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 Sydney. 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 New South Wales 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 Australia’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 Melbourne 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.