{public intimacy} rory wilson cartwright
{proposition} this stream draws from the debates about the ‘right to architecture’ to explore a building – historically associated with ‘capital A architecture’: an art gallery. this project at a theoretical level, questions who has the right to make space, and explore the kinds of relations that are produced in this process. ‘how can architecture be an extension of landscape? how can this interaction provide platforms for artists to speak of the places that we inhabit? this will be carried out primarily through designled research. the methodological framework follows murray fraser, jane rendell, and peter downton, and pursues an iterative approach to exploration. some of the methods used include drawing, photography, digital modelling, analogue modelling & collage. this research has used spatial methodolgies such as direct immersion and detached observation, expansion and contraction and light generated thresholds. It also looks to symbols and sculpture to help redefine the boundary between built and non-built. architecture and urban, public and intimate. This has resulted in architecture that not only responds to the landscape and urban fabric, but interacts with it. This is shown by three key moments that help to generate a whole.
/01 the architectural skin projecting into the land, touching the earth, and gently balancing on its fingers. The steel facade moves up and down with the earth, willingly expanding and contracting through all the human scales /02 the architectural bones protruding out of the land, erupting into human space, erroding as the world around them moves. The concrete and steel columns extend toward the ocean, forming the axis that looks towards the future and supporting the skin that shelters the people. /03 the architectural memory following, lingering and beckoning the human to reflect the spaces we inhabit and how we inhabit them. through forceful detachment and dynamic immersion occupants of the centre of contempory art can observe and contemplate the footprint that they leave. this proposition has been adressed through the above stated techniques. they explain that architecture can not only be an extension of the landscape, providing the bones and the skin, but can also be an extension of the human. this happens through play, interactivity, and, most importantly, providing platforms for humans to engage with the world around them.
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{shane cotton} shane cotton is a contemporary maori artist born in lower hutt. his work focuses on ownership of land/objects and how objects with significant symbolic value can begin to inform natural typological landscapes. this is particularly important for this project as landscape was chosen as a plus one program. cottons work serves as inspiration and political understanding as well as helping to further our knowledge of what land is and what it can mean. ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
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{precedent study} /04
{daniel libeskind : jewish museum} daniel libeskind’s jewish museum is an exploration of time and memory. it harnesses architypes such as compression and release, light and dark as well as natural and unatural. while harnessing binary typologies - it also invites flexible attitudes - providing a journey like no other. this journey includes two dead ends where one can gain a new perspective of time and space. the jewish museum stimulates all sensoral experience in order to generate the most emotional and provocative response. ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
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{morphosis architects : dallas museum} morphosis studio have explored the concept of an object that is being manipulated/ manipulates its landscape. this methodology generates spaces that are environment and contexturally driven, imploring a similar idealogy to shane cotton and to the operation of body in space and how it determines its own------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
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{spatial response to atmosphere}
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{outdoor gallery} /09
{redolent perspective} /10
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{reflection} this research driven investigative design process has helped to define idealogical positioning as well as outline clear strengths and weaknesses that can be used in the journey forward. as critical evaluations take place at each step on the road it means that each move is well thoughout and documented. during this process the proposed sketch design invites plenty of perpective driven landscape architectonics that start to convey an underlying idealogy. this idealogy has been muted from the early stages of this process and i would like to see architecture and landscape become more infused reflecting the chaotic and political nature of this topic. the aesthetic, mood, atmosphere, form and programmatical consideration all leave room for copulous amounts of development - yet they have allowed much potential for the centre of contempoary art to grow into a strong symbol of reflective, indicitive and political gallery typoligies. -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
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{precedent study} /14
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{contextural drawing} /16
{contextural drawing} /17
{suggestive section} /18
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{final perspective} /22 /65
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{site plan} /24
SITE PLAN
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{ground floor plan} /26
{first floor plan} /27
{second floor plan} /28
{third floor plan} /29
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section
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{reflection} this research explains that architecture can not only be an extension of the landscape, providing the bones and the skin, but can also be an extension of the human. this happens through play, interactivity, and, most importantly, providing platforms for humans to engage with the world around them. --------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
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