Building Connections is a multi layered resource aimed at supporting the PART teaching of architecture units as part 23 of the Visual Arts Syllabus Stage 6. It is divided into 3 parts – the frames, Practice conceptual framework and practice, & resource and focuses on the architecture of six material 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 3 includes video footage and interviews as a way of understanding the practice of Frank Gehry and Paul Berkemeier.

Developed by

object.com.au architects.nsw.gov.au Frank Gehry Practice

CONTEXT INSPIRATION SKETCHING BELIEFS Movement /art /architecture Form replaces decoration … with semi-automatic Fish and their writing ... (he) combined To the south the dialogue is movements the subconsciously–drawn The reason … is to replace with the city … to the north have always pencil sketches with the decoration, to get passion there is empathy with water, been part of my requirements of the building and feeling into the building. undulations, fluid shapes. architectural program. vocabulary.

AUDIENCE MODELLING Technology MATERIALS ENGAGEMENT Cardboard /many iterations Cardboard becomes virtual

You want See how this We work back and forth something that unfolds and is between the planning A computer program reflects the welcoming and and the model. used in aviation design light and plays that curve leads helped to solve the with the light. right into it. constructional problems.

Interview with Kerry O’Brien Context Engagement Practice Questions Inspiration Modelling Frank Gehry in the studio Evaluate the significance of strategy and planning to the Sketching Technology successful resolution of works by artists, designers or architects. Beliefs Materials Explain how an artist’s knowledge and use of materials have determined the outcome of their practice. Part 3 BUILDING CONNECTIONS 2 Paul Berkemeier Interview

Paul Berkemeier runs a small architecture and that knowledge of The importance of recognise the roles of the public architectural practice in . He history is important. The original understanding place institution to not only nurture a has had extensive experience in a buildings were designed by the rebirth, but become a focus for broad range of projects, including Government the community’. large scale urban design and architect, Walter Liberty Vernon, Part of the architect’s job planning, public buildings, single and the earliest one, which was Architecture and narrative and multi-unit housing, schools, built in 1908, is an item of regional is to really drill down into exhibition, design and heritage and architectural significance. understanding the nature The narrative is key to the project buildings. His practice has received Berkemeier enjoyed learning about of the place... ‘because it embeds the whole numerous state and national Vernon during this project. project with meaning beyond the awards for its work. physical space’. Once they were awarded the job, For Berkemeier the understanding Architecture as an the architects embarked on a study of place is extremely important. Berkemeier understood the approach not just a plan of endless options for how the new He also believes that outsiders can importance of narrative in building might work on the site, often get a clearer perspective of a designing a new art gallery for Berkemeier received the and how they would adapt and situation. Maitland: ‘the project is a story commission to design the Maitland connect the older buildings. They about the failed ambitions of the Regional Art Gallery (MRAG) needed to balance user-expectation Maitland, which has a long history, original building’. The original through a selection process that with a large brief, a small budget, was once ’s second building, an ornate Federation did not involve a plan for the the heritage implications of the largest city. The relationship of structure, was to be an important new gallery, but rather a way of original buildings, and the urban Maitland to the Hunter River is educational centre however it was thinking about the project, what conditions that exist in Maitland important; events such as the not finished due to budgetary Maitland flood of 1955 are deeply the possibilities might be, and today. By the final proposal stage constraints and the stripped-back embedded into psyche of the how his firm would engage with the council and art gallery were on wing of classrooms built a few town. The town’s built heritage is the client. board and understood the project. unique and diverse and Berkemeier years later was disconnected. believes it is one of the best historic ‘We were ready to make a third Berkemeier collaborated with Barry towns in Australia. The economy intervention to highlight the story McGregor, both architects having is now experiencing growth with of civic ambition that didn’t experience in heritage architecture. the development of the Hunter happen.’ The new infill building is Berkemeier strongly believes a simple two-storey box which that heritage is embedded in region and suburban hinterland. Berkemeier states that ‘we can

Part 3 BUILDING CONNECTIONS 3 Paul Berkemeier Interview (cont’d)

refers to the older buildings where old met new, highlighting Working as an architect story...’ The new infill building and Berkemeier aimed ‘to make the links as well as giving a sense is set back from the street and is them players in this narrative’. of separation. Berkemeier also quite sculptural. As Berkemeier The architects wanted to ‘put wanted to integrate the grand The thing about architecture points out, ‘if it was built hard up the energy into the places where staircase into the whole experience is how you can get competing against the street, you would need the two older buildings entered by breaking an opening into the a greater sense of frontality.’ needs to work together the dialogue’. Visitors can see historic stairwell. unfinished sections of the older towards a single outcome. “All things are in collaboration…” buildings with the half-completed Methods to think and brick walls, filled openings and make things happen The design and construction of toothed nibs that were ready to The architects working on MRAG was a collaborative effort take another wing. Berkemeier says that he and his MRAG needed to consider between architects, engineers, associates use several models and budget restrictions, community the Maitland Council and Gallery, hundreds of drawings to explore expectations and display builders, and artist Lara O’Reilly The idea was to develop the options and resolve issues. Most considerations. Energy who created the video “Time architects still draw to help resolve consumption was to be reduced Capture” which sits in the fabric of narrative of the history of the things, and Berkemeier says it is via the thermal mass of concrete the building. place and, practically, to get a often a good idea ‘to use several walls and floors, and the tactical large amount of display space. methodologies simultaneously’. placement of windows and Using language is an effective skylights. Weaving together the Wherever you work the crucial way to work things out, together idea of form-making by using thing is the ability to work Part of the challenge was to with sketching, drawing, computer- materials such as inexpensive resolve the different geometries generated modelling and model- sheet metal, with the energy in collaboration with people where the older buildings met making. agenda and the connections in your own team and with the new building, and to create between the buildings and display the external consultants … openings between the buildings. space, resulted in a fairly bold The fun of being an architect This necessitated the need for form. This was appropriate in the is that you can orchestrate, odd shapes and to distort the way ‘narrative of failed architectural that you can create the the connections occurred. Key ambition with the change from circumstance that allows that glazing in skylights was used the very ornate building to the very pragmatic classroom. The to happen. art gallery coming a century later could then tell a very different Part 3 BUILDING CONNECTIONS 4 Australian Art flexible spaces for installations and National Key elements of the original building exhibitions. From 1968-1972 the that were retained include the Galleries & Museums Gallery was extended by Andrew Gallery Victoria external bluestone façade, the Andersons of the Government entry arch and the Leonard French Art Gallery NEW Architect’s Department. The Captain Roy Grounds, stained glass ceiling. As Bellini Cook Wing was opened 1972. The extension Mario Bellini observed, ‘the winning idea was that SOUTH WALES alterations opened up the traditional of returning this great monument enclosed box of the museum to Description to the citizens of allow views to the harbour; creating absolutely intact in its role as an Andrew Andersons a sense of connection to a place via The National Gallery Victoria (NGV) urban symbol, yet, simultaneously, transparency and permeability. is Australia’s oldest and largest art radically rethought and transformed gallery. The Gallery’s collection is in its role as a museum’. Description In 1988, Andrew Andersons was again spread across two buildings to the The Art Gallery of New South commissioned to extend the Gallery. South of Melbourne’s CBD in the NGV Wales (AGNSW) was established in To coincide with the bicentenary International at 180 St Kilda Road References the1870s. It is an art museum whose celebrations the Gallery was doubled and the Ian Potter Gallery at http://www.theage.com.au/ purpose is to maintain and develop in size with the addition of the Eastern Federation Square. articles/2003/11/28/1069825981119.html a collection of artworks, and to Wing, Asian Gallery and an outdoor http://www.architonic.com/aisht/national-gallery- increase people’s appreciation and sculpture gallery. History of-victoria-international-mario-bellini-architects- knowledge of art. AGNSW’s collection NGV International was designed s-r-l-/5100661 In 1994 the Yiribana Gallery was includes Australian, Aboriginal, Asian, by Sir Roy Grounds and opened in http://www.ngv.vic.gov.au/visit/navigate-ngv/ opened; this is a permanent display of European and Contemporary art. Its 1968. It is a large rectangular edifice frequently-asked-questions Aboriginal and Torres Strait Islander proximity to the Sydney CBD means organised around three square Art. http://www.architecturemedia.com/aa/aaissue.ph that it is one of the most popular courtyards, adopting the historical p?issueid=200403&article=7&typeon=2 galleries in Australia with over a In 2011 a new exhibition space, palazzo arrangement. Of significance million visitors annually. designed by Andersons, in what is the large suspended decorative glass was previously the storage area was ceiling by Leonard French in the History opened to house the John Kaldor Great Hall. AGNSW was designed in 1896 by collection of contemporary art. In 1996 an ‘invitation only’ the New South Wales Government competition was held to redesign and architect, Walter Liberty Vernon, as a enlarge the museum; Mario Bellini neo-Greek temple to art. Constructed References won the competition and the extension between 1986 and 1909 the building http://archive.artgallery.nsw.gov.au/aboutus/faq/ was completed in 2003. The design reflects the trustees’ ‘nineteenth building_history/original_architect included the insertion of galleries into century ideas about the cultural role http://www.dictionaryofsydney.org/entry/art_ the north and south courtyards. The of a gallery as a temple to art and gallery_of_new_south_wales central courtyard was opened up as a civilising values’. http://www.artgallery.nsw.gov.au/about-us/ large organising void which includes history/history-of-the-building/ the information desk, café and other By the 1960s the Gallery’s collection entry/exit facilities. had grown significantly and modern http://recollections.nma.gov.au/issues/vol_4_ no1/notes_and_comments/andrew_andersons_ curators called for new and more interviewed_by_leon_paroissien/

Part 3 BUILDING CONNECTIONS 5 Museum of the MCA’s space by 4500sqm. This References St Margaret’s Hospital was closed extension includes two five-metre http://www.theage.com.au/ in 1994 and the site was sold for Contemporary Art column free galleries, new workshops, articles/2003/11/28/1069825981119.html development. Two of the original office and the National Centre For http://www.mca.com.au/default.asp?page_id=5 buildings were retained – the Solarium Creative Learning. The aim of the which was converted into apartments Future extension http://www.cityofsydney.nsw.gov.au/ Sam Marshall redevelopment is to ‘transform the aboutsydney/historyandarchives/SydneyHistory/ and the Chapel which was transformed MCA to create a truly national and HistoricBuildings/MuseumContemporaryArt.asp into a gallery. The conversion of the Description international institution serving the Chapel was designed by Sam Marshall audiences of the future’, says MCA in conjunction with Ken Woolley and The mission statement for the OBJECT Gallery Director Elizabeth Ann Macgregor. in 2004 the Object Gallery: of Contemporary Art (MCA) Centre for Design was opened. is to engage with contemporary The most significant cultural shift art and ideas. Located in Circular in the upgrade is the inclusion of Ken Woolley, conversion The design incorporated Marshall’s Quay, Sydney, the MCA is the only the National Centre for Creative by Sam Marshall strong ideas about ‘sensible’ Australian museum dedicated to Learning (NCCL). The NCCL has been heritage practice and Woolley’s exhibiting, interpreting and collecting established to manifest the MCA’s Description modernist principles, creating contemporary art from across commitment to being a leader in Located in Surry Hills, The Object its own distinctive aesthetic. Australia and around the world. education. The program will include Gallery is the Australian Centre for virtual learning environments for Design. Founded over 45 years ago the History broader community accessibility as mission of the Gallery is to promote References The building of the MCA was well as physical learning and teaching contemporary design, and to provide a http://www.dedece.com/projects/St-- originally home to the Maritime spaces including a lecture theatre, hub for artists to connect. Margaret-s-/1541 [31/07/2011] Services Board. It was designed by the workshops and a room for their Bella http://www.eviction.com.au/eviction- History Government Architect W.H. Withers program which caters for children with articles/2004/7/1/blessing-in-disguise/ in 1939, but not completed until 1952 special needs. The building for the Object Gallery [31/07/2011] due to the war. was originally the Chapel of the former http://www.garlands.net.au/history.html In addition there will be a new rooftop St Margaret’s Hospital for Women in [31/07/2011] In 1989 the MSB relocated and the café and sculpture terrace to capitalise Surry Hills. The Chapel was designed building was bequeathed to the NSW http://www.merryngates.com/artlook/article. on the Museum’s pararomic views by Ken Woolley and Harry Renbert asp?contentID=425 State Government. With funding from of the harbour. ‘This expansion will and was opened in December 1958. John Power and the University of cement the MCA’s role as a locally It is an intact example of Post-War Sydney it was established as the site of loved and internationally renowned ecclesiastical architecture. the new Museum of Contemporary Art. contemporary art museum, which In 1990 the building was redesigned supports and promotes Australian The Chapel included a number of by Andrew Andersons of PTW and artists alongside their international innovative design elements such as the in November 1991 the Museum of peers. Our commitment to education pre-cast panels doubling as internal Contemporary Art (MCA) was opened. comes from our belief that creativity and external finish, the structural design of the roof and the use of ‘off In 2010, Sam Marshall, in partnership and education in the arts are the form’ concrete for the thin columns. with the NSW Government Architect critical building blocks for a dynamic was commissioned to undertake the community.’ extension. This renovation, due for completion mid 2012, will increase

Part 3 BUILDING CONNECTIONS 6 National Gallery National It is considered to be the of Australia The Gallery is committed to Portrait Gallery most significant building presenting the national collection constructed in the Parliamentary of art, together with exhibitions, Triangle in the last 20 years. Colin Madigan, new work education and public programs Andrew Andersons of and to providing facilities, which Johnson Pilton Walker References PTW Architects meet visitors’ expectations, http://www.portrait.gov.au/ [2/08/2011] particularly for those visitors Description Description with special needs, such as http://www.canberra.com.au/canberra- The National Portrait Gallery aims attractions/national-portrait-gallery/ [2/8/2011] The National Gallery of Australia is people with disabilities. The to increase the understanding of the Gallery also acknowledges its Australian people – their identity, http://www.australianexplorer.com/canberra_ located in the Parliamentary Precinct, old_parliament_house.htm [2/8/2011] Canberra. It holds a collection of more role as custodian of a significant, history, creativity and culture – than 100,000 works spread across 4 heritage-listed public building through portraiture. Located within the main art areas: Australian, Aboriginal and sculpture garden. To Parliamentary Triangle in Canberra, & Torres Strait Islander, Asian and maintain this commitment, the National Portrait Gallery is home International. the Gallery building must be to some 400 portraits of significant extended and enhanced to better Australians. History serve its visitors by removing It was designed in 1973 by Colin barriers to access and to meet History Madigan and is an example of 1970s the challenges of a growing The National Portrait Gallery was 10 Brutalism. collection of works of art. originally housed in the Old Parliament House, which was designed by John 1997 saw the extension of the existing Smith Murdoch and opened in 1927. building by Andrew Andersons of PTW Architects, which involved the building The features of the new development A growing profile and collection of new temporary exhibition galleries include a new entrance and foyer, necessitated the move to a dedicated to house large-scale temporary gallery shop, a new function and building. Funding for this project exhibitions. The extension also event space, street cafe and 11 new came in the 2005 Federal Budget, with included a sculpture garden designed Indigenous art galleries showcasing Johnson Pilton Walker awarded the by Fiona Hall. works from the world’s largest commission of creating the gallery. collection of Australian Indigenous art. Construction began in late 2006. In 2006 the Australian Government announced it would provide the The National Portrait Gallery was funding for a major building References officially opened in 2008. ‘The concept for the new gallery is enhancement. Stage 1, designed by http://www.canberra.com.au/canberra- Andrew Andersons of PTW Architects, attractions/national-gallery-of-australia/ grounded in the experience of looking was completed in 2010. [2/08/2011] at portraiture, and in its emphasis http://nga.gov.au/ [2/08/2011] on human scale the building favours intimacy and connection in lieu of reverence and the monumental.’

Part 3 BUILDING CONNECTIONS 7 Civic Centre, The building has four distinct facades International Art Salvidor Dali Museum Wagga Wagga with contrasting materials creating Galleries & Museums St Petersburg, Florida varying degrees of opacity. A play by HOK on surfaces is also used within www.hok.com/ the internal ‘street’, creating an Maxxi www.architecturezine.com/ Garner Davis impression on limitless space. The Rome architecture-salvador-dali-museum- Civic Centre integrates, for the first by Zaha Hadid building-by-hok/ Description time, the cultural, informational and www.zaha-hadid.com/architecture/ administrative facilities of the city. Located beside the Wollundry Lagoon, maxxi/ the Civic Centre of Wagga Wagga The Resnick Pavilion provides a key regional cultural hub. Los Angeles County References Design Museum Holon The complex integrates the key Museum of Art 2010 http://www.architecturemedia.com/aa/aaissue.ph Holon, Israel 2009 administrative and cultural facilities of p?issueid=199907&article=7&typeon=2 by Renzo Piano by Ron Arad the city. The Centre is framed by two http://www.wagga.nsw.gov.au/www/html/2372- www.designboom.com/weblog/ www.ronarad.co.uk/design- heritage buildings of the Theatre and building-and-exhibition-spaces.asp cat/9/view/11761/renzo-piano- the Council Chambers. museum-holon/ http://facilities.arts.nsw.gov.au/facilities/ building-workshop-resnick- museum-of-the-riverina/ History pavilion-lacma.html http://www.wagga.nsw.gov.au/www/html/4674- The Museum of the Riverina was The Getty walking-tour-of-wagga-waggas-historic- Los Angeles 1997 established in the 1967 to capture the buildings.asp Neues Museum www.richardmeier.com/www/#/ local history of the south-western NSW Berlin 1841- 59 known as the Riverina. In 1998 as part projects/architecture/icons/1/92/0/ by Friedrich August Stüler of the Civic Centre redevelopment the Historic Council Chambers of Wagga (reconstructed by David Wagga were converted to host the The New Acropolis Museum Chipperfield and opened 2009) temporary exhibitions of the Museum. Athens www.neues-museum.de/index. Charles Hardy built the Historic by Bernard Tschumi php?lang=en Council Chambers in 1881 www.tschumi.com/projects/2/ The Melbourne Architects Jill Garner and Lindsay Davis of Garner Davis Tate Modern were selected as part of a competition 2000 held in 1997. The Civic Centre formed by Herzog and De Meuron the new commercial and cultural www.tate.org.uk/modern/ centre for Wagga Wagga. The Civic Centre accommodates both the transformingtm/ Museum of the Riverina and the National Art Glass Collection. More than 40,000 people visit the Centre each year.

Part 3 BUILDING CONNECTIONS 8