This initial study into art galleries was intended as a base for the development of a much larger cultural space in the city of Bern. The premise of this exercise was to use a collection of artworks - the Rupf Foundation, Switzerland - as the sole parameter for designing a permanent gallery space. As highly controlled, precise environments, gallery spaces are focused purely on housing and displaying artwork in the best possible way aesthetically and safely. By removing context as a design factor, we were able, as a unit, to focus intently on the more elemental aspects of a gallery: lighting, curatorial relationships, and proportional ones. With a series of extensive precedent studies we found that many contemporary galleries often forgo lighting and spatial quality to make way for a broader overarching theme within the building. The other general typology is that of a gallery space which endeavours to hide and conceal itself, making the artworks themselves the only objects which impact on the space they are contained in. Finding a middle ground between overly modest and overly complex tectonics and forms was one of the key aims addressed. With a permanent collection, material and formal dialogues between artworks themselves should form the key axis within spaces, rather than being placed later in an ill fitting space designed to indulge itself.
Art as site : Curating the Collection, Unit 1
“A gallery is constructed along laws as rigorous as those for building a medieval church.The outside world must not come in, so windows are usually sealed off. Walls are painted white. The ceiling becomes the source of light. The wooden floor is polished so that you click along clinically, or carpeted so that you pad soundlessly, resting the feet while the eyes have at the wall. The art is free, as the saying used to go, “to take on its own life.” Inside the White Cube, Notes on the Gallery Space, Brian O’Doherty, 1986 (essays originally published in Artforum, 1976)
Max von Muhlenen ‘Quadrat’, 1954 Gouache, pencil & charcoal on paper 50 lux
Donald Judd Untitled 1974-1977 Spruce Plywood 200 lux
Johannes Gachnang ‘Hommage à Walter Benjamin’ 1971 Etching, photogravure & collage 50 lux
Florian Slotawa ‘IKEA (Europaversion)’ 2008 IKEA furniture No lux requirement
Joseph Albers ‘Homage to the Square’ 1957 Oil on hardboard 200 lux
Curatorial Statement The curatorial aim of this gallery space is to explore spatially the geometrics explored in these artworks, whilst also providing an appropriate, even light source for the artworks contained within the gallery. The focus is on the relationship between the two scupltures; as much larger physical presences than the wall-hung artworks, the way they interact should inform the space(s) which house them.
“The ‘poor and unsustainable’ situation governing the exhibition of new art can be corrected only by means of ‘a permanent installation of a good portion of the work of each of the best artists” - Donald Judd (Raume, Spaces, 1994) Later in his career Judd expanded his interest in proportion and scale to architecture, and curated many spaces for the permanent exhibition of his own works. Given the differences in terms of colour, size and material between the chosen artworks, a delicate, unifying approach will be used balance these differences within the space with proportional means.
Initial model concept to diffuse light through strips of hung barisol Light diagram showing filtration through ceiling gaps
Larger diffusing panels centrally within the room to enhance overall brightness within the space Note: also shows scrapped spatial layout Plan of initial ‘junction’ with roof grid layout Scale 1:200
The project began by investigating even light spread throughout a room. Taking the artworks at their most basic level, they strongly evoke (or are created from) linear geometries, informing the starting point of the project as a gridded ceiling. This starting point quickly unravelled into a many layered ceiling which became overcomplicated, and in the end was more successful with some of the grid panels being simply removed to create actual light wells. The spatial layout at this stage was purely conjectural, but it did help rule out a change in level as it confines movement throughout the space so much. Donald Judd installation of 52 works, converted artillery shed at Chinati Foundation
Investigating Donald Judd’s own forays into curation inspired more in depth investigation into light affecting artwork.
Model investigating reflection / dialogue
The project began to focus more on the artworks themselves, still developing the gallery within a grid structure, but experimenting with more options to light the artworks. The space began to divide into two main areas; one strongly directionally lit (for the lux-resistant Slotawa sculpture), and one more ambiently lit to contain the other more sensetive artworks. I began to try creating a visual link by punching holes in the separating wall. The aim was to bring views of the sculptures into dialogue with one another, but without allowing too much light to spill from one chamber to the other, especially with direct sunlight in one room. Various options included glass bricks, louvers, and also attempting to reflect the image of one sculpture into its opposite room using a glossy wall.
At this point the project went back to the more pragmatic side of lighting the project. Using examples such as Kettle’s Yard and Nottingham Contemporary, a coffered roof light system was created to filter light into the space at more appropriate levels than the panelled system, which would require extensive over structuring and artificial lighting.
Sketch roof section using smaller grid. Coffers replace panels in previous designs
Each coffer is a flat topped pyramid with some sort of light diffusing layer at the top; preventing direct sunbeams entering the room and spreading them instead. Two larger double sized coffers are used over each sculpture to further increase their presence within the room, whilst the more sensetive paintings reside under the smaller coffers, reducing the light they are exposed to.
Initial coffered roof model with artworks
Inhabited model lit by mid-afternoon winter sun
Use of the ceiling as a way to affect the mood and balance of the spaces below with light lead on to a more minimal way of dividing the space physically; echoes of the ceiling grid pattern were added to the floor and walls to separate the space into proportionally balanced rectangles and smaller segments which overlap into one another, based on the physical presence of the coffers. A thin column was also introduced to the centre of the room, almost a pivot about which the two sculptures interact.
Sketch for more elaborate ‘framework’ within larger space, possibly using beams as lighting tracks for paintings & sculptures at darker opening hours.
Working model photo, lit by midday winter sun
A series of developmental plans. One extra row of coffers was added to each lateral edge
A series of photos investigating light levels throughout the day. It is evident that artificial lighting is needed as the sun reaches a lower angle in the sky.
Final model photos; illustrating the addition of a lightweight framework to carry lighting for paintings. The more elaborate ceiling arrangement is also apparent, the Florian Slotawa piece taking up more space of the room and therefore having a larger 9 square grid in which to stand. The Judd piece is more closely nestled in the corner, sitting at a slightly off grid position so it can create its own geometry within the room.
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Floor Plan Scale 1:50
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Roof Plan Scale 1:50
Section AA Scale 1:50