Page 1


Alexandra Gower


the meeting of Art and Architecture

Herzog and de Meuron - Ornament

Since the Modernist period, Ornament has been resolutely erased from architectural discourse. Herzog and de Meuron work to restablish a diaglgue between surface and space, art and architecture. The two dominant walls of the Ricola-Europe SA, Production and Storage building are constructed with tranlucent polycarbonate panels which have been printed with a repetitve plant motif. Although weight bearing, the effect of the panels is more like a curtain or robe. Filtered light transforms the appearance of the internal space during the day, as the volume seems to shift and receed. At night, the facade material dominates, closing and sealing the volume within the confines and becoming more akin to the concrete capping ends.

Callum Morton - Art interpretating Architecture

The art of Callum Morton works to analyise our relationship and interaction with the built environment. Public and private space are explored, with a focus upon how we encounter, perceive or experience personal or communal space often unconciously. Valhalla was Australia’s inclusion in the Vencie Biennale and is 1/3 scale model of the family home which Morton’s architect father aspired to provide. In its representation here, the building is not idealised as a example of perfect Modernist architecture but rather with the badges of habitation and time, Morton presents the stories of childhood/family and community, both positive and not so. In this way the building becomes a ‘stage for the unpredictable passions and inevitable foibles of humankind.’

the meeting of Art and Architecture

Personal Work - Space and Camoflague

In my design for a parkour training ground suitable for wheelchair occupants, I explored ideas of privacy, habits of public curiosity and cloaking. wwwThe open site of the Melbourne Museum court would not facilitate discretion in the placement of the park away from the curious and intimidating eyes of the public. Therefore my design solution was to mimic the existing entrances of the carpark to camoflague the object. It was hoped that this would render the object as uninteresting, as the function of the other two original forms was not a secret. The skin formed the equipment of the park but also provided shelter from prying eyes and a degree of confidence.

Studio Air Journal  
Studio Air Journal  

University of Melbourne 2012