Collaged Facades, Art-napping and the 'Galerieinsel' by Mervin Loh

Art-napping and the 'Galerieinsel' The public forum of Art conservation, restoration and replication Loh Kong Liang Mervin, DS3.3

Architecture as an Archive The etymology of the word ‘archive’ came from the Greek’s expression of ‘Arkheion’ (public records, town hall, office of chief magistrates), generally indicates a structured system towards an effective retrieval of items well documented or a place which these are held. Architecture in this sense, can be view as a form of archive as it contains the records of the building’s design, timeline, and purpose – all attributing towards a collection of information in the location they are in. This understanding further shifts the perceptions concerning the manner in which archives are presented. The practice of archival research and the resulting contribution to design work will be explored in this instance - Key concerns include issues of site, control over the presentation of the subject matter and most importantly, the role of authorship.

What is the Project?

Collaged Facades, The narrative technique on Stealing (Semester 1)

Drawing the Public's Architecture (Semester 2)

The Site and the Section

Construction of the Architecture

The 'Galerieinsel'

The 'Galerieinsel' Semester 1 - introduction of the 'Galerieinsl' and Santa Maria Novella The proposal for 1st semester is to extract the articulated analysis of Inigo Jones’ ‘Grand Tour’ in a form of literal replication of the architectural paradigm from it. How these notable architectural forms are taken out from their context and re-assemble into a new architectural language within the United kingdom. The ‘Grand Tour of London’ will see how these representational buildings within the vicinity of the National Gallery reinforced the idea of reproduction, replication and juxtaposition as the new architectural language of the English Palladianism. From the analysis of the architectural language of these surrounding buildings, an urban planning is form through the different unique aspects of the architecture facades that was stolen from the continent. A narrative connection that can be made through the analysis of these facades, exploring the notions of each building and assemble it as a series of information. The introduction of the ‘Galerieinsel’ or the Gallery Island will rearrange the relationship and open spaces between different art and archive galleries together with the main art gallery, giving an architectural narrative to the large-scale urban qualities of the boundary. The Galeriesinsel is also created as a form of art immunity where stolen art can be return – reproduction of works are not illegal – discourse in the forgery of documentation for archival usage as well as a platform for contested art to be held for public viewing before it disappears into the unknown. This is an extended notion of the enlightenment conception of the gallery: cultural treasures assemble for public edification, and its proposal will demonstrate a radical extension of these trajectories across the different buildings. The exhibition on Massacio’s Holy Trinity, brought in the technique on ‘stealing’ via the replication of the Santa Maria Novella with the Holy Trinity fresco; being brought into the space within the National Gallery. The replicated church includes the spatial language surrounding the painting, as well as the painting itself. It is a replication of the National Gallery facade which itself is the legitimate reproductioon of the architectural language from the continent. The contextual display of the painting within a site specific exhibition can be said to be an extension of the idea of ‘stealing in appropriation’, through the reproduction of the work. Using Masaccio’s Holy Trinity as the artwork for replication, the proposal pays attention to its bearing, the quality of spaces and the spatial experiences that will put the exhibition as one of its kind within the National Art Gallery – a response to the surrounding buildings that were replicated and assemble in a juxatiaposition of the English Palladianism.

opposite: Manet-PROJEKT '74 by Hans Haacke Names and Biographies of 'Une Bottle d' asperges' previous owners

opposite & top: Extracting the architectural language from the 'Grand Tour' through the English Palladianism

A narrative reading for the proposition The façade of the National Gallery; as designed by William Wilkins, will be documented technically through the drawing of the elevation. The façade will also highlight the paradigm design of that era, namely the ‘British Architecture style’ or the ‘English Palladianism’. From the analysis of the elevation, the design will find amalgamation with the architecture language made by Inigo Jones; who arguably introduced the British Architecture style after his articulated analysis of his ‘Grand Tour’ journey. From there, the relationship will be drawn towards a bigger concept, in recognising the importance of the ‘Grand Tour’ influence on British Architecture, and of the architecture as an archive of the ‘Grand Tour’. Mapping of the vicinity around the National Gallery will mark prominent buildings which are then, representational consequence of the ‘Grand Tour’. The ‘Grand Tour of London’ will highlight the representational buildings within the vicinity of the National Gallery, constructed between 1600s – 1900s. These buildings will showcase the paradigms that were crafted from the ‘Grand Tour’ of the continent, purposefully documented by Inigo Jones. A narrative connections will be made through the complete analysis of these facades, exploring the notions of each buildings and assemble it as a piece of information – the records of juxtapositioning design from the continent. These drawings will also show the constant metamorphosis idealism from the original source of architectural features from the continent, and its development throughout the years into the British Architecture.

opposite: Setting boundaries through the masterplan of Westminster

top: Collaged Facade, Massacio's Holy Trinity sitting within a replication of the Santa Maria Novella bottom: The exhibition is a replication of the painting as well as the architectural archive of the environment.

The Grand Tour to Masaccio’s Holy Trinity As the visitor enters the National Gallery, the entrance hall will lead the visitors up to the entrance of the Exhibition titled “Stealing the Holy Trinity – Exhibition on Massacio’s Painting” in which they are lead into the 1:1 scale replicated Holy Trinity in context. Once the enjoyment and excitement subsisded from the visitor, they are able to move into a room where 6 different analysis of the fresco are shown on the wall in relative to the actual size of the fresco. Visitors are able to make notes and understand the thought process, drawing technique as well as spatial creation on the fresco itself of Masaccio’s. Once the visitor is ready, they are brought through a narrow corridor into the interactive auditorium which is a replicated 3 dimensional space of the fresco. The interactive part will be explanation through video and images of the fresco and Masaccio’s technique while producing the fresco. The exhibition will end of with a short introduction of the Renaissance art’s technique which was perfected byu various different artist in a room. That would then lead the visitors out onto the entrance to the exhibition again – a roundabout spatial experience.

Connecting Semester 1 and 2 Semester 1 make use of the replicated Santa Maria Novella to reinforced the idea of replication and reproduction in appropriation, the very idea of the National Gallery façade is an architectural language replicated from the continents lends a legitimate notion to the study of reproduced artworks within a replicated context as an architectural archival. In order for the reproduction of these artworks to be legally protected, an urban planning in a form of an island demarcated the surrounding buildings that form the ‘Galerieinsel’. In semester 2 the proposal will serve as a continuous discourse of how archival research will benefit together with the display of the original artwork – the one original piece could be display alongside many different version of it as a working product of the artist before the final creation, which will outlines an epistemology surround the art piece itself. With the creation of the ‘Galerieinsel’, the critique of the institutions will be extended to include their decision of display of all these archival materials and information in the storage. Not only will the National Gallery be affected by this changes, the National Portrait Gallery will be positively affected by the links especially on its separated Heinz Archives and Library – a separate building on Orange Street. The nearby St. Martin-in-the-fields underground crypt will benefit as part of a gallery space, and display of its rich historical architecture. With that direction, one will have to define the ambiguous concept of a Utopian island – one that will promote art within its boundaries. Expanded spaces to display the archival records on the paintings. Theses spaces are view not only to expand the storage areas of the archives which links with the main buildings of the galleries, but are also a hub that displays these archives instead of locking them away in the storage. The function of ‘Galerieinsel’ will set up the idea where there is one ‘original work’ accompanied by various different variations of the works before the completion of the one. These variations are considered archive of the original work showing the technique, idea, composition and skill which the artist used in progress to the finished works. These variations will be part of the exhibits that showcase with the original, enabling a discourse of what is much more valuable to the understanding of art in the eyes of the public – the finished or the archives.

opposite: Thomas More's Utopia, The explanation of collective living, understanding, working and education ensures the community to be able to share materials fairly and around everyone

Art-napping on the 'Galerieinsel' Semester 2 - Redefining the architecture typology of an ‘Utopian’ island The proposal is a conservation gallery which includes restoration workshops and studios for all types of ‘Contested’ art. The principle aim of the ‘Galerieinsel’ is to promote the ideology of cultural treasures that have long been debated on the validity of ownership and authenticity of it's items, assembled for public edification classified under the term ‘contested art’. The proposal starts off with the master plan around the National Gallery, defining the boundaries that will establish the notion of a ‘Galerieinsel’ within the City of London, Westminster. Zooming into the replication of the National Gallery façade that forms the perimeter of the exhibition warehouse – a large exhibition space that is highly modular exhibiting architectural spatial qualities that envelope the art pieces which was meant to be in context. From then, an inner ‘Galerieinsel’ is propose to house the contested art which will be validated and restoration works will be carried out if needed – together with the replication of the art pieces, a form of continuous archiving of these technique will be recorded. These process will be documented by the public through an open visual connection between the compounds of the art pieces and the public spaces – although visually connected, these spaces are physically separated due to security and humidity control needed for the art pieces. The design of the ‘Galerieinsel’ revolves around 3 key spaces which defines the new architecture typology of an ‘Utopian’ island for contested art – The Public Atrium – Main circulation space that brings in visitors from Leicester Square and Trafalgar Square. The public atrium is a massive space that serves as a main connection throughout the whole ‘Galerieinsel’ – from the exhibition warehouse to the mechanical storage racks for art (The art gallery sell house) and the ramps that serves all levels in the ‘Galerieinsel’ to the archive library. The ‘Galerieinsel’ – The main function of the space will contest the idea where there is one ‘original work’ accompanied by various different variations of the works before the completion of the one. These variations are considered archive of the original work showing the technique, idea, composition and skill which the artist used in progress to the finished works. These variations will be part of the exhibits that showcase with the original and the process, enabling a discourse of what is much more valuable to the understanding of art in the eyes of the public – the finished or the archives. Exhibition Warehouse – The exhibition on Massacio’s Holy Trinity, brought in the technique on ‘stealing in appropriation’ via the replication the Santa Maria Novella with the Holy Trinity fresco. The temporary highlight includes the contextual display of the art work within the spatial language surrounding the building. A continuous usage of the space can be used to curate various different site specific exhibitions, which require the usage of the large space. The narrative technique on ‘Stealing’ The proposal will demonstrate a radical extension of the archival and display of these trajectories across the building, which will serve as a continuous discourse of how archival research, replication of the original, restoration of the art piece and public display of these art and archives within the same compound. Hence it will benefit the public in a form of collective art institute that promotes public display and education of these artworks, with the collective sharing of techniques and skills used by the artist in the restoration and replication of these art pieces.

opposite: Analysis of the site through the axonometric drawing of key directions, architectural facades, sunlight conditions and existing buildings

The public forum of Art conservation, restoration and replication

5. Service Core of ‘Galerieinsel’ Main concentrate srvices that serves the Conservation Workshop and Studios of the inner ‘Galerieinsel’. 6. Exhibition Warehouse Where the large scale exhibitions are held through the physical replication of the actual architecture and spatial qualities. The modular structures serve as the support for different exhibition sizes.

The ground floor plan will show the public forum space as a never ending flow from Trafalgar Square, into the Exhibition warehouse and out to the main 7. Santa Maria Novella (Current Exhibit) atrium of the ‘Galerieinsel’. The orientation that determines the reasoning of Stealing the Holy Trinity – Exhibition on Massacio’s Painting. the design is shown in a form of the North Axis line and the National Gallery Axis line. 8. National Gallery (Existing) Reminiscence of the ‘Grand Tour’ which plays a part in building the juxtapo1. Public Atrium sition of British Architecture. Main circulation space that brings in visitors from Leicester Square and Charing Cross Road. It served as a gesture of welcome into the ‘Galerieinsel’. 2. Cafe + Gift Shop Relax area that caters to the visitors, while allowing view towards the main road and Lesicester Square garden and into the atrium of ‘Galerieinsel’ 3. Ramp access to upper levels The dramatic ramp will highlight the inner ‘Galerieinsel’ works through the playful views of going up and down the ramp. 4. Mechnical Storage racks for Art + Public forum Replicated paintings that were used for research and samples against the original are being stored here. Visitors are welcome to look through these works and purchase it if they want, as it doubles up as an art gallery sell house.

opposite: Ground floor plan of the 'Galerieinsel' that serves as the public forum for the Art conservation, restoration and replication within the neutral zone for contested arts.

The Utopian Island the public’s atrium ‘Galerieinsel’ The section across the site will illustrate spatial interaction across the public forum, which starts from Trafalgar square, leading into the Exhibition warehouse which houses the current exhibit Santa Maria Novella, into the public atrium of the ‘Galerieinsel’. The flow of activities that takes places across the site shows the spatial connection in opening up the public route, creating a boundary of open public spaces that surrounds the ‘Galerieinsel’ – the first layer of boundary.

top: Section across the site of National Gallery + Galerieinsel opposite: A detailed zoom in of the replicated Santa Maria Novella

Workings of the public forum for Contested Arts First / Second / Third Level floorplan The different levels of plan show the magnitude of activities that will take place within the ‘Galerieinsel’. From the conservation workshop and studios, to the cross access of the service core, to the main atrium ramp that services all the levels in ‘Galerieinsel’ and the archive floors that contain information related to the arts. The programmatic breakdown of the spaces within ‘Galerieinsel’ will include: 1. Expanded spaces to display the archival records on the paintings. Theses spaces are view not only to expand the storage areas of the archives which links with the main buildings of the galleries, but are also a hub that displays these archives instead of locking them away in the storage. 2. Joint research institute for the discourse of Art preservation, regeneration, reconstruction, reproduction and academic research. - The National Gallery and King’s College London on 2011’s ‘Devotion by Design: Italian Altarpieces before 1500’ – Collaborative MA Christianity and Arts taught in association with King’s College London - The National Gallery and the Bowes Museum on the Collaborative Doctoral Partnership scheme as part of the Arts and Humanities Research Council - National Portrait Gallery and Yale University Press on ‘Making Art in Tudor Britain’

infilling and retouching of works. Preservation works are to ensure works are stable and suitable for display within the area or on loan. The work scope also extends to providing advice and guidance to ensre all Collection items are correctly handled, packed, moved and display. - Various ‘Renaissance studios’ are reconstructed to enable restoration and reproduction of the works in the exact replicated environment it was made in. This is reproduced architecturally through the research and interpretation on the ‘Inventions of the Studio, Renaissance to Romanticism’ by Mary Pardo - Where the studio, as a subject of painting, would be one through which artists would make their most ambitious statements about the nature of their vocations. 4. Painting brokers reception that will take in different paintings for assessment and valuation be it original, replicated or even stolen. 5. Loaning brokers reception that will loan out different reproduced paintings base on the idealism of “promoting universally reproductions of works of Art for the benefit of museums of all countries”. 6. Collective Assembly Hall that display works that are contested for ownership, authenticity and authorship. The hall will provide the public the display of these works before they are returned to the owners once the verdict is set – and disappear from the public eyes again. 7. Visitor orientation forum that will guide all visitors to the different exhibitions and lectures that will take place within ‘Galerieinsel’.

8. Auditorium and smaller lecture rooms will be available throughout the ‘Gal3. Workshops that preside over preservation and regeneration of paintings, erieinsel’ providing seminars, lectures, workshops, classes and discussion on paintings and their histories. reproduction of copies and assessment of supposedly ‘stolen paintings’. - The National Gallery’s Conservation Department and guidelines [ ] - Victoria and Albert Museum’s National Art Library Research Department 9. Basement connection or suspended viaducts linking different buildings to(National Gallery’s publication, research, archival records and source for gether collectively – creating a self-sustained island within the boundary. works) - National Portrait Gallery’s Conservation Department - Heinz Archive and Library Research Department - Conservator will undertake remedial work such as cleaning, consolidating, 23

top: Selection process through diagrammatic explanation. Using a series of diagram, the adjustment of the replicated church is analysed via testing the site placement of the church within National Gallery. The accepted proposal would be AII + DV.

opposite: The Church, the Crypt and the Tsucan Landscape. In the project, the Church would be the gallery of spaces that displays the original and reproduced works of art – together with their series of archival materials. But beyond such display of public viewing art, lies a secretive space where thediscourse of the most sensitive works is sent to. Like the Crypt, only selected few are allowed into the space, where strong securities and secretive passage ways and spaces houses the world’s most disruptive and controversial art pieces for restoration, valuation or reproduction.

The short section shows the narrative relationship between the National Gallery, the ‘Galerieinsel’, the public atrium and the archival section. The ephemeral relationship stretches from the different activities that takes place within the confinement of the segregation, as well as the ground level programs across the ‘Galerieinsel’ and the roo f top relationship towards the public forum and visual connection aspect of the ‘Galerieinsel’. The sight lines of the visitors will imply the visual contact of the workshops and studios as the spaces is being explored by them (visitors), but are not physically connected with the workshops and studios to define the ideology of public viewing and secured keeping.

The long section will illustrate the ‘Galerieinsel’ territorial spaces of art conservation, restoration and replication, through the activities of the workshops and studios. Key spaces are shown like the mechanical storage racks which houses the archives of previous replicated artworks in a form of open market display, and service core that shows the seamless flow of services between the workshops and studios. This particular section illustrate the activities that take place during the work hours of spring. The sunlight coming in are generally softer hence different types of works are spread out to get the maximum amount of daylight on the restoration and least amount for those not required.

The long section will illustrate the ‘Galerieinsel’ territorial spaces of art conservation, restoration and replication, through the activities of the workshops and studios. Key spaces are shown like the mechanical storage racks which houses the archives of previous replicated artworks in a form of open market display, and service core that shows the seamless flow of services between the workshops and studios. This particular section illustrate the activities that take place during the work hours of summer. The sunlight coming in are generally stronger hence the hardcraft restoration works are taken at the top while light sensitive paintings are brought down to the lower levels.

The long section will illustrate the ‘Galerieinsel’ territorial spaces of art conservation, restoration and replication, through the activities of the workshops and studios. Key spaces are shown like the mechanical storage racks which houses the archives of previous replicated artworks in a form of open market display, and service core that shows the seamless flow of services between the workshops and studios. This particular section illustrate the activities that take place during the work hours of winter. The sunlight coming in are generally softer throughout the day such that light sensitive paintings are able to be work on using the daylight top level in the building.

bottom: The narrative illustration on the assemble of ‘Galerieinsel’ and the construction of the ‘Exhibition warehouse’ The axonometric drawing illustrates the site connection between the National Gallery and the proposed ‘Galerieinsel’. It will also present the connections of the different levels in ‘Galerieinsel’, and the manifestation of the external and internal ‘Galerieinsel’. The exploded axonometric will show the construction of the ‘Galerieinsel’ which houses the conservation workshops and studios, in a form of suspended building box bounded by the service core. The construction details will illustrate how the building is suspended with the least footprint to promote an open public forum which the construction details shows the technical aspect in the connection of the service core. The technical axonometric will also illustrate the housing columns of the Exhibition warehouse, which are able to be adjusted according to height when the exhibition changes. opposite: Construction detail of the architecture

KEY 1. The Public Atrium 2. The ‘Ephemeral Corridor’ between public and art 3. ‘Galerieinsel’ 4. Specialised Sun shading device for the workshops/ studios 5. The replicated facade 6. Santa Maria Novella (Current Exhibit) 7. Exhibition Warehouse modular structure 8. Modular Roofing 9. The public ramp 10. Sun shading device for the void space 11. Public Atrium Roofing 12. The roofscape park, archives, cafe and gift shop

The public’s Open Atrium A spatial experience of the public forum Main circulation space that brings in visitors from Leicester Square and Trafalgar Square. The public atrium is a massive space that serves as a main connection throughout the whole ‘Galerieinsel’ – from the exhibition warehouse to the mechanical storage racks for art (The art gallery sell house) and the ramps that serves all levels in the ‘Galerieinsel’ to the archive library. The view of the public atrium from the entrance of ‘Galerieinsel’, looking at the ramp that goes up to the top level. The perspective will also illustrate the light that streams into the space.

Into the Conservation workshop The experience of visual connection from the ramp into the workshops, both far and near The ‘Galerieinsel’ – The main function of the space will contest the idea where there is one ‘original work’ accompanied by various different variations of the works before the completion of the one. These variations are considered archive of the original work showing the technique, idea, composition and skill which the artist used in progress to the finished works. These variations will be part of the exhibits that showcase with the original and the process, enabling a discourse of what is much more valuable to the understanding of art in the eyes of the public – the finished or the archives.

The ‘Galerieinsel’ The replicates, the public forum and the archives The narrative perspective that shows the public forum as an open spatial experience which the contested art holding and restoration works are carried out, hovering above these spaces. The proposal will demonstrate a radical extension of the archival and display of these trajectories across the building, which will serve as a continuous discourse of how archival research, replication of the original, restoration of the art piece and public display of these art and archives within the same compound. Hence it will benefit the public in a form of collective art institute that promotes public display and education of these artworks, with the collective sharing of techniques and skills used by the artist in the restoration and replication of these art pieces. The exhibition on Massacio’s Holy Trinity; that can be viewed from the public forum, brought in the technique on ‘stealing in appropriation’ via the replication the Santa Maria Novella with the Holy Trinity fresco. The temporary highlight includes the contextual display of the art work within the spatial language surrounding the building. A continuous usage of the space can be used to curate various different site specific exhibitions, which require the usage of the large space.