My scheme arised in particular from the following description of Armanious' work 'frequently utilises the process of casting to reconsider interrelationships between likeness, resemblance, material and function' and the intention to integrate the apartment and gallery architecture.
In this way i attempted to cause people to reconsider the interrelationships between a gallery and apartment and their similarities and differences in terms of privacy, display and viewing.
I decided to work with site 1 for the interesting opportunities that could arise from from the long and narrow site. The site fronts onto King St., backs onto a small reserve, and is flanked by a a small retail store (carpark at rear) and the dendy cinema.
I decided upon Hany Armanious as the artist who would inspire my design. His works are extremely interesting and offered a lot when I was developing my scheme and concept. Below is a small summary and selection of his works.
Armanious frequently utilises the process of casting to reconsider interrelationships between likeness, resemblance, material and function. These often digressive investigations are frequently imbued with an oblique form of mysticism. Armanious’s fake artifacts evoke both playful analogies and metaphysical problems that ultimately remain unresolved.
I will attempt to briefly explain the concept behind this simplistic looking model. Initially, when analysing Edward Hoppers Excursion into Philosophy the primary things I noticed were a melancholic looking man, deep in contemplation in a room with a window leaving a large patch of sunlight at his feet. I read some information on this work which suggested the man was contemplating Plato, life on earth and the afterlife. However, from this my narrative developed into something along the lines of:
A ROOM FOR A WRITER, STUCK IN SUBURBIA, SEARCHING FOR PURPOSE AND PERSPECTIVE.
Beyond my analysis of this work, I began to look at Hopper’s works in general and how the patches of light coming through the openings are painted as a solid colour, unlike in the Dutch paintings, and how they fill the room. I began to imagine these light patches as solid shapes, simultaneously polluting, and creating the bounds of the room. This is represented in my first concept model.
Taking this idea, I began to create the space out of simplistic shapes representing light/openings/program. My main focus was on shifting openings and degrees of transparency. So, at first the room is uninhabitable, there is no evidence of program – the solid light pollutes the room-this conveys my characters confusion and his fixed position in suburbia. Then as the openings shift, they become the program or reveal the program, and suddenly there are inhabitable spaces. Simultaneously, as these openings shift (can convey the passing of time and hence the characters contemplation and reaching resolution), new openings are created, and offer new perspectives outwards.
The function of windows and their role in creating program are some things I questioned.
I used plaster, resin and acetates of various thicknesses is exploring transparency.
I think this explains my thought process and the basics of what became a fairly conceptual model.
Concept Model 1
Concept Model 2
This shows the 'polluted' room, uninhabitable
The Openings/light shift and reveal the program. I imagined the plaster shape to the right as a private outdoor room, the left wall is louver-like windows, which move outwards to offer a bookcase internally. The back wall opening moves inwards to create a table, making a new opening in the wall. The central stairs lead to an upper library level hosued in the resin block.