Bronwen Main Journal

Studio 36 untitled: a Project Art Space for Melbourne

Bronwen Main

Acknowledgements

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FMP acknowledges the Wurundjeri Woi Wurrung people as the Traditional Owners and true sovereigns of the land now known as Yarra. We acknowledge the significant artistic and cultural contributions made by Aboriginal and Torres Strait Islander people to the life of Fitzroy.

I wish to thank Anna Nervegna for her continued commitment to creating meaningful and delightful spaces within Melbourne.

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Acknowledgements Task I: Design iterations Task II: Inside-Out Objects Urban Massing Final Gallery Design Statement The Moreton Bay Fig Tree Site context analysis Artistic and Theoretical Influence Spatial Development Material Development Site Context Ariel Axonometric Basement Floor Plan Basement Render Ground Floor Plan Ground Floor Render First Floor Plan First Floor Render Second Floor Plan Section AA Section BB Section BB Detail GIF axo stacking North Facade Render East Facade Render

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Task I: Design iterations

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Theories relevant to Task 1

“Verblist”

In Task 1, the opportunity has been given to reassess our preconceived notions of form and space.

Through a process of applying a variety of different distortions and impositions of an initial form, the resulting shapes have provided a base of discussion and development as we move forward towards designing a final gallery.

HERMAN DE VRIES MT (MATHEMATICS TEACHING) June 1989 MATHEMATICS AND MODERN ART: CHANCE AND ORDER Ulrich Grevsmühl

Richard Serra “Verblist,” 1967–68 https://www.moma.org/collection/ works/152793

Close examination of a variety of theoretical studies, including the 1969 text Mathematics and modern art: chance and order, with a close focus upon Herman De Vries studies of apple trees falling in 1975. Such approaches revealed investigations of randomness, and expanded my understanding of what is truly random in design theory. There is much rhetoric debating whether there can in fact be randomness in an age of CAD and BIM software. The assignment allowed a growth of these theories and ideas into my own process. The task has been tremendously helpful in unpacking my previous conception of what a building should look like.

In order to answer the question “how has this been technically achieved?” the influence of Richard Serra must be acknowledged. His examination of the history of form has been highly informative in letting go of what the form should be expected to look like. Through using his verblist, I have applied a series of instructional verbs to a series of basic forms, to achieve a variety of forms.

The process which Serra demonstrated within his 2000 interview with Art21.org, illustrates how he developed a series of tools which he used to imprint and deform into existing sheets. In this sense, he is able to step back from any expectation of what the final result should look like, and appreciate the result of his iterations of verbs. I have applied this same technique to my development of initial forms, which has been strongly helpful in developing my final forms.

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Anamorphic Quotation

Quotation

THE EXHIBITION: CALDER STORIES Centro Botin, Spain Image Courtsey of The Calder Foundation

This iteration was partially well received by the studio group. In this instance, I have adopted the repetitive verb approach, but instead focused upon the artist Calder. Calder is an artist known for his beauty in the use of form, lightness and balance. I have used these verbs in my exploration, as well as developing my understanding of quotation in order to achieve the form seen below.

Fragmentation

Illusion

Inversion

Optics

Distort

Folding

Embed

Jumpcut

Magnolia photographed in August, Gertrude street, Melbourne.

Image by Bronwen Main

The fragmentation is this sense, unlike how it is normally understood as a part of a large broken or violent act, is insead a petal. The petal is a symbol and fragment of the whole magnolia flower, and tree.

The iterations which I have developed slowly began to unpack what was significant about the site, and how this could be developed as a form. My memories of Gertrude Street are not complete without the present of the beautiful magnolia in all its stages of life.

Order and Disorder

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Detail

Detail (detailed view).

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Task II: Inside-Out Objects

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Château de Chambord Isometric Drawing Drawn by Bronwen Main

The act of creating my own drawing was integral to this task, in understanding the unique nature of the forms and surfaces of the Château de Chambord. The process also brought back memories of my travels to the building, which was an important exercise in understanding what architectural aspects still remain with me.

The above forms illustrate the initial process of turning the plan insite out to understand the internal space of the Château de Chambord. As well as the exercise of re-drawing the plan, and then modelling the internal spaces, I then develop the renders to illustrate the forms as floating, weightless objects. This visualization served as another level of unpacking the castle as unique forms, rather than a building.

The task which was based upon Luigi Moretti’s 1952 space-mould studies of traditional spaces (as objects) allowed for an exploration of space as a consequence of form. I explored the Château de Chambord, an example of French Classical Renaissance Architecture dating from 1547. The process of inversing the castle helped enhance my understanding of internal spaces, and was hugely beneficial to the development of my project.

One of the most central characters of the Château de Chambord is the Double Helix Staircase at the Château de Chambord designed

by Leonardo da Vinci. This staircase allowed for my exploration to develop beyond a single level of form, and instead explore intertwining forms and spaces. The process of developing this iteration was central in my understanding of spatial activation, as well as how such a staircase could still function in a contemporary setting such as a gallery or museum.

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Urban Massing

I have examined the Moreton Bay Fig as a provider of shade and shelter to our community. As illustrated in these images, my exploration has developed the tree not only in the sense of shade, but also understanding its leaves as fragments of a larger ecosystem, which posses a unique lightness and beauty.

Ficus macrophylla, commonly known as the Moreton Bay fig, deriving from the Ancient Greek word, makros “large” and phyllon “leaf.”

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Development of the leaf in relation to lightness, movement and materiality.

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Final Gallery

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Design Statement FMP proposes a new cultural institute for The Koorie Heritage Trust (KHT), in addition to their existing location within Yarra Building at Federation Square, Melbourne. The Art Project space will offer an additional program to the community of Fitzroy.

FMP acknowledges the Wurundjeri Woi Wurrung people as the Traditional Owners and true sovereigns of the land now known as Yarra. We acknowledge the significant artistic and cultural contributions made by Aboriginal and Torres Strait Islander people to the life of Fitzroy.

The Fitzroy Aboriginal Heritage Walking Trail is highly significant to site and programming. The Moreton Bay Fig, the first destination of the Heritage Walking Trail, has been a central pillar of the gallery’s fruition. The tree is a key characteristic of the Fitzroy area as well as being historically significant to indigenous groups, named Birra Birra, the tree is known for providing shelter, food as well as accounts of being birthing trees. Understanding the behaviours of the tree has been essential to the gallery’s development. Within Darwin’s examination of “The Power of Movement in Plants” he illustrates how the nutations of the tree are created through response to external stimuli, which creates revolving arcs within the plant. This study, in conjunction with Herman de Vries 1989 text Chance and Order guided the surface manipulation present in FMP. The Moreton Bay fig, Ficus Macrophylla, derives from the Ancient Greek meaning, makros “large” and phyllon “leaf.” This has given rise to the naming of the gallery, FMP. There is of course a duality in the name of FMP — at once referencing the importance of the Moreton Bay Fig for indigenous people in this country, and drawing on the tree’s botanical name which has its roots in the Ancient Greek. The botanical naming convention was developed when European people were looking back to ancient cultures to inform enlightened understandings of the world and the human place in it, while also exploring the world and colonising foreign lands.

The name, FMP, does not signal an alignment with enlightenment ideals, and especially not those aspects of enlightenment that were used to justify unforgivable acts against other, even more ancient cultures. FMP is a name that acknowledges the complexity of history, that this country contains a multitude of cultures, that there has always been more than one way of looking at things. The name, FMP, is an invitation for discussion at the intersection of cultures.

Fruit of Moreton Bay Fig Tree, Carlton.

Photographed by Bronwen Main

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The Moreton Bay Fig Tree Significance to Gertrude Street

Gertrude Street, Fitzroy Melbourne, VIC.

The Moreton Bay Fig within Carlton Gardens, which is the first stop along the indigenos walking trail of Fitzroy, is highly significant to the site context. The tree, which has been a significant part of indigenous life for many generations, is located at the top of Gertrude Street, adjacent to the Royal Exhibition Building. Understanding the site’s environment was paramount to the development of the design, form and programming of the gallery.

Moreton Bay Fig Tree in Carlton Gardens.

Images by Bronwen Main

Moreton Bay Fig Tree in Carlton Gardens.

Located in Carlton Gardens near the corner of Nicholson Street, Carlton and Gertrude St, Fitzroy Images by Bronwen Main

Through my investigation of this significant tree, and consideration of its form and spirit as a space, I have repeatedly asked myself the question - Why has this tree been historically significant? And Why is it still such an important and impactful part of Fitzroy? It has become clear that both first nations people as well as those members of the community from a variety of backgrounds, describe the importance of the tree in terms of key areas. Firstly, that it is a significant place of shade and shelter, and secondly, that it has a vast sense of awe and wonder. I have used these two aspects as strongly formative in my design development, and continue to return to these themes as I move forward.

One aspect of my development which I have observed as a young designer, is an increasing urge to design with landscape as paramount to the design. This has been strongly influenced by the text, Landscape as Protagonist (2010), published by Molonglo. The text is based upon the highly successful 2019 symposium, which raises the importance of designing with respect to the environment first, before any other consideration. This has been central to my development of the gallery.

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Site context analysis

Fitzroy

City of Melbourne

Port Phillip Bay

Bass Strait

Greater Melbourne 0

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City of Melbourne 28

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MORETON BAY FIG TREE

SITE

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Fitzroy Aboriginal Walking Trail Map

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Fitzroy Aboriginal Heritage Walking Trail 6

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Artistic and Theoretical Concerns

Herman de Vries “from the laguna of venice – a journal (detail),” 2014.

Source: https://www.e-flux.com/announcements/29542/herman-de-vries-to-be-all-ways-to-be/

As well as championing indigenous led design, a key part of the design process involved asking - how do all Australia’s relate to the Moreton Bay Fig Tree? Artist Brett Whitely here depicts a Moreton Bay Fig Tree in NSW. The curves and gestures were strongly influential to the development of the spatial qualities of the gallery.

Dutch artist Herman de Vries describes the importance of chance with relation to his environmental artistic practice. Within the 1969 text “Mathematics and modern art: chance and order” he argues that our environments allow for new opportunities to consider structures and environments. I have developed this line of thought throughout the project, from initial studies of the tree, drawing and reconsidering my assumptions of the tree.

Herman de Vries’s considerations have been integral to reexamining preconceptions of our environmental conditions.

The cyclical nature of the tree is highly significant to FMP. Unique to the Moreton Bay Fig, the fig itself can come into fruit at any time of year. Also unique to the fig, as an inside out flower, pollination occurs internally. Our gallery space is cyclical in nature, with great flexibility in programming available through a range of finessed design strategies. Through our design, FMP endeavours to encourage the pollination of new ideas and perceptions.

The Moreton Bay fig 1979 Artist Brett Whiteley

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Spatial Development The text Operative Design: A Catalog of Spatial Verbs by Anthony Di Mari and Nora Yoo has been strongly influential to the gallery’s development of surface and volume. The introduction of spatial operations enabled the initial environmental study, of Darwin’s “The Power of Movement in Plants” to be adapted into forms appropriate for a gallery.

This reading also enabled an extension of my understanding of Richard Serra. Verb List Compilation: Actions to Relate to Oneself 1967-1968.

Serra allowed for creative freedom and relaxation of expectation. Yet Anthony Di Mari and Nora Yoo’s text takes this understanding a step further, to achieve practical volumetric spatial operations from the 2D plane to a 3D volume.

Kengo Kuma’s Anti-Object allowed for the gallery to develop beyond a sense of a traditional “building,” and towards a temporal and spatial architecture. FMP was greatly informed by Kuma’s discussion of the Venice Biennale Japan Pavilion, designed by Yoshizaka Takamasa (1956). In particular, the discussion of devices which allow for assimilation of the inside and outside.

Kengo Kuma’s concept of sequence has also been strongly influential to the project. Kuma discusses this in terms of the visitor experience of a path into a pavilion, however reading the text prompted provocation of a deeper understanding of how sequence relates to the gallery. FMP is strongly connected to the cyclical nature of the Moreton Bay Fig. It then became important to consider the sequence of the visitor to the gallery with relation to the seasons, or sequence of environmental factors. For instance, the chain drain was introduced not only to meet practical constraints, but to build a visual connection to the sky and earth. The chain is visible to visitors from each level of the gallery, and creates a moment of visual orientation.

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Material Development The text Biomimicry in Architecture by Michael Pawlyn (2011)has been instrumental in the development of the efficiency of the form. As illustrated below, the diagram I have redrawn from Pawlyn’s text to highlight the amazing quality of design in nature. In designing the gallery as a space which is closely aligns with our natural environment, it became imperative to consider how forms are created in the environment as compared to our traditional built environment.

Curvecrete is a zero-waste, low cost concrete product.

“In nature, materials are expensive and shape is cheap.”

After consulting a structural engineer, we discussed how FMP could achieve the undulating form similar to that of a Moreton Bay Fig tree, while not at the expense of the environment. I strongly wanted to avoid the use of a thick wall or cast of solid concrete. We instead discussed a new alternative, known as CurveCrete. This technology uses fibre reinforced concrete to achieve an economical and environmentally sustainable alternative to conventional concrete, while still achieving the same visual quality. The form is supported by an aluminium frame with steel brackets instead of a solid mass. The form also improved the building’s energy efficiency, as the facade prevents direct northern sunlight entering the building in excess.

Pawlyn, M. (2011). Biomimicry in architecture. 1st ed. [London, UK]: Riba Publishing, p. 9

Image Sources: Above https://www.meeuwsen.com.au/ourwork/no-waste Below https://msd.unimelb.edu.au/news/curvecrete-at-melbourne-design-week

100%

80%

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Curves of Ficus Macrophylla

Curves of FMP

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Site Context

Smith Street

Little Smith Stree t

Gertude Str eet

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20m

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BB

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AA

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1. Collections / Storage 2. Courtyard 3. Staff Restroom 4. Staff Room 5. Courtyard Gallery 6. Unisex Accessible 7. Digital Gallery 8. Male Restroom 9. Female Restroom 10. Cleaning 11. Library

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Basement Floor Plan 49

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4 1. Gertrude Street Entry 2. Main Foyer 3. Ticketing 4. Museum & Store Office 5. Smith Street Entry & Exit 6. Store 7. Staff & Goods Entry

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Ground Floor Plan 53

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1. Gallery One 2. Double Height Artwork Space 3. Gallery Two 4. Gallery Three

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First Floor Plan 57

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1. Sculpture Terrace 2. Café / Bar 3. Gallery Four 4. Restrooms 5. Artist Studio

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Second Floor Plan 61

Section AA

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Section BB

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Section BB - Detail Section

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BASEMENT

FIRST FLOOR

GROUND FLOOR

SECOND FLOOR

SECOND FLOOR WHOLE FORM

GIF AXO STACKING 68

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North Facade 71

East Facade 73