The Ground Plane and the Use of Markings

Fig. 01 Graphic steps resemble the use of two dimensional drawings, Lutejens Padmanabhan, Zurich 2018.

Fig. 02 Adolf Loos’ House for Josephine Baker, unbuilt. The building contains a formal rationale and experiential richness that is emblematic of modernism’s slowely coalescing intensities of skin, interiority, hygiene, corporeality and transparency.

Fig. 03 House for Josephine Baker, Adolf Loos, unbuilt.

Fig. 04 GARRU NGAJUU NGAAY (magpie, I see) by Brook Andrew.

GARRU NGAJUU NGAAY (magpie, I see) is a commissioned artwork for the Murray Art Museum Albury (MAMA) by Brook Andrew. The wall drwing incorporates the use of text and new with bold colours - white, black, red, blue and yellow - that reference both the Aboriginal Flag and the Union Jack. In this instance, the wall drawing takes over the former Land and Title Building which was recently renovated to become MAMA’s collection exhibition room.

The use of marking can become a strong motif for the deliniation of space and as a way to reclaim or reoccupy both land and architecture. The use of two dimensional marking within the project aim to create a replica of the two dimensional drawings found within that of a title boundary, but also hint at a new forming presence within the project - one that can be read and felt, but is not entirely tangible.

The imaging of the project also inspired by the works of artists Jeffrey Smart, whose work speaks of a particularly suburban context. The banality of the suburbs is represented in a way examplifies the mystique of the periphery and it’s ability to hold meaning read differently to that of a city centre. His paintings present a stillness, an imagining of this is how it has always been.

Fig. 05 Jeffrey Smart, Bus terminus, 1973. , c.1925.

Fig. 06 Jeffrey Smart, The construction Fence, 1978

Fig. 07 Jeffrey Smart, The Cleaners, 2004