GRAFFITECTURE GRAFFITI & ARCHITECTURE
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by mike dobson m.arch (hons) UWA 2008 STUDIO M1 fremantle, Perth WA www.studiom1.com.au www.graffitecture.net
VOLUME ONE - STUDENT WORKS
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PROJECT 1
PROJECT 2
PROJECT 3
GRAFFITECTURE
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A retrospective compilation of student projects exploring the marriage of graffiti and architecture.
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Graffiti art -as distinct from vandalism- is emerging as a valuable and significant art style on the world stage, recognised for its fun, bright, lively and bold use of colour and form often in bleak urban settings. Graffiti art was born in New York CIty (circa 1970) in response to the dull cityscape as the artistic componant of the hip-hop revolution. Graffiti quickly spread to every western city in the world and many others. Practiced globally, graffiti has shifted its public perception from a criminal act with no artistic merit to a legitimate and widely applauded artform. While public perception evolves, graffiti still remains most popular with urban youth. Graffiti is the art of the urban environment and architecture is the art of building the urban environment.
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The challenge of graffitecture is interpreting an artistic style into a built form while retaining the character of the graffiti style. Graffiti -similar to any art style- has no boundries, constrictions or rules. Guidelines exist to execute ‘traditional’ graffiti pieces although all guidelines remain open ended. Similarly graffiti crossed with architecture is entirely open to interpretation about what it could/ should be and the extent of its implementation to be considered ‘graffitecture’. Can existing projects be considered graffitecture if they have characteristics of a graffiti piece either through form and symbolism? or purely through construction and intent ie. an ephemeral structure created without permit? Graffiti by nature is an ephemeral style, often done illegally graffiti may last a day or a year before it is removed or painted over. This is generally accounted for by graffiti artists choosing to paint their best works (pieces) in places likely to exhibit for a long time. Less certain locations require a quicker, less intensive approach (throw-ups) which results in a range of site appropriate styles in each graffiti artists repatoire which can be a strategy appropriated into architecture. The temporality of a project should inform the method of construction and its materiality. While defined by many meanings, graffiti has tangible elements, techniques, styles and strategies used commonly by graffiti artists to convey their message. Elements such as form (bubble, wildstyle, straight letter, 3d etc), symbolism (arrows, crosses, drips, speech bubbles etc) and technique (colour, outline, keyline, shadow, 3d, highlights etc) are used -but in no way limited- in most graffiti pieces to convey different messages which are open for architectural interpretation. The aspiration of graffiti art is to be as bold and eyecatching as possible with infinite possibilities and combinations of how to achieve this. For some applications this is a valuable architectural aspiration which could be incorporated into a range of projects and propositions. While graffiti remains a bit taboo with some sectors in society, other more youthful groups and perhaps developers will be drawn to graffitectures many unique applications. The three presented projects are site specific applications of various ideas on graffitecture investigating possibilities and dialogue between an ephemeral rebellious art and a rigid, programmatic outcome in an often conservative field.
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outline
background highlight
keyline 3d effect
colour fade detail
STRATEGY
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#1 - One at a time Using one particular style or artist for inspiration. This example is a self analysis at my own style of hollowed out forms and letters. It is a style influenced by architectural technique- particuarly the use of cross sections and subtraction. Because of its direct influence by architecture it is a simple process to revert back into an architectural proposal. This example explores the ‘hollow’ form and symbolism in its structure and decoration. The ‘one at a time’ approach adresses interpreting one graffiti style at a time. Depending on the application this is a very narrow approach and therefore very limited. Perhaps applied on a series of ‘one on one’ projects, working closely with a number of top graffiti artists would the ‘one at a time’ method encompass a sufficient overview of graffiti and its varying styles.
#2 - symbolism and style This style of graffiti interpretation is non case specific, it attempts to overview graffiti art by breaking it down into its various forms, symbols and techniques. Graffiti has many different forms and styles ranging with the artists skills and preferred style- the simplest and most reproduced example is the tag which often evolves with the artist into a throw up style, straight letter piece and eventually into a wildstyle. This is a simple rendition of a graffiti artists ‘stages’ as each level has infinite possibilities, a well executed tag by a mature artist can be a revelation while an amateur attempt at a wildstyle piece can be repulsive. Symbolism is everywhere in graffiti- arrows, bubbles, crosses, drips, splats, stars, thought and speech bubbles, inverted commas and more. Style also offers a symbolism with a traditional piece style incorporating its form with background, fill, colour fades, 3d, outlines, highlights, details, roll call and a keyline. These componants make up the universal graffiti language. Combining elements from graffiti’s varying style and symbolism can be used interpretively in combination with a form derived from an architectural program to create a general graffiti aesthetic, that is program specific with unlimited potential and possibilities.
#3 - graffiti vernacular Using techniques derived from symbolism and style, graffiti vernacular considers ‘appropriate’ use for graffitecture considering its target audience, siting and appreciation of the graffiti aesthetic. Graffiti’s roots lie with urban youth often in and around abandoned buildings and vacant areas. Other urban youth co-inhabiting these space often include skateboarders and homeless youth, combined dubbed the 1%ers, a minority in society with little public anmenity facilities who are more often than not designed against with intent to repel rather than to embrace. Graffiti vernacular incorporates a range of programmatic oppourtunities for the 1%ers with a graffiti inspired aesthetic on sites familiar to its users. Minimal resources and budgets are considered creating affordable alternatives for social and public buiding projects.
PROJECT ONE
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Perth Concert Hall extension to include WASO (West Australian Symphany Orchestra) facilities and performance space. 2007, complex building studio, supervisor- Emiliano Roija
ELEV 3
SECTION 2
SECTION 2
8.100
PROJECT TWO
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Busselton Performing Arts Centre (BPAC) and facilities, WA. Busselton is a small coastal town in Western Australias South West region. The BPAC is intended to draw tourism into town from the busy route to more popular south west locations close by. Busselton has minimal cultural and youth facilities and has trouble entertaining and retaining youth from the area. 2008 supervisor- Rene Van Meeuwin
AMPHITH
INITIAL SITE PLAN CONCEPT
SERVICE
RS
USE
STAFF PARKING STAFF/ PRIVATE / PERFORMERS
PUBLIC
CES
SPA
SERVICE / PLANT / BACKSTAGE
WALKWAYS RESTRAUNT / ARTISTS LOUNGE STAGE / FLY TOWER
ADMINISTRATION
THEATRE PUBLIC PARKING
FOYER
SCULPTURE SPACE
SCULPTURE GARDEN
HEATRE
DECKING / RESTERAUNT
FOYER PERSPECTIVE
COLOUR SWATCH CONCEPT
SITE PLAN / 1/ 500 N
GRAFFITI CONCEPT REALISATION
BUSSELTON PERFORMING ARTS CENTRE / 2008 / 10303986
COLOUR SWATCH ALLOCATION
CYLINDER CONCEPTION
SIDE PANELS
N
GROUND FLOOR PLAN / 1 / 200
CANAL/ PATHWAYS / RESTRAUNT
BUSSELTON PERFORMING ARTS CENTRE / 2008 / 10303986
STACKED FACADE
MODEL PERSPECTIVES
SPIRAL STAIR CONCEPT
FACADE STRUCTURE
BUBBLE ROOM
N
FIRST FLOOR PLAN / SECOND FLOOR PLAN / 1 / 200
BUSSELTON PERFORMING ARTS CENTRE / 2008 / 10303986
GRAFFITI ELEVATION SOUTH
GRAFFITI ELEVATION WEST
WEST ELEVATION
SECTION A-A’ COLOUR SWATCH
GRAFFITI ELEVATION NORTH
GRAFFITI ELEVATION EAST
SECTION B-B’
NORTH ELEVATION
SECTION B-B’ COLOUR SWATCH
BUSSELTON PERFORMING ARTS CENTRE / 2008 / 10303986
SECTION B-B’ / NORTH ENTRY ELEVATION / 1 / 200
PROJECT THREE
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This project is set in the port of Fremantle at the old Elders Woolstores, a derelict building on prime development land. This is my Honours thesis exploring architectural mis-use (mis-youth), the way that buildings are used by others and in other ways than they were originally intended- particuarly graffiti artists, skateboarders and homeless youth (aka the 1%ers). Using the 1%ers to inform and influence the program- predominantly homeless youth facilities arranged heirarchically for a ‘self-management’ style facility designed in collaboration with one of Perths youth service providers as an ‘ultimate facility’- and aesthetic of the project, the result is an innovative facility understood and appreciated by its users. 2008, supervisor- Romesh Goonewardene, honours co-ordinator Rene Van Meeuwin
architectural mis- youth -inclusive design for the other 1% woolstores apartments phase one
apart
men
ts
ELDERS-GM WOOLSTORE
‘old fremantle woolstore’ northern block
and interrelation of services
1927 original building heritage listed
goldsborough street
urban realm
network:
proposed semi-temporary occupancy
elde
r pla
ce
1962 extension demolition approved 2006
perth city
in-promptu ‘life-raft’ accommodation fremantle
mis-use & the 1%ers : architectural mis-use is an investigation into alternative occupancy and programs other than originally intended in defunct urban fabric. the 1%ers represent three urban sub-groups: skateboarders, graffiti artists and youth homeless.
timeline- 1927-2010
car-park
church
ed ain ret nt/ me p lo ve de
s ilitie fac
n ctio roje rp ea y -50 40
clancy’s pub
d se res mp co
skate sculpture
nt me ge na ma / m gra pro
ed os rop y’ p rar o mp ‘te
cinema house hang-out
grafitti walls
e us red tte ca /s d e lat gu -re un
theatre barbecue windbreak/ rest areas
hang-out
e us ing ist ex
cantonment street
car-park
fremantle woolstores northern woolstores is an iconic building for each 1% group, narrowly avoiding development despite partial development approval. It accommodates and represents each sub-group as a world renowned skateboarding destination, multilayered graffitti canvas and history of sheltering homeless. access to anmenity and transportation create an active daily use and program for the building vital to the areas character. legitimising and expanding the current program and retaining the urban vibe is the aim for the project and other similar sites.
site plan 1_500
intervention requireded!!!
es ad ac gf tin is ex
short section 1_500_urban park
ground f loor plan 1_200
f irst f loor plan 1_200
long section 1_500_urban park
second f loor plan 1_200
third f loor plan 1_200
cafe
_interior double bed
_off fces
_bathrooms
_artists studio
_2X single bed
_double bed
_ex
plo
ded
2X s
ing
le
third step housing/ public
second step housing
ďŹ rst step housing
drop-in/ management/ public
section c-c’ 1_200
section a-a’
* highlight chrome outline
* recycled internal elements
* light fade dow
wn the wall
section d-d’ _elevation 1_50
* recycled internal elements
* light fade down the wall
THE END
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All material copyright Šstudiom1, 2009 including photos, text, illustrations, artworks and general content ... it cannot be reproduced in any form whole or in part without written consent by studiom1. Studiom1 encourages feedback, questions and collaborations- check websites for contact details. Thanks to my friends, fam and girlfriend for putting up with the demanding nature of an architecture degree. Thanks to my tutors - particuarly Rene Van Meeuwan - for encouraging the graffitecture theme in my projects. Stay tuned for Graffitecture, Volume two. An attempt to rationalise graffititecture for real world applications and projects. Until then please check the following websites, thanks for reading this! www.graffitecture.net www.studiom1.com.au
ga.
A YES CHILD PUBLICATION 2009