Tuesday, June 16, 2009

Project Three: Development of the Conflict

This conflict has become the core of my design fundamentals for the gallery

Weightless Space:

“A terrace of weightless volumes for Vexta to connect with people through her stencil graffiti”

Major idea: There is a dilemma. Vexta’s graffiti art needs to be displayed on the street, or the lane, in order for it to be appreciated; it needs to be in the street in order to become alive, to connect, to have substance. Therefore, the action of containing this work in a gallery of walls and internal space is wrong and is anachronistic (that is the fight – anachronism). To have Vexta’s work on solid masonry walls of a gallery will not allow the artwork to speak in the language of the street.

So, I might have to recreate the street, I need lanes, roads, etc. But this is wrong also, as I do not have the license to recreate in a false way, what is real and alive – it will not work, but act like a cheap Las Vegas imitation. So, my solution is to have weightless space with references to the street. It is like I am trying to minimise the damage done by the commercialisation of the gallery. In the lack of weight, the building minimises the disruption of the language of the art – as though the art is floating, while the visual reference to the actual street, or lane or boundary conditions on the outside will substantiate the authenticity of the art for the street. What I am saying is that the art and the notion of gallery space are fundamentally in conflict, so the weighty absence of gallery space is a way to try and appease the conflict.

Representations in design:

Working Space Lane: Vexta and her fellow artists need to be able to work in a lane – the atmosphere, the confines, and the effect of channelling through in the buzzing atmosphere. So the lane is needed. But I can’t recreate the lane, so the uses of ‘prop’ framing as the walls express the ‘falseness’ of the creation. The working space is the major thoroughfare – working art and connecting with people

Terrace: reference to predominating architectural style of inner Sydney

Entrance on side: reference to the side road on the corner – express the awareness of the street.

Entry: Play: entrance from outside into outside – questioning, what are you actually entering.

Cantilever: reference to the awnings of King Street – maintaining pedestrian experience

Front Ground Level Walls: billboard for road and for the Enmore Road intersection

Living space: not so much for the owner. For events: revealing the references to the lane as inspiration and the working space and weightless gallery as response – it reveals the awareness of gallery space for the environment around it

Front First Floor wall – reference to mural of King Street – but not creation

Front walls folding in: expression of retail shop cubicles, revealing the workshop lane

Gallery toilet: By the back, near the lane –

Stockroom – no real stockroom – behind prop partitions in the living space – open in the workshop lane – openly, against the side of the building – reference to the lane and the junk that lies around. Reference to ‘debris’.

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