Genevieve Anderson Art + Design Portfolio
INSPIRED/EXCITED by
Clockwise from top left: • Public Square in Banyoles, Spain by Mias Arquitectes. Published in landzine. • Photograph by Jesus Marina Barba. • Blur Building, Yverdon-les- Bains 2002 by Diller, Scofidio + Renfro • Therme Vals, Graubünden, Switzerland 1996 by Peter Zumthor. • Installation Shibboleth in Tate Modern by Doris Salcedo. • Photograph of Totnes, Devon, England by Joe Daniel Price. • Painting in Steam series by Arryn Snowball care of Nancy Sever Gallery. • Fountains Abbey, North Yorkshire. Source unknown. • Extract from Where the Forest Meets the Sea by artist and author Jeannie Baker. • Sydney Laneways proposal by Cumulus Studio in collaboration with Futago, 2012. • Salt Museum in Salins-les-Bains, France by Malcotti Roussey Architectes. • July 7 Memorial in London, England by Carmody Groarke. • East-West/West-East installation in the Qatari Dessert by Richard Serra. • Look Out/Shelter in Pinohuacho, Comuna de Villarrica, Chile 2006 by Rodrigo Sheward.
ACADEMIC WORK - Bachelor of Fine Art 2008 Majors Interdisciplinary Sculpture Art Theory Themes
Ephemerality, existence, philosophical conditioning, temporality.
Medium
Paper, fabric and wax.
Award
ADFAS Highly Commended in Sculpture
Publication
Fine Art Graduate Catalogue 2008 - Artist Statement (own) Masters of Arts Graduate Catalogue 2008 - Artist Essay (other)
Employment
Peer Assisted Study Sessions (PASS) Leader
Images
Cover, right and far right: mine. Below, catalogue cover: unknown.
“He who deals with architecture...must be an impeccable master of plastic form and a live and active connoisseur of the arts.� Le Corbusier New World of Space (New York: Reynal & Hitchcock, 1948), 9.
NORTH ELEVATION
SCALES OF OCCUPATION
EDUCATION - Fine Art Centre 2015 This proposed Fine Art Center is situated in a masterplanned proposal for Logan City Centre. Its honest and robust character grounds it in its urban context and subtropical condition. This education and civic centre engages its CALD community through an open ground level and a permeable facade. By drawing the streetscape through the building it connects the internal green space with the town square, addressing it directly with the double height entry. Masters Studio A led by Peter Richards of Deicke Richards. Modeled and documented in Revit by myself, rendered in 3DS Max by C. Minns. ACTIVATION OF EDGES
FLEXIBLE USE
EAST ELEVATION
BGL WORKSHOP + CARPARK
ramp down to carpark entry
LIFT 1
fire corridor
LIFT 2
individual work stations
one way traffic loading bay
specialist equipment
plant
specialist equipment
void above
+ 41600
+ 43100
stairs up to shared zone
market + fine art centre shared carpark
+ 43100
fire corridor
carpark entry
1:200 @ A1
cutting desks
sewing machines
textiles
workstations
projects
L1 TEXTILE DESIGN + DRAMATIC ART Art Centre WORKSHOP + CARPARK FLOOR PLAN Fine Logan City Centre
storage patterns seating + lockers female
acc.
male
LIFT 1 LIFT 2
dn
+51000
up dn
terrace
individual study zone
dn
+51000
dramatic art studio 1
dramatic art studio 2
dramatic art studio 3
void over entry lobb
stage +600 affl
1:100 @ A1
LEVEL 1 FLOOR PLAN TEXTILE DESIGN L2 MUSIC + DANCEDRAMATIC ART
Fine Art Centre Logan City Centre
RECORD. RECORD. STUDIO 1 STUDIO 2 INDIVIDUAL PRACTICE STUDIOS
MUSIC PRODUCTION
MUSIC studio 1
MUSIC studio 2
RECORD. STUDIO 3 BOOTH
seating + lockers female
acc.
GREEN ROOM / STORAGE
male
LIFT 1 LIFT 2
dn
individual study zone
LOBBY UP
COMMUNAL AREA / BAR PERFORMANCE / LECTURE HALL / OPEN STUDY ZONE
DANCE studio 1
stage +600 affl
DANCE studio 2
DANCE studio 3
DANCE studio 4 (BALLET)
L3 ANIMATION + PAINTING
ANIMATION studio 1
SPECIALIST STUDIO
ANIMATION studio 2
DIGITAL ART studio 1
The urban ideal of permeability is reinforced by the blurring of street, building and landscape.
DIGITAL ART studio 2
2
seating + lockers female
acc.
PERFORMANCE / LECTURE HALL / OPEN STUDY ZONE
male
LIFT 1
3
LIFT 2 individual study zone
CASUAL PAINTING STUDIO
PAINTING studio 1
PAINTING studio 2
PAINTING studio 3
5 6
PAINTING studio 4
7
7
7
7
4
1:100 @ A1
L4 PHOTOGRAPHY + PRINT MAKING Fine Art Centre LEVEL 3 FLOOR PLAN ANIMATION Logan City Centre
POST PRODUCTION studio
PHOTO. studio 2
PHOTO. studio 1
seating + lockers female
1
acc.
male
PRINT MAKING studio 2
PRESS 1 PRESS 2
CAFE / RETAIL
5.
FIRE STAIR
6.
LOADING BAY
7.
CRAFT BASED STUDIO
8.
THE GREEN
9.
M / F / A AMENITIES
10.
GRAND STAIR
11.
LIFT
12.
COOKING SCHOOL
13.
RESTAURANT
14.
RECEPTION
15.
ENTRY
16.
VOID OVER
17.
SCULPTURE STUDIO
18.
STAIR FROM CARPARK VILLAGE GREEN
20.
NON SHARED ROAD
10
11
12
PRESS 3
19.
11
individual study zone
CHEMICAL + INK STORAGE
PRINT MAKING studio 1
FORECOURT
4.
9
8
18
LIFT 2
LIFE DRAWING STUDIO
SHARED ROAD
3.
BELOW
DARK ROOM
LIFT 1
PUBLIC REALM
2.
WORKSHOP BELOW
PAINTING
PRINTING
1.
DRYING RACKS
9
1:100 @ A1
4 FLOOR PLAN ROOFLEVEL LEVEL
PHOTOGRAPHY PRINT MAKING
Fine Art Centre Logan City Centre
13
BOX GUTTER
14
3.00
16
17
'1
15 GLASS
3.00
GROUND LEVEL
19
19
20
GROUND LEVEL KIT. 1 SFA HEADQUARTERS
CAFE
KIT. 2 LOADING
KIT. 3
SHARED
PLANT
AMENITIES
OFFICE
DELI
MARKET
RETAIL
TOWN SQUARE
SECOND LEVEL
VOID
BAR
RESTAURANT
TOWN SQUARE
COMMERCIAL - Gourmet Deli + Market | SFA Headquarters 2014 Situated within AGORA masterplanned commercial precinct located on the site of Victoria Park Golf Complex, Kelvin Grove. Proposal comprises: • Street Food Australia (SFA) Headquarters including - Bike based business facilities - Cafe - SFA Staff Facilities • Gourmet Market with Fresh Produce, Deli and small scale Retail • Bar and Restaurant Mezzanine overlooking Town Square Masters Studio A led by Peter Wolff. Modeled, documented and rendered in Revit. Post production in Photoshop. Physical model laser cut.
GOVERNMENT - Woodfordia Centre of Governance 2014 This proposed centre of governance was situated within the fictional context of a permanent community established at Woodfordia, the site of the Woodford Folk Festival. This centre reimagines what governance would look like for a community that don’t necessarily want to be governed. Situated on Clyde’s Pond, it comprises two structures in dialogue. Fourth Year Studio led by Murray Lane. Modeled and rendered in Revit, post production in Photoshop + Illustrator.
OUTDOOR DINING
BALCONY GLASS BIFOLD DOORS. 3 X 1000mm PANELS
TVC
BALCONY
OUTDOOR LIVING
OUTDOOR DINING
LIVING
GLASS BIFOLD DOORS. 4 X 900mm PANELS
BALCONY
FL
GLASS 900mm BIFOLD DOORS
TL TL
TL
TVC
DINING
MI
4.000
LIVING
BN
LIVING DR SSD
BEDROOM
BEDROOM FL
FL
IB
OVB
LAUNDRY
BIR STORAGE
REF
PNT
WM
BIR STORAGE
REF
OV
PNT
OV
PNT
REF
LT
KITCHEN BATH
IB
BN MI
FROSTED GLASS AND 1800mm SILL HEIGHT FOR PRIVACY
FROSTED GLASS AND 1800mm SILL HEIGHT FOR PRIVACY
KITCHEN BN
BATH
DINING
DINING LAUNDRY STORAGE / ALTERNATE STUDY NOOK
WM
LT
FL
LIFT
FROSTED GLASS AND 1800mm SILL HEIGHT FOR PRIVACY
LAUNDRY WM
LINE OF SHELF AND HANGING STORAGE ABOVE
STORAGE / ALTERNATE STUDY NOOK
LT
LINE OF SHELF AND HANGING STORAGE ABOVE
STUDY DR
FROSTED GLASS AND 1800mm SILL HEIGHT FOR PRIVACY
STUDY
TRI-WSTE DISPOSAL SHOOTS
ENSUITE
UP
TL
ENTRY
FL
DR
ENSUITE
TL
4.000
This campus embedded in the Kangaroo Point Cliffs proposed new forms and also utilised existing structures. It encompassed a walkway system that connected the top of the cliffs and the wharves below, winding in and out of the buildings. Included in the proposal was a new ferry terminal and reinstatement of the riverwalk.
IB
SSD
SSD
5.820
14.000
EDUCATION - Music + Theatre School | Entertainment Venue 2012
MASTER BEDROOM
WIR
LANDING
WIR
MASTER BEDROOM
FIRE STAIR
2.000
RESIDENTIAL - Medium to High Density Development 2012
BIR
OUTDOOR DINING
Development of an overall scheme as well as typical floor plans and floor plates. Mixed-use, commercial and community spaces on the public plane.
www.autodesk.com/revit
No.
Description
Date
GENEVIEVE ANDERSON N7469632 ARCHITECTURE TECHNOLOGY 1
PRODUCED BY AN AUTODESK STUDENT PRODUCT
PRODUCED BY AN AUTODESK STUDENT PRODUCT
3.000
OUTDOOR LIVING
Unname Project number Date Drawn by Checked by
GROUP COLLABORATIONS Left to Right: • • •
Site Planning - Proposed Outdoor Area, Brisbane Maritime Museum Rural Masterplanning - Proposed Artist Accommodation, Woodfordia Urban Masterplanning - Proposed Logan City Centre
GROUP COLLABORATIONS Artist accommodation proposal for Woodfordia, Woodford Queensland. Cabin structure to allow for tiered positioning on steep site. Sustainable design principals including: • Trombe Wall heating system • Clerestory window ventilation • Stilt construction for minimised footprint
GROUP COLLABORATIONS Theoretical application of the ‘Folly’. Bunker / silo like structure buried in the grounds of Howard Smith Wharves. Spatial form developed to evoke specific emotive response.
Is Post Functionalist architecture, sculpture you can get inside of?1 The architect and theorist Peter Eisenman challenged the perception of what architecture should be with his critical ideology Post Functionalism. Post Functionalism questions how architecture should be developed and what the viewer’s experience of it should be. This review will propose that relocating Eisenman’s Post Functionalist architecture within the artistic schema outlined by art historian, critic and writer Rosalind Krauss we are able to clarify the theoretical position of his ideology. The key texts used to do this are Post Functionalism by Peter Eisenman, Death of a Hermeneutic Phantom: Materialization of the Sign in the work of Peter Eisenman and Sculpture in the Expanded Field both by Rosalind Krauss. This proposal will follow these steps: Firstly, an illustration of the why, what and how of Post Functionalism as described by Eisenman. Secondly, an examination of Eisenman’s conceptual aims as presented in Death of a Hermenuetic Phantom. Thirdly, an alignment of Eisenman’s architectural intent to sculptor Robert Morris’ artistic intent as identified by Krauss. Finally, locating Eisenman’s ideology in Krauss’ expanded field of sculpture. This review will use the proposition Is Post Functionalist architecture, sculpture you can get inside of? as a guide to move through the literature. By understanding Peter Eisenman’s Post Functionalist ideology the possibilities of architectural and artistic practice are expanded.
Eisenman’s critique of Functionalist ideology laid the foundation for the evolution of his Post Functionalist position. In his seminal text Post Functionalism he argues that the humanist dialectic Form and Function failed Modernism. Eisenman synthesises his critique stating that architectural design had become an oversimplified formulaic2 embodiment of the dictum “form ever follows function”.3 He believes that architecture can no longer engage with this obsolete culturally based4 dialectic and proposes a new modernist dialectic situated “within the evolution of form itself”.5 For Eisenman this dialectic is at the core of what Post Functionalism is and he expresses it as two tendencies: The first: To presume architectural form to be a recognizable transformation from some pre-existent geometric or platonic solid.6
And second: [To see] architectural form in an atemporal, decompositional mode, as something simplified from some pre-existent set of non-specific spatial entities.7 He goes on to further describe the latter tendency - “form is understood as a series of fragments – signs without meaning dependent upon, and without reference to, a more basic condition”.8
Eisenman applies a linguistic model9 to his architectural investigations to further substantiate his ideological position. This model constitutes the dialectic Syntax and Semantic whereby Syntax is form giving (Form) and Semantic is the meaning making (Content). Peter Eisenman, following Rowe, argued that the application of formalism necessitates a complete substitution of semantics with syntax. And that, in turn, requires architectural elements to be treated as signs, with the intention to get rid of all notions of function and all semantic associations.10 Eisenman uses the process of signification to construct the desired experience of his architecture. Furthermore, it is only through the fragmentation of form and the signification of those fragments that Eisenman is able to achieve his conceptual aims.11
The conceptual aims of Post Functionalism are explained in more detail by art writer Rosalind Krauss in the reflective piece Death of a Hermeneutic Phantom: Materialization of the Sign in the work of Peter Eisenman. In examining Eisenman’s conceptual aims a tension in his work is revealed. On one hand Eisenman wants Content to be replaced by Form, “a complete substitution of semantic with syntax”12, the transparent converted into the opaque13; but on the other hand he wants Form to be replaced by Content: the conceptual or virtual house to take precedence over the physical building14, the physical form to be subsumed by reading them as alternate ideated forms15. Although this tension may seem a contradiction of intent, the conceptual aim is actually the same - “an exploration into the conceptual state of architectural form”.16 It is important to note here that although what is intended to be conceived in Eisenman’s work shifts from “the unity of a
single mental construct” to a “diverse field of mathematical language”17 in his later houses, the aim is still that of creating conceptual architecture. Post Functionalist architecture primarily operates as conceptual architecture. It is cognitive architecture that is the real architecture.18 It is this cognitive experience implied by physical forms that starts to shift Post Functionalist architecture into the realm of sculpture. In his theoretical text on the subject of conceptual architecture, Eisenman aligns his own position with that of a generation of artists who had been producing conceptual and minimalist sculpture. Relying on what had been the usual modes of describing this work in the art criticism of the 1960s, he speaks of the way this art calls for a replacement of physicality by a mental conception.19 To further illustrate the cognitive capacity of isolated signs in Eisenman’s work, Krauss steps outside his architecture and presents the work of post modernist sculptor Robert Morris. In doing so Krauss confirms that both Eisenman and Morris’ work is the generator of a transcendental conception, not the result of. The transcendental experience produced by Morris’ forms is the work of art and so too is the transcendental experience produced by Eisenman’s Post Functionalist forms. Eisenman’s forms have shifted away from our understanding of architecture and toward our understanding of sculpture.
In the shift from Modernism to Post Modernism the distinction between art, architecture and other began to blur and the boundaries of the disciplines were questioned.
The question is whether, by adopting certain aspects of another’s way of working, one field is expanded to include another, or one can critique the very terms through which the field is defined.20
In the text Sculpture and the Expanded Field, Krauss discusses these shifting disciplinary boundaries and the need for the disciplines to “become almost infinitely malleable”.21 It is the expansion of these disciplines that is termed the expanded field.22
In a discussion of the work of architects Decosterd & Rahm within the expanded field of architecture, the appropriateness of relocating Post Functionalist architecture is established by writer Jane Rendell.
The Expanded Field Rosalind Krauss
The desire to design architecture that is an ‘effect’ of architecture, that allows their practice to operate critically and question definitions of the architectural design process itself, relating architecture to art and design in a re-invigorated expanded field.23
In aligning both of Krauss’ texts a reciprocal exchange is revealed. Eisenman’s Post Funcitonalist forms shifted closer to sculpture and Morris’ forms, “quasi-architectural integers”,24 shifted closer to architecture. As a result, Eisenman and Morris’ forms have shifted, or moved, between architecture and not-architecture. The moves within the expanded field are mapped by Krauss in what is referred to as a Klein group. In this Klein group the realm between architecture and notarchitecture is referred to as axiomatic structures.25 By understanding Eisenman’s Post Functionalist ideology it can be firstly, relocated into the broad expanded field and secondly, located more specifically in the realm of axiomatic structures. As axiomatic structures, Eisenman’s Post Functionalist architecture is sculpture you can get inside of.
Peter Eisenman’s Post Functionalist ideology is “an exploration into the conceptual state of architectural form”.26 Aligning the supporting texts by Krauss, the distinction of architectural intent and artistic intent in Eisenman’s Post Functionalist forms is blurred. In the construction of cognitive experience, Eisenman’s architectural intent is aligned with the artistic intent of post modern sculptor Robert Morris and Morris’ artistic intent is aligned with Eisenman’s architectural intent. This shift in intent allows Eisenman’s Post Functionalist forms to be relocated into Krauss’ expanded field of theory and practice. The blurred architectural/ artistic intent places Eisenman’s Post Functionalist ideology between architecture and not-architecture. In consulting Krauss’ map of the expanded field this space between architecture and not-architecture is identified as axiomatic structures. In locating Eisenman’s Post Functionalist forms as axiomatic structures, his architecture is no longer theoretically confined to the position of architecture nor is it confined to the position of art. Peter Eisenman’s Post Functionalist architecture occupies a position of theoretical fluidity, expanding the possibilities of architectural production and ideology.
Albrecht, Johannes. “Against the Interpretation of Architecture.” Journal of Architectural Education Vol. 55, No. 3 (2002): 194 – 196. Accessed March 16, 2014. URL: http:// www.jstor.org/stable/1425541 Eisenman, Peter. “Post Functionalism.” Oppositions 6 (1976): not paginated. Krauss, Rosalind. “Death of a Hermeneutic Phantom: Materialization of the Sign in the work of Peter Eisenman.” In House of Cards, edited by Peter Eisenman, 166 – 184. New York: Oxford University Press, 1987. Krauss, Rosalind. “Sculpture in the Expanded Field.” October 8 (1979): 30 – 44. Accessed April 2, 2014. URL: http://www.jstor.org/stable/778224 Moore, Charles W. “Architecture: Art and Science.” Journal of Architectural Education Vol. 19, No. 4 (1965): 53 – 56. Accessed May 23, 2013. URL: http://www.jstor.org/ stable/1424258 Rendell, Jane. Art and Architecture A Place Between. London & New York: I.B. Tauris &Co Ltd, 2006. Sullivan, Louis H. “The Tall Office Building Artistically Considered.” Lippincott’s Magazine (1896): 403 – 409. Accessed April 5, 2014. URL: https://archive.org/details/ tallofficebuildi00sull
ROOF OVER ENTRY STAIR REFER DESIGNER.
DN
GROUND FLOOR SUSPENDED CEILING HEIGHT AFFL 3260 16 15 14 13 12 11 10 9
BEAM OVER
LINE OF ARCH OVER 8
14889
16 RISERS @ 160.9 9
10 11 12 13 14 15 16 17 18
22
LINE OF ARCH OVER
ER
IS R
S
@
0.9 16
ENTRY BELOW
LINE OF TUNNEL BELOW
516
19 20 22
CAMERA CORRIDOR
600
DIARY ROOM
1
915
+3540 HEIGHT
SUN DECK / CHILL OUT ZONE
D60
5380
EXISTING COLUMN
GANTRY LEVEL ARCHES REFER DRAWING: BBH-017/14.
DN
EXISTING COLUMNS
EXISTING COLUMN
EXISTING COLUMN
STAIR DOWN. REFER DESIGNER.
REFER DESIGNER FOR ALL CONNECTIONS BETWEEN GYM FACADE AND DIARY ROOM FACADE
D61
WALL AND PLANT ON. REFER DETAIL AND DESIGNER
APPROXIMATE LOCATION AND DIMENSIONS OF GANTRY
PLINTH 500W X 1000H X 500D
0 55
RAIL
32 50
LINE OF FLOOR PLANT ON AND ARCH BELOW
@
LINE OF EXISTING FACADE OVER.
17 9.2 8
14889
GYM
0 70
14
BELOW GROUND FLOOR SUSPENDED CEILING HEIGHT AFFL 3260
LANDING
D64 EXISTING COLUMNS
TREE HOUSE
TREE HOUSE NOTES FROM WALK THROUGH: 1. CHECK SAFETY HEIGHTS. 2.SMALL VERANDAH. VERANDAH POSSIBLE TO HIDE BEHIND. 3. AUTOMATED STAIR. 4. FAUX (OR REAL) TREE TO FACE: 'HOLDING UP HOUSE'. 5. 3100H CEILING. 6. DROP DOWN RAIL. 7. REFER TO ATTIC OR BOAT STAIRS.
REFER DESIGNER
LANDING
REFER DESIGNER FOR TRANSITION BETWEEN OUTSIDE LANDING AND INTERNAL CAMERA CORRIDOR.
GANTRY LEVEL 1 : 100
300 115 274
1582
900
938
APPROX. OPENING FOR CURVED WALL: 1485mm
1800
1571
APPROX. OPENING FOR CURVED WALL: 871mm
276
300
1034
1233
APPROX. OPENING FOR CURVED WALL: 1489mm
150 600 150
CURVED WALL
CURVED WALL
150 600 150
NOTE: FINISHES TO WALL AND SURFACES TBA REFER DESIGNER. LIGHTING TBA. REFER DETAIL AND TIM. ALL DIMENSIONS ARE STUD DIMENSIONS. WALL FINISH GYPROCK/PLY/TILE UPHOLSTERY ETC. ON TOP OF DIMENSIONS SHOWN.
CAMERA GLASS RUNS VERTICALLY CURVED WALL
220
CAMERA GLASS 600 280 REFER DRAWING BBH-012/14 FOR COLUMN AND PLINTH DETAIL.
UNDERSIDE OF EXISTING SUSPENDED CEILING
820
GLASS
CURVED WALL
220
CAMERA GLASS RUNS VERTICALLY
1100
600
900
BOUDIOR B
GLASS 1560
2160
FL: 00
938
APPROX. OPENING FOR CURVED WALL: 871mm
UNDERSIDE OF EXISTING SUSPENDED CEILING
3260
1
1100
This incredible opportunity immersed me into an environment where functional space and theatrical set merge to form a highly composed and hyperreal world. Modeled and documented in Revit, outputs included: • Existing + Demolition Plan • Floor Plans + Plan Details • Extended Internal Elevations • Internal Sections + Perspectives • Facade Elevations + Details • Construction Details • Fire + Electrical Plans • Door Schedule
POOL
BBH0014D
R IS ER S
SET DESIGN - Big Brother House 2014
OVERALL INTERNAL (TILT TO TILT)
29778
21
EXISTING COLUMN
FL: 00 WALL SCONCE TBA. REFER DETAIL AND TIM.
PROPOSED QUILTED BED HEAD. REFER TO FLOOR PLAN, DETAIL AND DESIGNER.
LINE OF BOUDIOR FLOOR 280mm AFFL
REFER DRAWING BBH-012/14 FOR COLUMN AND PLINTH DETAIL.
PROJECT: DRAWING: NUMBER: REVISION: DATE: DESIGNER: SCALE:
BIG BROTHER HOUS
GANTRY LEVEL FLOOR
BBH-002/14 1 27.06.2014 R. BRUNSDON 1:100 @ A1
EVENT DESIGN My role in event planning and management allowed me to initiate Personal + Professional Development opportunities for my Creative Industries peers. Creative roles included the following outputs: • • • • • •
Graphic and marketing materials Theming and Styling Large scale installation pieces Stage Design Conceptual Design Decoration Design
COLLABORATIVE DESIGN - Anywhere Theatre Festival 2014 Project A Library for the End of the World Location Absoe Factory, West End, Brisbane Lead Sarah Winter Team Selected Creative Writing, Visual Art, Dramatic Art and Architecture students from QUT’s Creative Industries faculty. This extra curricular project was an amazing collaborative experience. Together we created a curated, ephemeral interior environment set inside an inconspicuous shipping container. The library was equal parts art installation, theatrical set and urban oasis.