IN // OUT SUBURBAN ART ARK THESIS
IN // OUT SUBURBAN ART ARK THESIS CECILIA HOANG NGUYEN THE UNIVERSITY OF MELBOURNE MELBOURNE SCHOOL OF DESIGN SUPERVISOR PAUL WALKER
HOW CAN 1950’S MODEL AUSTRALIAN
SUBURBS
HOUSING IN
TRANSFORM
NATURE OF A TYPICAL MUSEUM?
THE
CONTENTS THESIS STATEMENT.........................................................................................................1 RESEARCH METHODOLOGIES..................................................................................... 3 HOWARD ARKLEY.........................................................................................................5 BUILDING PRECEDENTS................................................................................................ 15 THE SITE: MOORABBIN................................................................................................31 THE PROPOSAL........................................................................................................... 45 SITE PLAN........................................................................................................51 ELEVATIONS................................................................................................... 52 SECTIONS....................................................................................................... 55 AXONOMETRIC............................................................................................. 58 PERSPECTIVES................................................................................................ 60 JOURNEY....................................................................................................... 62 LITERATURE AND THEORIES........................................................................................ 64
THESIS THIS THESIS ARGUES THAT THROUGH THE STUDY OF A BROADER DOMESTIC CONDITION OF 1950’S AUSTRALIAN SUBURBS AND MODEL HOUSING, THE NATURE OF A TYPICAL MUSEUM SPACE CAN BE TRANSFORMED. THE FOCUS IS ON THE NEWLY INTRODUCED IDEAS OF PLANNING THAT HAD AROSE IN THE 1950’S. IN PARTICULAR, THE CHANGE OF RELATIONSHIPS BETWEEN INTERNAL AND EXTERNAL LIVING SPACES IN AUSTRALIAN SUBURBIA. THESE TRADITIONAL RELATIONSHIPS ARE CHALLENGED AND THE IDEAS THAT MANIFEST FROM THEM RESONATE IN THE PLANNING FOR THIS PROJECT. THIS IS ACHIEVED THROUGH THE RECONFIGURATION OF THE BACKYARD AND EXISTING DOMESTIC SPACES TO CREATE A NEW MUSEUM FOR HOWARD ARKLEY.
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METHODS A WIDER RANGE OF LITERATURE RESEARCH HAS BEEN UNDERTAKEN ALONGSIDE CRITICAL ANALYSIS OF THE VARIOUS TEXTS TO PROVIDE A BETTER UNDERSTANDING OF THE HOUSES AND LIFESTYLE OF THE 1950’S PERIOD. EXTENDED RESEARCH ON MUSEUM PRECEDENTS HAS BEEN DONE TO FIND FURTHER INSPIRATION FOR PLANNING, MATERIALITY AND THE OVERALL FORMAL OUTCOME FOR A MUSEUM. PLAN ITERATIONS EXPERIMENT WITH THE EXISTING HOUSES JUTTING THROUGH IN VARIOUS WAYS AND MODIFICATION OF THE ENTRY AS WELL AS CIRCULATION OF THE GALLERY. IN RELATION TO THIS, THERE IS CONSIDERATION OF THE ARKLEY ARTWORKS TO CATER TO THEIR SIZE AND PLACEMENT. RETHINKING THE TYPICAL MUSEUM BY DRAWING ATTENTION TO THE CEILING. PLAYING WITH THE IN AND OUT IDEAS OF MY THESIS ARGUMENT AND CREATING A DOMESTIC SENSE WITHIN THE COMMERCIAL GALLERY SETTING BY INVERTING THE HIP ROOF FORMS. DIGITAL EXPERIMENTATION WITH THE CEILING DESIGN IS UNDERTAKEN WITH MANY VARIATIONS AND EXPERIMENTS WITH HEIGHT/DEPTH AND COLOUR TO CHALLENGE THE WHITE BOX INTERIOR. NEW EXPLORATIONS OF A GLASS WALL, AS A BACKDROP FOR THE HOUSES BUT ALSO CONCEALS THE BACKYARD GALLERY. IT CONTRASTS WITH THE HOUSES PAINTED IN BRIGHT “ARKLEY” STYLE COLOURS. A DESIGN INTERVENTION THAT CELEBRATES THE ARCHETYPE, WITHOUT DAMAGING OR TAINTING THEIR ORIGINAL FORM AND STRUCTURE.
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ARKLEY
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HOWARD ARKLEY HOWARD ARKLEY IS KNOWN FOR HIS PAINTINGS OF AUSTRALIAN SUBURBIA. HIS SIGNATURE STYLE DEPICTED THE EVERYDAY & CELEBRATES THE SUBURBAN UBIQUITY USING VIBRANT AIRBRUSH-LIKE VISUALS. HOWARD ARKLEY WAS BORN ON MAY 5, 1951 AND GREW UP IN MELBOURNE. HIS EARLY PASSION FOR ART WAS INSPIRED BY SIDNEY NOLAN’S SURREAL PAINTINGS. ARKLEY ADMIRED THE WORK OF PAUL KLEE WHOSE WORK INCLUDED A LOT OF SPRAYED OR PAINTED CALLIGRAPHIC LINES. ARKLEY ATTENDED THE PRAHRAN COLLEGE OF ADVANCED EDUCATION AND WAS INTRODUCED TO AIRBRUSH BY HIS LECTURER FRED CRESS. ARKLEY REFINED THE USE OF THE AIRBRUSH AS A DRAWING TOOL WHICH HE MANIPULATED EXPERTLY LIKE A PEN. THE AIRBRUSHED LINE SUGGESTED PRINTED AND MASS PRODUCED IMAGES.
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AIRBRUSH PAINTINGS
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LAURA’S LIVING BLACK 1972
TRANSPASS 1972
UNTTITLED 1972
UNTITLED 1972
WHITE PAINTINGS
ORGANIC MODEL F 1976
ORGANIC MODEL G 1976
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DOOR PAINTINGS
50’S 1979
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ARABESQUE 1979
BODGIE 1979
DECO 1979
PSYCHEDLIC 1979
PROTON NEUTRON 1979
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SUBURBAN PAINTINGS
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OUR HOME 1986
BUNGALOW HOME 1987
BRICK VENEER 1988
STUCCO HOUSE 1988
NUBRICK 1986
O.Y.O FLATS 1987
TRIPLE FRONTED 1987
FAMILY HOME 1988
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PRECEDENTS
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LOWLINE ‘LOWLINE’ DESIGNED BY KEN WOOLLEY AND MICHAEL DYSART (PETTIT & SEVITT, 1966-1978) PETTIT + SEVITT INCORPORATED DESIGN PRINCIPLES IN THEIR HOUSES THROUGH SIMPLE LINES, ‘NATURAL’ FEATURES AND AN EMPHASIS ON FUNCTIONALISM. THEY FOCUS ON ECONOMIC AND VERSATILE USE OF SPACES WITH FLEXIBILITY FOR THEIR CLIENTS. THE HOUSE IS LONG AND NARROW AND HAS A STRUCTURAL ROOF THAT HAS THE ABILITY TO E EXTENDED IF ADDITIONAL ROOMS ARE ADDED. THE ROOF IS USUALLY FLAT AND INCLUDE EAVES THAT PROVIDE A SHELTERED CHARACTER. RECYCLED MATERIALS ARE USED IN THE CONSTRUCTION OF THE HOUSE, SUCH AS IN The CONCRETE, BASE FILL AND PAVING.
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THE DAYTONA THE DAYTONA BY AV JENNINGS, AN EXAMPLE OF THE TYPICAL TRIPLE FRONTED HOUSE EXTERIORS (1966) THE DAYTONA WAS ONE OF THE EARLY DESIGNS IN THE 1960S BY AV JENINGS DESIGNS THAT WAS MOR MARKET/CLIENT FOCUSED THAT PRODUCTION. AV JENNINGS ADDED TO THE IDEAS OF PREFABRICATION STRATEGIES BY FOCUSING ON INTERNAL PLANNING OF THE HOMES. THE DAYTONA INCORPORATED AN OPEN PLAN DESIGNS WHEREBY THE KITCHEN, DINING, AND BREAKFAST ROOM WERE GENERALLY IN ONE SPACE. AS A RESULT, THE PLANS WERE BASED MORE ON A MODERNIST APPROACH WITH LESS ZONING IN AREAS SUCH AS THE LIVING, DINING AND KITCHEN SPACES.
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HOUSE OF TOMORROW THE ‘SMALL HOMES SERVICE’ DESIGNS BY ROBIN BOYD & OTHERS (A PRIME EXAMPLE IS THE HOUSE OF TOMORROW DESIGNED IN 1949)
THE AIM WAS TO SHOW HOW CONTEMPORARY IDEAS COULD BE CONVERTED INTO THE REAL HOUSES FOR TOMORROW, AND WHAT COULD ‘BE ACHIEVED IN THE HOME BY THOUGHT AND PLANNING’. BOYD’S HOUSE OF TOMORROW WAS 13 SQUARE, TWO STOREY AND FULLY FURNISHED INSIDE AND OUT. IT HAD AN OPEN FLOOR PLAN AND INTEGRATED INTERIOR DESIGN SCHEME THAT INCLUDED ELECTRICAL APPLIANCES, FABRICS, LIGHTING, FLOOR AND WALL FINISHES AND FURNITURE.
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TERRACE HOUSE MERCHANT BUILDERS IN MELBOURNE (AN EXAMPLE IS TERRACE HOUSE ALSO KNOWN AS HOUSE NO 1.) DESIGNED BY GRAEME GUNN IN 1965 THIS HOUSE WAS ONE OF THE THREE HOUSES THAT WAS FIRST DISPLAYED AT GLEN WAVERLY IN 19651966. ALL THREE HOUSES HAD SOME CONSISTENT ELEMENTS SUCH AS EXPOSED BEAMS, STAINED TIMBER JOINERY AND WHITE PAINTED PLASTERBOARD WALLS. RATHER THAN BEING THE STANDARD FLOOR PLAN THAT WAS EXPANDED OR CONTRACTED IN PLAN, THIS DESIGN EXPLORED THE DIFFERENT INTERNAL HEIGHTS AS WELL. GRAEME GUNN EXPLORES THE DIFFERENT POSSIBILITIES OF EXTENDING UPWARDS IN THE DESIGN.
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FEATHERSTONE HOUSE FEATHERSTONE HOUSE AT IVANHOE, DESIGNED BY ROBIN BOYD COMPLETED IN 1968 THE FEATHERSON HOUSE IS LOCATED ON A SLOPING SITE OVERLOOKING PARKLAND IN THE MIDDLE SUBURBS OF MELBOURNE. BOYD’S DESIGN IS BASED ON THE THEME OF LIVING IN A GARDEN. THE MAIN EXPOSITION OF THIS IDEA IS A LARGE 7.5M HIGH SPACE AT THE CENTRE OF THE HOUSE. HERE THE LIVING, DINING, STUDY AND MASTER BEDROOM SPACES ARE SUSPENDED ON A SERIES OF FOUR STAGGERED, PLATFORMS THAT FLOAT ABOVE AN INDOOR GARDEN. THE CEILING IS TRANSLUCENT THAT ALLOWS LIGHT TO ILLUMINATE THE SPACE BELOW. TO THE SOUTH THERE IS A GLASS WALL THAT PROVIDES ADDITONAL LIGHT AS WELL VIEWS TO THE PARKLANDS BEYOND.
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BOYD HOUSE BOYD HOUSE AT WALSH STREET IN SOUTH YARRA, DESIGNED BY ROBIN BOYD HIMSELF AND BUILT IN 1958 THE BOYD HOUSE DEMONSTRATES THE DESIGN PRINCIPLES HE DESCRIBES IN ‘THE AUSTRALIAN UGLINESS‘, INCLUDING WHAT HE IDENTIFIED AS THE SUBURBAN TENDENCY TO BUILD HOMES ON THE VERY CENTRE OF A BLOCK OF LAND. IT IS A SIGNIFICANT EXAMPLE OF HIS WORK IN RELATION TO DOMESTIC DESIGNS BASED ON STRONG STRUCTURAL AND FUNCTIONAL IDEAS. DESPITE THE LAND BEING NARROW AND LONG, ROBIN BOYD STILL DEMONSTRATES THE ADVANTAGE OF A MORE INTROSPECTIVE LAYOUT. THE HOUSE IS FACING INWARD AND ENVELOPES A CENTRAL COURTYARD. THIS IS LINKED BY A DISTINCTIVE SLOPING SINGLE CABLE HUNG ROOF.
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OFFSET HOUSE ‘OFFSET HOUSE’ BY OTHEROTHERS IN THE OCCUPY EXHIBITION AT RMIT, 2016 THE DESIGN AIMS TO ADDRESS THE SHORTFALL OF AUSTRALIAS TITLE OF THE WORLDS LARGEST AVERAGE DWELLING SIZE BY REAPPROPRIATING THE SUBURBAN ‘MCMANSION’. A SIMPLE GESTURE THAT HAS THE ABILITY TO CHANGE THE VIEWERS PERSPECTIVE. OTHEROTHERS STRIPS AWAY THE BRICK VENEER AND INSERTS A SMALLER DWELLING – OR DWELLINGS – WITHIN THE EXPOSED STUD FRAME. THE ZONE BETWEEN OUTER-FRAME AND INNER-WALL PROVIDES SHADING, VENTILATION, RECREATION AND PRIVACY, WHILE THE SPACE BETWEEN HOUSES CAN BECOME A NEIGHBOURHOOD COMMONS.
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TILED GARDEN ‘TILED GARDEN’, AN INSTALLATION BY WANG SHU, VENICE BIENNALE, 2006 WANG SHU IS KNOWN TO DESIGN STRUCTURES EMPLOYING CLAY TILES IN RADICALLY DIFFERENT WAYS. IN THIS PARTICULAR PROJECT, THE USE OF ROOF TILES REPRESENT AN OPPORTUNITY TO CREATE A KIND OF ARTIFICIALLY BUILT LANDSCAPE. A SEA OF TENS OF THOUSANDS OF RECYCLED TILES FROM THE LOCAL AREA WERE CARE-FULLY LAID IN ROWS AND ACCESSED BY PEDESTRIAN BAMBOO BRIDGES. THE UNDULATING PEAKS AND VAL-LEYS OF THE TILE ROOF MIMIC THE TOPOGRAPHY OF THE SURROUNDING LANDSCAPE AND FORM A MEDITATIVE ENVIRONMENT ON THE ROOF OF THE PRIMARY STRUCTURE.
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NELSON ATKINS THE NELSON ATKINS MUSEUM OF ART BY STEVEN HOLL IN 2007 THE NELSON ATKINS MUSEUM OF ART MERGES ARCHITECTURE WITH LANDSCAPE TO CREATE AN EXPERIENTIAL ARCHITEC-TURE. THE INNOVATIVE MERGING OF LANDSCAPE, ARCHITECTURE AND ART WAS COMPLETED THROUGH CLOSE COLLABORATION WITH MUSEUM CURATORS AND ARTISTS. VISITORS CAN EXPERIENCE A FLOW BETWEEN LIGHT, ART, ARCHITECTURE AND LANDSCAPE, WITH VIEWS FROM ONE LEVEL TO ANOTHER, FROM INSIDE TO OUTSIDE. THE MUSEUM PLAYS WITH IDEAS OF OPACITY, LIGHT, MATERIALITY AND VIEWS IN RELATION TO THE VISITORS EXPERIENCE OF THE SPACE. AT NIGHT THE GLASS VOLUME GLOWS FROM WITHIN TO PROVIDE AN INVITING CURIOSITY, DRAWING VISITORS TO THE MUSEUM EVENTS AND ACTIVITIES.
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CORNING MUSEUM CORNING MUSEUM OF GLASS IN NEW YORK DESIGNED BY THOMAS PHIFER IN 2015 THE CORNING MUSEUM OF GLASS IS A SPACIOUS LIGHT-FILLED DESIGN THAT HAS GALLERIES FOR ITS COLLEC-TION OF CONTEMPORARY WORKS IN GLASS, AS WELL AS ONE OF THE WORLD’S LARGEST FACILITIES FOR GLASSBLOWING DEMONSTRATIONS AND LIVE GLASS DESIGN SESSIONS. THE DESIGN FEATURES SKYLIGHTING WITH A SOPHISTICATED LIGHT-FILTERING SYSTEM THAT IS INTEGRATED WITH THE STRUCTURAL ROOF BEAMS. THE GALLERY EXPERIENCE IS PUNCTUATED BY A 150 FOOT LONG WIN-DOW THAT ALSO PROVIDES VISITORS WITH GLIMPSES INTO THE GARDENS AND REORIENTS THE VISITOR TO THE LARGER LANDSCAPE. THERE IS ALSO A JUXTOPOSITION BETWEEN THE TWO BUILDINGS AS SEEN IN THE IMAGE BELOW, INDICATING THE ORIGINAL MUSEUM AND THE EXTENSION.
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LOUVRE LENS LOUVRE LENS DESIGNED BY SANAA CONCEIVED AS PART OF AN INTERNATIONAL COMPETITION IN 2006 TO AVOID CREATING A DOMINATING FORTRESS, SANAA DESIGNED A LOW LYING BUILDNG WITH AN EASILY AC-CESSIBLE STRUCTURE THAT INTEGRATES INTO THE SITE WITHOUT IMPOSING ON IT BY ITS PRESENCE. THE STRUCTURE IS MADE UP OF FIVE BUILDING OF STEEL AND GLASS AND SPANS A TOTAL OF 360 METRES. THE FACADES ARE MADE OF POLISHED ALUMINUM WHEREBY THE SURROUNDING PARK IS REFLECTED. THE ROOF IS PARTIALLY GLASS TO BRING IN LIGHT, BOTH FOR EXHIBITING THE WORKS AND FOR BEING ABLE TO THE SKY FROM INSIDE THE BUILDING. THE NATURAL LIGHT IS CONTROLLED BY INSTALLING A CONCEALMENT DEVICE IN THE ROOF AND INTERIOR SHADES FORMING THE CEILING.
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KUNSTHAUS BREGENZ KUNSTHAUS BREGENZ IN AUSTRIA BY PETER ZUMTHOR COMPLETED IN 1997 PETER ZUMTHOR’S MINIMALIST MUSEUM DESIGN ADAPTS ITS SPACES TO THE ART THAT IS SHOWCASED IN ITS EXHIBITS WHICH CREATES A COEXISTING AND REDEFINING RELATIONSHIP BETWEEN THE ART AND THE ARCHITECTURE. IT IS MADE OF GLASS AND STEEL AND A CAST CONCRETE STONE MASS WHICH ENDOWS THE INTERIOR OF THE BUILDING WITH TEXTURE AND SPATIAL COMPOSITION. FROM THE OUTSIDE, THE BUILDING LOOKS LIKE A LAMP. IT ABSORBS THE CHANGING LIGHT OF THE SKY, THE HAZE OF THE LAKE, IT REFLECTS LIGHT AND COL-OUR AND GIVES AN INTIMATION OF ITS INNER LIFE ACCORDING TO THE ANGLE OF VISION, THE DAYLIGHT AND THE WEATHER AS DESCRIBED BY ZUMTHOR HIMSELF.
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LYONS HOUSEMUSEUM LYONS HOUSEMUSEUM BY LYONS ARCHITECTS IN KEW COMPLETED IN 2008 THE DESIGN SPECULATES THE CONJUNCTION OF ART AND LIVING AS WELL AS ON CONVENTIONAL NOTIONS OF ‘PUBLIC’ AND ‘PRIVATE’. IT EXPLORES NEW RELATIONSHIPS BETWEEN ART AND ARCHITECTURE THROUGH THE DEVELOPMENT OF A NEW HYBRIDISED TYPE – A ‘HOUSEMUSEUM’. THE JUXTAPOSITION OF TWO SEEMINGLY CONFLICTING PROGRAMS PRESENT-ED UNIQUE OPPORTUNITIES AND CHALLENGES FOR THE DESIGN. BY JUXTA-POSING AND INTERWEAVING THE TWO PROGRAMS AND TYPES, THE SPACES IN THE BUILDING ARE INTENTIONALLY AMBIGUOUS IN THEIR TYPOLOGICAL READINGS. INTERNALLY, THERE ARE TWO LARGE DOUBLE HEIGHT SPACES - A ‘WHITE CUBE’ AND ‘BLACK BOX’ – WHICH ARE DESIGNED EXPLICITLY AS PUBLIC MUSEUM SPACES.
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THE SITE
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MOORABBIN 493-501 SOUTH ROAD, MOORABBIN, VICTORIA, 3189 TOTAL OF 5 HOUSES WITH EACH APPROXIMATELY AN AREA OF 16.5M X 46M MOORABBIN IS A SUBURB IN MELBOURNE, VICTORIA, AUSTRALIA, 15 KM SOUTH-EAST OF MELBOURNE’S CENTRAL BUSINESS DISTRICT. ITS LOCAL GOVERNMENT AREA IS THE CITY OF KINGSTON. SIGNIFICANT RESIDENTIAL AND INDUSTRIAL DEVELOPMENT OCCURRED FROM THE POST-WAR YEARS, WITH RAPID GROWTH DURING THE 1950S AND 1960S. HOUSING IN MOORABBIN COMPRISES MAINLY 3-BEDROOM RED OR CREAM BRICK DETACHED HOUSES BUILT BETWEEN THE 1950S AND 1970S.
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SITE PLAN
491
0
2m
4m
6m
8m
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SCALE 1: 200
10m
493
495
497
499
501
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SITE ELEVATION
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HOUSE ONE
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HOUSE TW0
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HOUSE THREE
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HOUSE FOUR
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HOUSE FIVE
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PROPOSAL
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THE BRIEF CORE REQUIRMENTS - ENTRY, RETAIL, TICKETING, CLOAK ROOMS (OPEN AND CLOSED), 20 LOCKERS - MAIN GALLERY/FUNCTIONS SPACE EASILY ACCESSIBLE TO PUBLIC - TEMPORARY EXHIBITION SPACE, TICKET CONTROLLED
100M2 200M2 200M2
- OFFICE AREAS (ASSUME 5 ADMIN STAFF AND HAVE VIEWS) - STAFF KITCHEN AND TOILETS X2, DISABLED TOILET WITH CHANGING TABLE - LARGE MEETING ROOM/BOARD MEETING ROOM OFF MAIN GALLERY SPACE FOR PUBLIC
10M2 30M2
- CONSERVATION AND WORKSHOP FOR FRAMING AND MATTING WITH STORAGE CONNECTED TO ...TO LOADING BAY NEEDS TO BE ENCLOSED AND WEATHER TIGHT 200M2
PERIPHERALS EXTRA GALLERY, DOESN’T NEED TO BE ON GROUND FLOOR COMMUNITY GALLERY NEEDS ACCESS FROM LOBBY
100M2 100M2
CHILDREN’S SPACES, WORKSHOP TYPE SPACES SMALL SCALE AUDITORIUM ACCESSIBLE AFTER HOURS WITH DIFFERENT ENTRY
20-70M2 120-170M2
CAFÉ AND/OR RESTAURANT KITCHEN AND AREA FOR CATERING
50M2 150-200M2
ARTISAN RESIDENCE, SCHOLAR RESIDENCE ADJACENT TO OFFICE AREAS GIFT SHOP AND/ OR SALES OUTLET
100M2 15M2
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ANALYTICAL DIAGRAMS THE PURPOSE OF THESE DIAGRAMS IS TO EXPLORE THE EXISTING CONDITIONS OF THE INTERNAL AND EXTERNAL SPACES AND PLANNING. THESE DIAGRAMS ARE THEN RECONFIGURED AND DIRECTLY INSPIRE THE PLAN FOR MY HOWARD ARKLEY MUSEUM DESGN.
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PLAN
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ELEVATIONS THE ELEVATIONS SHOW THE CONTRAST IN THE COLOURS OF THE BOUGAINVILLEA AND THE PAINTED HOUSES. IN ADDITION TO THESE STRIKING COLOURS, THE GLASS FACADE BEHIND ACTS AS A CANVAS DURING THE DAY AND PROVIDES AN ILLUMINATING EFFECT DURING THE NIGHT.
NIGHT ELEVATION
DAY ELEVATION
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SECTIONS THE SECTIONS EXPLORE THE DIFFERENT LIGHTING POSSIBILITIES AND HOW IT CAN CREATE A DIFFERENT MUSEUM EXPERIENCE FOR VISITORS. THE INVERSED ROOF HEIGHTENS THE EXPERIENCE INSIDE BY PLAYING WITH THE DIFFERENT VOLUMES. IN ADDITION, THERE IS OPEN STORAGE ACCESSIBLE BY THE PUBLIC.
CROSS SECTION
MUSEUM SECTION
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SECTIONS THE EXISTING HOUSES REMAIN ALMOST UNTOUCHED. SOME INTERIOR WALLS ARE REMOVED TO PROVIDE LARGER SPACES, AND THE CEILING IS NOW EXPOSING THE TRUSSES. THE PAINTED EXTERIOR CONTINUES INTO THE INTERIOR AND TAKES INSPIRATION FROM THE PHOTOS SEEN ON THE FOLLOWING PAGE.
SECTION OF EXISTING HOUSES
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AXONOMETRIC THE PERMANENT HOWARD ARKLEY GALLERY THERE IS A DIVISION OF THE GALLERY INTO 3 SMALLER EXHIBITION SPACES: 1972 - 1976 THIS DISPLAYS THE AIRBRUSH AND WHITE PAINTINGS 1978 - 1979 DISPLAYING DOOR AND ORNAMENT PAINTINGS 1986 - 1989 DISPLAYS SUBURBAN THEME PAINTING ALL OF THE ADDITIONAL GALLERY SPACES WILL DISPLAY SMALLER PAPER WORK, VISUAL DIARIES AS WELL AS MISCELLANEOUS ITEMS DONE BY HOWARD ARKLEY HIMSELF.
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PERSPECTIVES
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FROM LEFT TO RIGHT: A VIEW FROM SOUTH ROAD LOOKING INTO THE ENTRANCE WHICH LIES BETWEEN THE TWO EXISTING BUILDINGS. THE ATRIUM WHICH HAS THE RECEPTION, LOCKERS AND GIFT SHOP. THIS IS THE ENTRY INTO THE ACTUAL EXHIBITION SPACE. THIS THRESHOLD SPACE IS LINKED TO THE ATRIUM AND THERE IS A PLAY BETWEEN INTERNAL AND EXTERNAL SPACES AS WELL.
FROM LEFT TO RIGHT: GALLERY ONE HAS ALL OF ARKLEYS AIRBRUSH AS WELL AS WHITE PAINTINGS EXHIBITED GALLERY TWO HAS ALL THE DOOR FORMAT PAINTINGS AS WELL AS SOME ORNAMENTAL WORKS BY ARKLEY GALLERY THREE IS DEDICATED TO ONLY SUBURBAN AND URBAN THEMED ARTWORKS DONE BY ARKLEY OVER THE YEARS.
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JOURNEY THROUGH SPACE
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LITERATURE - ROBIN BOYD, THE AUSTRALIAN UGLINESS, (MELBOURNE: F. W CHESHIRE, 1960). - ROBIN BOYD, LIVING IN AUSTRALIA, (VICTORIA: THAMES AND HUDSON AUSTRALIA, 2013). - JUDITH O’CALLAGHAN AND CHARLES PICKETT, DESIGNER SUBURBS: ARCHITECTS & ...AFFORDABLE HOMES IN AUSTRALIA, (SYDNEY: NEW SOUTH PUBLISHING, 2012). - PETER CUFFLEY, AUSTRALIAN HOUSES OF THE FORTIES & FIFTIES, (FIVE MILE PRESS, 1993). - IAN NAIRN, OUTRAGE (A REPRINT OF THE ARCHITECTURAL REVIEW), (THE ARCHITECTURAL .. PRESS, 1956). - RICHARD APPERLY, ROBERT IRVING AND PETER REYNOLDS, A PICTORIAL GUIDE TO ... ...IDENTIFYING AUSTRALIAN ARCHITECTURE: STYLES AND TERMS FROM 1788 TO THE PRESENT, ...(SYDNEY: ANGUS & ROBERTSON, 1989). - SARAH FERBER, CHRIS HEALY & CHRIS MCAULIFFE, BEASTS OF SUBURBIA: REINTERPRETING ...CULTURES IN AUSTRALIAN SUBURBS, (VICTORIA: MELBOURNE UNIVERSITY PRESS, 1994). - JUDITH O’CALLAGHAN, THE AUSTRALIAN DREAM: DESIGN OF THE FIFTIES, (NSW: ... ...POWERHOUSE PUBLISHING, 1993). - TRACEY SMITH, CREATIVE RELATIONSHIPS WITHIN THE AUSTRALIAN HOUSE MUSEUM, (LULU, ...2012). - ROBIN BOYD, AUSTRALIA’S HOME: WHY AUSTRALIANS BUILT THE WAY THEY DID, (PENGUIN ...BOOKS AUSTRALIA, 1978). - ROYAL AUSTRALIAN INSTITUTE OF ARCHITECTS AND DONALD GAZZARD, AUSTRALIAN ...OUTRAGE: THE DECAY OF A VISUAL ENVIRONMENT, (SYDNEY: URE SMITH, 1966).
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