. Maitland Mercury, that the new building ‘completes narrative of the failed architectural Art Gallery: building ‘between’, 6 August 1910 the process of adaptive re-use of ambitions, largely due to budgetary complements and unites a the site’.
Part 2 BUILDING CONNECTIONS 4 In his presentation of the project Documentary evidence provides A B Berkemeier included aerial photos insight into the context of the of Maitland highlighting the town Maitland Regional Art Gallery. It as a regional centre situated allows viewers to understand the among farmland. (A) A map of rationale behind the decisions in the town centre showed MRAG designing a significant community occupying a central position near and cultural building that involves the town square. A number of adaptive re use and a bold infill new civic buildings are planned structure. The documentation adjacent to and across the road demonstrates how the unfinished from the gallery, demonstrating and disconnected original its importance to the civic life of buildings, which were victims of Maitland. (B) The presentation budgetary constraints, left a place C D also represented Maitland as a for a new building to continue the town with buildings in diverse story. architectural styles including Federation, Queen Anne and Art In July 2011 Paul Berkemeier and Deco. Berkemeier commented Barry McGregor were awarded a that the variety of architectural commendation for the Maitland styles allowed for the possibility Regional Gallery from the of designing something quite bold Australian Institute of Architects for the new building. (C,D) Old (NSW Chapter). photographs, ground plans and elevations showed the architectural Read the jury citation (go to features of the original TAFE 01/07/11 NSW Architecture E F building and the relationship Awards Jury Citations) between all three buildings. (E) Other slides show where the grand OTHER REFERENCES Federation building was to be www.mrag.org.au/pdfs/MRAGhist.pdf extended to include a classroom wing. The exposed nibs and filled www.paulberkemeier.com.au/projects community-and-cultural in archways are evident and can now be viewed from inside the new You can find excerpts from Paul building. (F) Berkemeier’s interview in the Practice section of the resource.
Images courtesy of Paul Berkemeier Part 2 BUILDING CONNECTIONS 5