Art, Architecture and Identity by Rihards Saknitis

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

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Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

ART, ARCHITECTURE AND IDENTITY RIHARDS SAKNITIS

Fig.1: Whitworth Art Gallery Interior

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

Art, Architecture and Identity The Cultural Relationships Between the Society of Manchester and Whitworth Art Gallery Craftsmanship and Identity Rihards Saknitis

S15124521 ARC6010 Cultural Context: Critical Study in Architecture BA (Hons) Architecture BSoAD

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

Contents The Essay Part 1:Social Identity Through Art, Architecture and Memory Habitus and the Socio-Economic Space of Art Galleries Self-Projection on Architecture of Time Architecture and its Physical and Time Context Visual Society in a Visual World Pathosformel

11 18 21 23 24 26

Part 2: The Whitworth Whitworth Art Gallery in Time The Whitworth as a Part of Social Identity Visual Whitworth The Lowry and the Whitworth Space Whitworth Art Gallery on Instagram

29 33 39 62 64 72

For the Perpetual Gratification of the People of Manchester

References List of Figures

83 84

87 Appendix 89 Absence in Abundance: Literature Review 93 Principles in Tradition for Effective Design: Literature Review 97 The Craft of Creating Emotion: Book Review Role of Art in Society and the Manifestation of that in Architecture: 106 Group Presentation

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

Abstract The Whitworth Art Gallery extension is a result of and a player in a strong relationship between art, architecture for art and society as it develops over time. This relationship is explored through ideas of Habitus, an interlinked system of identity, architectural relationships between people and time, and the reading of the world visually. The essay uses visual analysis of materials recorded in paintings, photographs and social media to expand and tailor the research to Whitworth, Manchester. These ideas are applied to the case study to better understand the galleryâ&#x20AC;&#x2122;s development over its existence as a contributor to society, and to assert its role in the contemporary art consumption and creation process.

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

Part 1: Social Identity Through Art, Architecture and Memory

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

Introduction Art, architecture, society interact within time to exhibit a relationship which can be designed and utilised. This relationship creates individual, spatial, social identities. This essay intends to explore this assumption by establishing a framework of the work of the sociologist, philosopher Pierre Bourdieu, philosopher Karsten Harries, architect Peter Zumthor, professor of philosophy Svend Brinkmann and philosopher Gorgio Agamben, by cross-examining their ideas and understanding of art, architecture, the individual, society and time. This will be applied to a case study, the Whitworth Art Gallery extension, to understand the interplay between its architecture, the art within it, its users and the intention of the gallery. The gallery will be examined over its history and the understanding of the architectural and social spaces in the gallery will be reinforced by using visual exercises. By asking the question: what is the relationship between art, architecture for art and society in Whitworth, Manchester, this essay will explore what this relationship might be, why is it so, and what use in the understanding and development of society it has.

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Fig.2: Essay Structure Diagram

Art, Architecture and Identity |The Whitworth Art Gallery

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

In this essay art, architecture, society, time and culture are seen as an interlinked network, affecting one and other. This essay will explore if this relationship is present and symbiotic, how it changes based on the point of view, and how this relationship has developed over time.(fig.2)

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

The theoretical framework of the essay will be established based on Pierre Bourdieu’s “Distinction”, his idea of Habitus, an all-encompassing system of identity. This links the person, with their taste, choice in art, architecture, their social class and it is aware of personal development over time. His ideas have been some of the driving concepts in sociology over the last thirty years, and it will be examined using the writings of sociologist Loïc Wacquant and published researcher Zander Navarro. The acclaimed swiss architect Peter Zumthor, in “Thinking Architecture” establishes what the relationship between architecture and its physical, social, time context should be, to be functional and effective, allowing to examine the architecture of the case study art gallery. Karsten Harries in “The Ethical Function of Architecture” expands on this relationship between architecture and time, physically and socially. Svend Brinkmann continues the ideas of habitus, approaching the social analysis of society and a person through visual analysis. Gorgio Agamben’s ideas are used to establish and understand the continuity in all of the above described elements over time. This is applied to Whitworth Art Gallery and its recent extension in understanding its purpose and how it fulfils that.(fig.3)

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

Fig.3: Essay Theoretical Framework Structure Diagram

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

Habitus and the Socio-Economic Space of Art Galleries The socio-economic behaviour of a person is inherent to, expressed by, and measured against multifaceted paradigms, sets of inherited and acquired systems of characteristics and actionshabitus. Habitus is both the idea of classification of society by economic, cultural, social, symbolic capitals and the classification and awareness of it, itself. Lifestyle in terms of habitus describes how what a person does, has a taste for, and how they judge their surroundings, is systematic and how it is systematically different from other lifestyles; “the social world can be conceptualised as a series of relatively autonomous but structurally homologous fields of production” (Navarro, 2006:14). A scheme of similar lifestyles will produce interchangeable outcomes and will be factually different from other lifestyles. The lifestyle of a certain habitus is internally logical and shares its logic with people of similar habituses; externally it might lack meaning and be nonsensical, as different lifestyles will be based and developed on logically different sets of rules, tastes, norms. The habitus is also an everchanging set of facts in a person’s life, as “…all cultural practices … and preferences in literature, painting or music, are closely linked to educational level… and secondarily to social origin” (Bourdieu, 1986: 1). The habitus might be influenced, based on the upbringing of a person, but it is mainly defined by the acquired, maintained and exhibited cultural and economic capital. (Bourdieu, 1984)

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Art, Architecture and Identity |The Whitworth Art Gallery

Social Distinction and the Realization of Habitus A large part of the social identity of a person is their economic and cultural capital, as well as social and symbolic capitals. These describe different capacities and possibilities of appreciation and possession of things, ideas, value. Social identity is recognised through differences. The larger differences of economic and cultural capital become the classifiers of different social classes: wealthy, poor, etc., however, classification on its own fails to be aware of the full extent of the habituses. (Bourdieu, 1984) Anything that an agent of a certain habitus does is tuned to the habitus, and the habitus to it. The single expression of habitus becomes a fitting part of that habitus as it is both, the result of the previous makeup of the scheme as well as a fact of the newly adapted habitus. In a similar way, persons of similar habituses become metaphors of one and other (Bourdieu, 1984). Taste for Luxury Habitus is the cultural, social, physical space, the capacity of all-encompassing classification and the capacity of the recognition of it, and” it is in the relationship between the two capacities which define the habitus … that the represented social world, i.e., the space of life-styles, is constituted.” (Bourdieu, 1986: 170). It generates practices in compliance with and adjusted to the cultural and economic restrictions of the habitus. In this way, constraints become preferences, necessities become strategies. Taste does not develop out of the economic capital, the wealth of a person, but out of the need for luxury, which is adjusted to the resources available. Taste is

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

the choice of the luxury available. (Bourdieu, 1984). Habitus encompasses all aspects of a person’s life, the way they think, the way they act on those thoughts. This includes all possessions, clothes, furniture, books, etc. and activities, hobbies, sports, as these arise from the interaction and effect of the others. The habitus is tuned to itself “each dimension of lifestyle ‘symbolizes with’ the others … and symbolizes them.” (Bourdieu, 1986: 169). Habitus “revokes the common sense duality between the individual and the social” (Wacquant, 2005, cited in Navarro, 2006: 16) as it understands how what a person does is inherently influenced, driven, by the social constructs they live by, but these are also adjusted and redesigned by the collection of individuals over time. Hence, one’s habit of visiting art galleries, appreciating their architecture and surrounding oneself with pieces of art becomes a characteristic of theirs and it also influences their choices and future taste, and the future curation of the galleries and the architectural design of them. The Homology Between Social Spaces and Their Expressions in Art Galleries Art, the taste for certain kinds of art is the assertation of the class of economic and cultural capital; art galleries play a mediator role in this relationship. Different classes express themselves clearly in taste for different art as habitus can be described as “endowed with built-in-inertia” (Wacquant, 2005, cited in Navarro, 2006: 16); it tends to produce practices reflecting the social build-up these practices arise from. These classes in their varying

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

expressions often disregard the homology of the roots of the art they create and enjoy; the same thriving for luxury and the taste for it. Public art galleries become the multi-identity social realm. The public art gallery demonetizes its exhibits, removes the economic capital from the equation of the habitus, and is purely guided by the cultural capital of a person. The art piece that is not for sale is available to any person of any economic capital. The art gallery also creates art beyond high art, the simpler and even vulgar expressions, by providing an acceptable means of observation for it. The public art gallery can be seen as a quantitative record of the social landscape, the norms, the likings, etc., over time. (Bourdieu, 1984) The utilization of the idea of habitus allows seeing people, society, architecture and art over time as an interlinked, self-influenced system, establishing the relationship between these elements. Self- Projection on Architecture of Time As art records the social acceptances of societies over time, by being created and enjoyed by groups of common habituses, the art gallery, and the architecture of it becomes an extended expression of this relationship. Economically, ideologically, socially, the architecture of art galleries is the face and the body of the art exhibition and creation process, and this face is the result of the socio-economic environment of its time. It is necessary to understand architectures relationship with time, to understand how art influences and manifests itself in this relationship.

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

Architecture has come to enjoy a multifaceted relationship with time and people. Its expression and solidity might counteract its temporality of the idea behind it. It is also creating memory and exhibiting an identity on a personal level. Architecture can be categorized as an art of space, contrary to an art of time because its means of expression is solid, stationary in an observable timeframe. It takes a relatively long time to design and build, it takes even longer, even lifetimes to change or go away. This gives architecture the opportunity to give perpetuity to a moment. With its concept, reflecting the idea, social paradigms, power relationships at a certain moment, architecture can retain a fine, subtle record of history. The fragile relationship between man and time is often defined by the architecture one is surrounded by (house, school, hospital, etc.) and it “helps shape that relationship, regardless of whether it sets itself up against time, defying it, or instead affirms the inevitability of time’s passage” (Harries, 1997: 223). Humans use architecture for self-projection, physically projecting our bodies and experience of height, movement, speed on practically static architectural forms, and socially, mentally projecting our experiences, knowledge, social paradigms on to the image of architecture. Since architecture is perceived by projecting ourselves on to it, architecture acquires a temporality, the experience of it is never twice the same, and it is “...understood as an establishment interpreting the temporal situation of human existence” (Harries, 1997:224). As a person changes over their lifetime and finds

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

oneself facing different problems, architecture plays the role of mediating between a person’s memories, moment, and time. (Harries, 1998) Architecture and its Physical and Time Context Before the conception of the design idea, its site has a reality with its meaning and history; the social norms, the cultural intricacies, the economic allowances are all present. Upon the conception of the idea of a building on a site, that history of the site is interrupted. The fact of planned change alters the fact of the present. Here the careful consideration of the past and the present, as well as the potential future of a piece of architecture in site and the site itself is of most importance. The architect must juggle past influences, traditions and understand which are of use, and which are superficial. The architect also has to understand and predict the needs and progression of the site and the building’s users in the future, releasing the design from restrictions of present time. The disbalance between the two can cause the piece of architecture to not fit in the social paradigm, the habitus of the site or even be unfunctional. A design drawing influences solely from the past, regarding those as dictatorial, ‘forgets’ to address the needs and actuality of the present or the future and about such Zumthor writes: “I sense a lack of a genuine concern with the world and the emanations of contemporary life.” (Zumthor, 1998: 42). On the contrary, a design which is overly concerned with the future utopias, assumptions and trends without resonating with the past and present is described by Zumthor as: “not anchored in its site, and I miss the specific gravity of the ground

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

it stands on.” (Zumthor, 1998: 42). Over its lifetime a piece of architecture has the potential to continue, expand a reality of a place. Designs become place makers, house people’s activities, alter the narratives of the social and physical spaces inhabited by them (Zumthor, 2010). The understanding of the site and how the built design contributes to the site is crucial in realising the intention of a piece of architecture and its success. Visual Society in a Visual World Art, architecture and social communication are all visual exercises in the contemporary environment. The world, the physical and social space around us is inherently visual, explaining and understanding itself through images “we know something when confronted with it visually” (Brinkmann, 2012:128) Images have been understood as the broader media, ‘being worth a thousand words’, and this ‘polyvocality of images’ (Brinkmann, 2012:128) is instrumental to their value to us, the vast capacity of an image, but also is a source of ambiguities. An image can express not only the final idea but the process and intentions of conceiving it. The use of images can be highly revealing as “the image is what we are and what we are is exhibited through images… images are conceived from what the society is, accepts, exhibits, and also presents what it is” (Brinkmann, 2012:129). The modern world has been designed and trained to appreciate, understand and create images most effectively, and so it manifests itself through images (Brinkmann, 2012).

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

In sociology, research images can be used in a variety of ways. These images can be categorized by their origin into constructed and naturalistic. Constructed images are ones created by the researcher with the purpose of research, to explain, reinforce the written, to extend knowledge of the subject or to bring history reconstruction into the discussion. The naturalistic material, images, are made without the intention of research, rather they are a part of life. Family photos, home movies, media, etc. are not created to complete research, however, these can be analysed to create research out of them. Brinkmann writes: “Visual materials are co-constitutive of ‘who we are’ in a visually oriented culture, and ‘who we are’ is simultaneously expressed through visual media the images and films we create.” (Brinkmann, 2012:129). As we inform ourselves through images and then create images to explain, express ourselves, the exchange of these creates a feedback loop, of images informing images. People are socially aware and employ images to educate themselves what others think, do, are trying to say. Understanding images and explaining oneself through them is a natural part of a person’s life and “(…) there is no sharp distinction to be made between living a life and doing qualitative inquiry.” (Brinkmann, 2012:131). Furthermore, images can be and are used to understand people beyond the individual. As different practices of creating images, posing for photos, styles of paintings, approaches to film, become accepted by a larger group of people or become a societal standard, or a staple of a certain time, those same images can be used

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

to understand that time. Our images are thought through and about and they become “a significant materialisation of the norms and concerns of people” (Brinkmann, 2012:131). This has been apparent through history, with attitudes towards religion, the human body, nudity, sexism, etc. clearly changing and images making these changes apparent. (Brinkmann, 2012) In the empirical study of images Brinkmann employs three methods of ‘making the obvious obvious’; fully understanding, realising what the image shows, a factual analysis, ‘making the hidden obvious’; identifying the hidden in the image, the intentions, the idea, explaining the obvious, by understanding its cause, and ‘making the obvious dubious’; destabilizing the image, challenging the assumptions, altering the images make up, to understand why the obvious is obvious. Through these three methods an attempt to understand, explain an image can be made, but more importantly, this reveals the social paradigms of the creators of the images, the society accepting them, and the time of creation (Brinkmann, 2012). Pathosformel The single moment of conceiving a piece of art (or architecture) is loaded with realities and ambiguities about what that piece means, is and how it was created in its spatial and time context. It allows for a temporal reality, an actuality. It also limits the understanding of a larger set of temporalities, the continuum. A moment can only explain itself with assumptions, as it is void of the preceding and the

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Art, Architecture and Identity |The Whitworth Art Gallery

future in a momentary experience. The process, the apprehension of a set of moments, objects in a larger timeframe, or without any consideration of time whatsoever, liberates those objects from their temporality. This cross-examination, co-existence, can reveal the inter-momentary reality, the change over time, the continuity of realities and the art, architecture created by them. Agamben writes about the practice of Aby Warburg: “… he withdraws the artwork … from the study of the artist’s conscious and unconscious structures. … the image was able to transcend the particular historical context in which it was produced and allowed us to see a continuity or a movement between images” (Boano, 2017: 18). Here a set of moments, the architectural, artistic expressions timely of those, are viewed at once, revealing and even explaining the meaning behind those (Boano, 2017).

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

Part 2: The Whitworth

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

The combination of the understanding of the make-up of identity, the social-economic systems of habitus, the relation between architectural expression, society and time, and the visual expression and continuum of the contemporary society allows for examination of the Whitworth Art Gallery and its recent extension. The second part of this essay will apply the theoretical understanding of the first part of the writing to the architectural case study to find if the relationship between architecture, art, time and society is present here. It will examine the intention, the utility and the social contribution of the art gallery.

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

Whitworth Art Gallery in Time The Whitworth Art Gallery (originally Whitworth Institute) was established in 1889 in the Grove House in Manchester, UK as a public art gallery. (fig.4, fig.5) The purpose of it “for the perpetual gratification of the people of Manchester” and available for “people of all social classes” (UoM, 2017). It was an integral part of the Whitworth park experience which was a lively retreat from the industrial Manchester city centre and functioned as a space for well-groomed social gatherings. (fig.7) Over the next 18 years, it saw a reconstruction of its building, with completion into an Edwardian style art gallery in 1908. (fig.6) This was an expansion and a strong image of what the gallery ought to be.

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

Fig.4: The Grove House circa 1900. In use as a gallery. Fig.5: Sculpture Gallery Interior. The Whitworth Institute.

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

Fig.6: Whitworth Institute, Manchester. After the completion of the Grove House redesign. Fig.7: Top Hatted Gentlemen, 1910. Whitworth Park

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Art, Architecture and Identity |The Whitworth Art Gallery

Fig.8: Whitworth Art Gallery Faรงade

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Art, Architecture and Identity |The Whitworth Art Gallery

Rich in detail, appearance and craftsmanship. The faรงade exudes an image of what the art gallery and art was to society.

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

After the two World Wars, the dynamic of the area shifted, as the park was transformed. The art gallery became a part of the University of Manchester in the 1960’s and received a modernist overhaul of its interiors (fig.9), whilst retaining the image and purpose of being publicly available and gratifying. In 2015 the art gallery completed its extension designed by MUMA, with two new wings and spaces added to the gallery complex. This marks itself rather differently from the original gallery building and introduces new uses and perspectives towards the image of a gallery. As a result of this extension, the gallery saw almost double the number of visitors and new public events taking place (The Whitworth, 2017)

Fig.9: Whitworth Art Gallery Interior

Simplicity and freedom of experience. The modern approach.

The Whitworth as a Part of Social Identity Since its inception, the Whitworth Art Gallery has been a part of a cultural establishment, which has been desirable in the city. Historically, the art gallery crowned a Whitworth experience of class and high cultural capital; an escape from the rough, industrial city-fabric. Navarro writes about Bourdieu’s understanding of culture “Culture in the form of dispositions, objects, institutions, language and so on, mediates social practices by connecting people and groups to institutionalised hierarchies” (Navarro, 2006: 15). Here the creation of an art gallery in the park can be seen as an extension of the cultural capacities of the people visiting the park. They become acquainted with art and their habitus expands. The art gallery has also always been public, exhibiting availability, freedom. Art no

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

Fig.10: Manchester Art Venues

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Art, Architecture and Identity |The Whitworth Art Gallery

Manchester enjoys a vast choice of cultural, art venues, marked on the map of Manchester, Whitworth in red.

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

longer was an experience had by the select few, but by the ones who chose to have this experience, by the ones with taste for art. The Whitworth has set itself as a social practice from the very beginnings (UoM, 2017). As the gallery changed ownership to the University of Manchester it reinforced the idea and meaning of intellectuality and free art. This was established again with the interior overhaul; clean modernist materiality reasserted the meaning accessibility in the world after two World Wars. It extended learning to the public and removed from the proud exterior image of the gallery. (fig.8) Bourdieu writes referring to the middle class “the dominated fractions (...) have affinities with the ascetic aspect of aesthetics (...) refusal of ostentation and the bourgeois taste for ornament” (Bourdieu, 1984:176). The gallery became younger and more relevant. The interdependency between the economic and cultural capitals was diluted further. With the contemporary extension, the Whitworth Art Gallery becomes even more accessible. It houses young habituses, creating a family experience in connection with the park and the café inside the gallery, and community events, as well as nourishing the involvement of people with experience and rich habituses. (fig.12) The free gallery goes beyond the demonetizing of art and allowing it to be anyone’s, who decides to visit it. It engages with the cultural capital of people and allows for the creation of art, by housing public studios. (fig.13) The connection of institutionalised hierarchies shifts to the society,

Fig.11: Whitworth Art Gallery Interior

A portal has been created connecting the original building to the extension. A quiet change in materiality marks the transition.

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Art, Architecture and Identity |The Whitworth Art Gallery

Fig.12: Whitworth Art Gallery Extension CafĂŠ

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Art, Architecture and Identity |The Whitworth Art Gallery

Fig.13: Whitworth Art Gallery Extension Classroom

The art gallery has become more social and interactive, encouraging learning, engagement and creation with and of art.

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Art, Architecture and Identity |The Whitworth Art Gallery

Fig.14: Whitworth Art Gallery Frontage

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Art, Architecture and Identity |The Whitworth Art Gallery

Fig.15: Whitworth Art Gallery Extension Frontage

The two parts of the gallery have seen a shift in their image and appearance, scale whilst remaining considerate of each other.

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Art, Architecture and Identity |The Whitworth Art Gallery

Fig.16: Whitworth Art Gallery Facade Details

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Art, Architecture and Identity |The Whitworth Art Gallery

Fig.17: Whitworth Art Gallery Extension Facade

Whilst the materials used on the outer skins of the buildings are almost the same, their application differs vastly.

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

to the visitors of the gallery and the gallery tailors to the visitors. (UoM, 2017). The gallery has also become an integral part of the Manchester cultural environment, as it is an establishment in a vast choice of cultural venues in Manchester. (fig.10) The architecture of the Whitworth has seen dramatic change over its existence. Its parts vary in scales, with the gallery becoming more human, smaller scale, responding to the trends in the art-public relationship. Whilst the 1908 frontage is proud and stands tall over people, exuding its idea of richness and power, the modernist interior is rather quiet and sterile. (fig.14, fig.15) The MUMA extension finds itself in a new temporality of natural human experience. The circulation spaces are clear and visible (fig.19, fig.20), the materiality is simple but recognisable. (fig.27) The design relies strongly on connections with the known. It connects the old gallery with the new, the extension leads into the park (fig.21, fig.22), and seemingly connects to the original building (fig.18), clearly establishing the relationship between the two, with exposed original walls and reflective faรงade surfaces on the extension. The extension has been delicate with its choice of materials, reusing the brick making techniques from the original building, and reflecting the original on itself. It has also made sure to be clear about the change, with the clear floor, wall surface changes (fig.11), etc. It uses the sun to complete its design. (fig.23) The experience of the large, glazed rooms is everchanging; the art gallery becomes a refuge from time, with its exhibitions and social interactivity, and an observatory of it, with the sun slowly, but

Fig.18: Whitworth Art Gallery Building Connection

The reflective facade of the extension blends itself into the park and continues, merges with the original building.

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Art, Architecture and Identity |The Whitworth Art Gallery

Fig.19: Whitworth Art Gallery Extension Vertical Circulation

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Art, Architecture and Identity |The Whitworth Art Gallery

Fig.20: Whitworth Art Gallery Extension Circulation

The circulation routes in the extension are simple and clearly visible. The experience is free and continuous.

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

Fig.21: Whitworth Art Gallery Park View

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Art, Architecture and Identity |The Whitworth Art Gallery

Fig.22: Whitworth Art Gallery Part Connection Detail

Fine detailing design achieves seamless connections with the original building and the park. The extension continues the existing.

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

Fig.23: Whitworth Art Gallery Extension: Materials and Light

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Art, Architecture and Identity |The Whitworth Art Gallery

Fig.24: Whitworth Art Gallery: Play of Shadows

Sunlight plays an integral part in the experience of the extension , as the light creates patterns and plays with the materials.

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Art, Architecture and Identity |The Whitworth Art Gallery

Fig.25: Whitworth Art Gallery Extension Cafe Cantilever

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Art, Architecture and Identity |The Whitworth Art Gallery

Fig.26: Whitworth Art Gallery Extension Visual Connection to the Park

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Art, Architecture and Identity |The Whitworth Art Gallery

Fig.27: Whitworth Art Gallery Extension from the Courtyard

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Art, Architecture and Identity |The Whitworth Art Gallery

The extension presents itself calmly. A human scale design extends into the park creating a quiet courtyard space.

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

inevitably moving the shadows down the stone floor (fig.24) and the ever-present change of the nature in the park just on the other side of the glazing (fig.25, fig.26) (Woodman, 2015). Visual Whitworth Manchester and Whitworth have been actively recorded and expressed visually through time. The art gallery is a manifestation of this visuality, with photography, painting, drawing all being curated in accordance with the locality of Whitworth in mind and extending it. Over the last century, the artist L. S. Lowry has created a unique record of the urban life of Manchester. In his paintings, the working-class people of Manchester are set in the architectural scene of the city. Painted vividly, joyfully, these paintings depict an optimistic image of the post-war, social democratic Britain (Little, 2013). Today the world around us is most often recorded through the camera. The availability of smart-phones with digital cameras has exploded the number of photos and videos taken daily. A practice of recording and sharing oneâ&#x20AC;&#x2122;s day, month, life through images and social network platforms is almost a natural in todayâ&#x20AC;&#x2122;s world (Brinkmann, 2012). Users

Fig.28: Lowry, L.S. (1945) VE Day.

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Art, Architecture and Identity |The Whitworth Art Gallery

Rihards Saknitis

Art, Architecture and Identity |The Whitworth Art Gallery

of sites like Instagram become the curators of their public image by explaining and presenting their desired image to their friends and publicly. Art and art galleries, and also the architecture of those, have become important, substantial parts of this curation. The Lowry and the Whitworth Space A visual exercise was carried out to compare the social space in Lowry’s 1945 painting “VE Day” (fig.28) and a photograph taken upon a visit to the Whitworth Art Gallery. (fig.29) These two naturalistic resources present people in space, but in a very different way to one and other. The Lowry sees crowds of people all through the city scene. They dominate visually and spatially. It depicts a very social society, one of strong group identity, recovering from the war. The victory day is a pinnacle of togetherness. Yet it fails to show the fallen in the war, or the ones dismissive of war in the first place. It also frames out the defeated. It is a tailored image of Manchester as it hopes and wishes to be. (fig.30) The photo has only captured a handful of people in the space, each doing something different. They are free and slow in the gallery space. It is a much more individual experience. Although the gallery visitors share a taste for art galleries, their individual tastes in the art might differ and the gallery must allow for this freedom of experience. A quiet posture is maintained. No one in the gallery runs or gestures too hard; a socially accepted state of galleries. The photograph is very momentary. It does not show how people use the gallery over time or what kinds of people visit it. It also fails to show what this quiet day

Fig.29: Whitworth Art Gallery Interior

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Art, Architecture and Identity |The Whitworth Art Gallery

Fig.30: Lowry Space Visual Analysis

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Art, Architecture and Identity |The Whitworth Art Gallery

Lowry paints the city full of crowds. These crowds are proportionally similar to the rather grand architectural space of the city (extracted in rectangles).

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Art, Architecture and Identity |The Whitworth Art Gallery

Fig.31: Whitworth Space Visual Analysis

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Art, Architecture and Identity |The Whitworth Art Gallery

The Whitworth Art Gallery is quiet, only a few people appear in the photo. The spaces are tailored to the human scale.

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Art, Architecture and Identity |The Whitworth Art Gallery

Fig.32: Spatial Visual Analysis Comparison

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Art, Architecture and Identity |The Whitworth Art Gallery

The proportional relationships between the human and the architectural space are similar in both examples. The difference arises in the number of people. The contemporary is more individual.

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Art, Architecture and Identity |The Whitworth Art Gallery

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Art, Architecture and Identity |The Whitworth Art Gallery

in the gallery might be affected by. The photo also shows the change in scale between the original and the extension space of the gallery. The architectural spaces squeeze in, become more human scale, whilst remaining open and free. (fig.31) The spatial and proportional relationship in the two images is rather similar. People are a substantial part of the architectural space; in Lowry - as a mass, in Whitworth - individually. The social shift from unity to individuality is presented. As the socio-economy environments change, the individuals change with them. (fig.32) Whitworth Art Gallery on Instagram The gallery visit often ends up shared on social networking sites. This is clearly the case at the Whitworth Art Gallery as the hashtag #whitworthartgallery, indicating the relevance of the photo to the art gallery has been used more than six thousand times at the moment of writing and was tagged on more than a hundred photos in the first month of 2018. The gallery visitors share their favourite art pieces, the spaces in which the art is exhibited and themselves enjoying or even creating art at the social activities at the gallery. A hundred of these images were taken and assembled in a statistic of photos sorted by themes of photos of art pieces, people, architecture, and art pieces with people in them, to explore and present what the trends of imagery are when visiting the Whitworth. (fig.34) More than a quarter of the images were of the

Fig.33: Whitworth Art Gallery for All Ages

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Art, Architecture and Identity |The Whitworth Art Gallery

#whitworthartgallery

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Art, Architecture and Identity |The Whitworth Art Gallery

Fig.34: Instagram Analysis Compilation

Art, Architecture and Identity |The Whitworth Art Gallery Rihards Saknitis Fig.35: Instagram Analysis Statistics

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art of people

people

art

architecture

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gallery building, of people sharing quite minute details, like the construction of the stairs or the views that the gallery frames of the park. A little more, over a third of the photos were of people, of the sharers themselves or their family. These photos showed people engaging with art and the architectural space. The majority of the photos shared art pieces. Most the abstract ones, exhibiting a taste in this kind of art. A substantial minority were photos of art pieces showing people. These were often accompanied by a personal comment or a reflection about the character in the piece of art. (fig.35) This exercise visualizes the appreciation and proudness of art. People are keen to share themselves understanding, enjoying art. They also like to set the scene of their habitus, presenting it at an art gallery. This practice of sharing images online expands the social space and reinforces the idea of visual communication and individual explanation and realisation. The art gallery, its art and architecture become the backdrop for people’s life-styles. They are the aspects creating people’s individualities.

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Art, Architecture and Identity |The Whitworth Art Gallery

For the Perpetual Gratification of the People of Manchester The Whitworth Art Gallery extension is a manifestation of the relationship between art and the people of Manchester, Whitworth, and how this relationship has developed over time. Over the 127 years since the gallery’s establishment, all; art, architecture and society has seen change. What can be seen today is a result of this time passed, this change gone. When the statements of inclusivity and the purpose “for the perpetual gratification of the people of Manchester” was made as the Whitworth Institute was conceived, the idea of an art gallery in Whitworth was new, it extended the social, cultural identity of the area. Then it followed the core events in the city, the country, the world, whilst remaining true to its mission statement. Now, an art gallery in the Whitworth park has become a natural, a fact. The gallery is enjoyed by an increasing amount of people of all ages. As the gallery goers have changed, and so has art, and the relationship between the two, the art gallery has had to adapt. With new spaces and activities, the Whitworth Art Gallery extension by MUMA has met the taste of the contemporary gallery-goer, whilst remaining true to the past of the institution. What remains to be seen is how this relationship between art, architecture of art and the society using and creating it will develop in the increasingly visual world. Rihards Saknitis

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Art, Architecture and Identity |The Whitworth Art Gallery

Fig.36: Whitworth Art Gallery Extension Interior Sketch

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Art, Architecture and Identity |The Whitworth Art Gallery

Fig.37: Whitworth Art Gallery Extension Exterior Sketch

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Art, Architecture and Identity |The Whitworth Art Gallery

References: Boano, C. (2017) The Ethics of a Potential Urbanism. Oxon: Routledge. Bourdieu, P. (1984) Distinction. A Social Critique of the Judgement of Taste. Cambridge: Harvard University Press. Brinkmann, S. (2012) Qualitative Inquiry in Everyday Life. London: SAGE. Harries, K (1998) The Ethical Function of Architecture. Massachusets: MIT. Little, H. (2013) Lowry After the War. Available at: http://www.tate.org.uk/contextcomment/blogs/lowry-after-war [Accessed 18 February 2018]. Navarro, Z. (2006), In Search of a Cultural Interpretation of Power: The Contribution of Pierre Bourdieu. IDS Bulletin, 37(6): 11–22. Available at: http://dx.doi. org/10.1111/j.1759-5436.2006.tb00319.x The University of Manchester (2017) The Whitworth. History. Available at: http://www. whitworth.manchester.ac.uk/visit/thenewgallery/history/ [Accessed 18 February 2018]. The Whitworth (2017) The University of Manchester Annual Performance Review 2017. The Whitworth. [pdf.] Available at: http://documents.manchester.ac.uk/display. aspx?DocID=35608 [Accessed 18 February 2018]. Woodman, E. (2015) The Whitworth by MUMA. The Architects’ Journal. Available at: https://www.architectsjournal.co.uk/buildings/the-whitworth-by-muma/8680221.article [Accessed 18 February 2018]. Zumthor, Peter (2010) Thinking Architecture. Basel: Birkhäuser.

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List of Figures: Figure 1: Saknitis, R. (2017) Whitworth Art Gallery Interior. [photograph]. Figure 2: Saknitis, R. (2018) Essay Structure Diagram. [illustration]. Figure 3: Saknitis, R. (2018) Essay Theoretical Framework Structure Diagram. [illustration]. Figure 4: Rusholme & Victoria Park Archive (1900) The Grove House circa 1900. Available at: http://rusholmearchive.org/_image/daLtvrUWjW_92653_1324028267.jpg [Accessed 10 February 2018]. Figure 5: Rusholme & Victoria Park Archive (1900) Sculpture Gallery Interior. The Whitworth Institute. Available at: http://rusholmearchive.org/_image/ lQGYHWehpr_92657_1324028594.jpg [Accessed 10 February 2018]. Figure 6: Rusholme & Victoria Park Archive (undated) Whitworth Institute, Manchester. Available at: http://rusholmearchive.org/_image/XOguIW5YMD_217561_1416582083. jpg [Accessed 10 February 2018]. Figure 7: Rusholme & Victoria Park Archive (1910) Top Hatted Gentlemen, 1910. Available at: http://rusholmearchive.org/_image/57sWntVEzS_292781_1490272122. jpg [Accessed 10 February 2018]. Figure 8: Saknitis, R. (2017) Whitworth Art Gallery FaĂ§ade. [photograph]. Figure 9: Saknitis, R. (2017) Whitworth Art Gallery Interior. [photograph]. Figure 10: Saknitis, R. (2018) Manchester Art Venues. [illustration]. Figure 11: Saknitis, R. (2017) Whitworth Art Gallery Interior. [photograph]. Figure 12: Saknitis, R. (2017) Whitworth Art Gallery Extension Cafe. [photograph]. Figure 13: Saknitis, R. (2017) Whitworth Art Gallery Extension Classroom. [photograph]. Figure 14: Saknitis, R. (2017) Whitworth Art Gallery Frontage. [photograph]. Figure 15: Saknitis, R. (2017) Whitworth Art Gallery Extension Frontage. [photograph]. Figure 16: Saknitis, R. (2017) Whitworth Art Gallery Facade Details. [photograph]. Figure 17: Saknitis, R. (2017) Whitworth Art Gallery Extension Facade. [photograph]. Figure 18: Saknitis, R. (2017) Whitworth Art Gallery Building Connection. [photograph]. Figure 19: Saknitis, R. (2017) Whitworth Art Gallery Extension Vertical Circulation. [photograph]. Figure 20: Saknitis, R. (2017) Whitworth Art Gallery Extension Circulation. [photograph]. Figure 21: Saknitis, R. (2017) Whitworth Art Gallery Park View. [photograph]. Figure 22: Saknitis, R. (2017) Whitworth Art Gallery Part Connection Detail. [photograph]. Figure 23: Saknitis, R. (2017) Whitworth Art Gallery Extension: Materials and Light. [photograph]. Figure 24: Saknitis, R. (2017) Whitworth Art Gallery: Play of Shadows. [photograph].

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Art, Architecture and Identity |The Whitworth Art Gallery

Figure 25: Saknitis, R. (2017) Whitworth Art Gallery Extension Cafe Cantilever. [photograph]. Figure 26: Saknitis, R. (2017) Whitworth Art Gallery Extension Visual Connection to the Park. [photograph]. Figure 27: Saknitis, R. (2017) Whitworth Art Gallery Extension from the Courtyard. [photograph]. Figure 28: Lowry, L.S. (1945) VE Day. [oil on canvas] 78.7 x 101.6 cm. Kelvingrove Art Gallery and Museum, London. Figure 29: Saknitis, R. (2017) Whitworth Art Gallery Interior. [photograph]. Figure 30: Saknitis, R. (2018) Lowry Space Visual Analysis. [illustration]. Figure 31: Saknitis, R. (2018) Whitworth Space Visual Analysis. [illustration]. Figure 32: Saknitis, R. (2018 Spatial Visual Analysis Comparison. [illustration]. Figure 33: Saknitis, R. (2017) Whitworth Art Gallery for All Ages. [photograph]. Figure 34: Saknitis, R. (2018) Instagram Analysis Compilation. [diagram]. Figure 35: Saknitis, R. (2018) Instagram Analysis Statistics. [diagram]. Figure 36: Saknitis, R. (2018) Whitworth Art Gallery Extension Sketch. [illustration]. Figure 37: Saknitis, R. (2018) Whitworth Art Gallery Extension Exterior Sketch. [illustration]. All images copyright ÂŠ Rihards Saknitis, if not specified differently.

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Appendix

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Art, Architecture and Identity |The Whitworth Art Gallery Rihards Saknitis ARC6010 BSoAD

Absence in Abundance

a summary statement of Hans Ibelings

Supermodernism - Architecture in the Age of Globalisation NAi Publishers, Rotterdam, 1998

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Art, Architecture andinin Identity |The Whitworth Art Gallery Absence Abundance Absence Abundance

The The abundant abundant age age ofof globalization globalization architecture architecture responded responded with with minimal, minimal, absent absent forms. forms. Ambiguous Ambiguous with with itsits simplicity simplicity itit tailored tailoredtotothe theplaceless, placeless,time timelacking lackingsociety. society. Hans Hans Ibelings Ibelings writes writes about about Supermodernism, Supermodernism, an an expression expression with with seemingly seemingly no no sense sense ofof time, time, context, context, itsits place. place. And And regardless regardless ofof that that itit isis the the clearest clearest form form ofof architectural architectural expression expressionatatthe thetime, time,1998, 1998,where wherethe thestyle styleisissimultaneously simultaneously recognized recognized by by many. many. As As aa reaction reaction toto the the character character full full post post modernism modernism and and the the rebellious rebellious de-constructivism. de-constructivism. As As aa response response toto an an ever-connected ever-connected society, society, which which found found triumph triumph inindetachment detachmentfrom fromtime timeofofday dayand andaaplace placecalled calledhome. home.This This architecture architecture thrived thrived fine fine detailing detailing and and invisible invisible control control ofof itsits users. users.Supermodernism Supermodernismbecame becamethe thestylistic stylisticresponse responsetotostring string ofofstylistic stylisticresponses responsesofofthe the20th 20thcentury century(Ibelings, (Ibelings,1998). 1998).

”The ”The impression impression made made by by this this architecture architecture isis created created not not atat the the level level ofof messages messages toto be be articulated, articulated, but but atat the the emotional emotional level, level,by byatmosphere.” atmosphere.” (Ibelings, (Ibelings,1998) 1998)

Hotel HotelIndustriel IndustrielBarlier, Barlier,by byDominique DominiquePerrault Perrault(DPA, (DPA,2017) 2017)

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References: References: Ibelings, Architecture in the Age of Globalisation Caruso, H. A. (1998) (2004) Supermodernism Traditions. OASE,-65, pp. 76-89. Rotterdam, NAi Publishers. Upton, A. (2006) Newport Street Gallery. Available at: https://static1.squareDominique Perrault Architecture (2017) Hotel Industriel Berlier. Available at: http://www. space.com/static/571cb8d760b5e99d45a36587/t/576fcc0d579fbperraultarchitecture.com/en/news/3427-dpa_restore_dpa_at_the_hotel_industriel_ 3131644f01c/1467386929238/Newport+Street+Gallery+Exterior?format=1000w berlier.html October 2017]. [Accessed 8[Accessed October 82017].

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Absence PrinciplesininAbundance Tradition for Effective Designs aasummary summarystatement statementof ofHans AdamIbelings Carusos Supermodernism - Architecture in the Age of Globalisation Traditions

NAi Publishers, Rotterdam, 1998 OASE, Amsterdam, Jan 2004, Issue65, â&#x20AC;&#x2DC;Ornamentationâ&#x20AC;&#x2DC;, pp. 76-89

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Art, Architecture and Identity |The Whitworth Principles Principles ininTradition Tradition for forEffective Effective Designs Designs Art Gallery

Traditions Traditions should should be be regarded regarded toto as as aa set set ofof underlying underlying design design principles, principles, opposed opposed toto aa physical physical manifestation manifestation ofof those thoseprinciples, principles,totoachieve achievesocially sociallyfunctional functionalarchitecture. architecture. Written Writtenininthe theeconomically economicallyblooming bloomingtime timebefore beforethe the2007 2007 financial financialcrash, crash,the theauthor authorexamines examineswhat whattradition traditionhas hasmeant meant inin the the past, past, toto the the great great designers designers ofof the the modernity. modernity. These These architects architectshad hadtotoadapt adaptand andcreate createnew newarchitectural architecturaltypologies typologies ininthe therapidly rapidlyevolving evolvingsociety societyboth bothtechnologically technologicallyand andsocially, socially, and anddid didso soby byemploying employingvisual visualand andspatial spatialprinciples principlesofoftheir their preceding precedingarchitects, architects,totocreate createnew newscales scalesand andfunctions. functions. Caruso Caruso also also argues argues that that the the celebrated celebrated architecture architecture ofof the the early early 2000’s 2000’s disregards disregards these these architectural architectural principles, principles, traditions, traditions,ininfavour favourofofvisual visualrecognition, recognition,aabrand. brand.This Thisresults results ininarchitecture architectureunable unabletotogrow growold, old,detached detachedfrom fromitsitsphysical physical and andtime timecontext. context.The Theauthor authorsuggests suggestsarchitects architectsshould shouldreturn return totothe thedesign designprocess processbased basedon onprecedents, precedents,traditions traditions(Caruso, (Caruso, 2004). 2004). ”The ”Theonly onlyact actthat thatqualifies qualifiesas ashistorical historicalisisthat thatwhich whichininsome some way way introduces introduces something something additional, additional, aa new new element, element, inin the the world, world,from fromwhich which(a(anew newstory storycan canbe begenerated generatedand andthread thread taken takenup upanew.” anew.” (K(KFFSchinkel, Schinkel,Das Dasarchitektonische architektonischeLehrbuch) Lehrbuch)

Newport NewportStreet StreetGallery Galleryby byCaruso CarusoStStJohn John(Upton, (Upton,2016) 2016)

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References: References:

Art, Architecture and Identity |The Whitworth Art Gallery

Caruso, A. P(2004) OASEBasel: , 65, pp. 76-89. Zumthor, . (2006)Traditions. Atmospheres. Birkhauser. Upton, A. (2006) Newport Street Gallery. Available at: https://static1.squarespace.com/static/571cb8d760b5e99d45a36587/t/576fcc0d579fb3131644f01c/1467386929238/Newport+Street+Gallery+Exterior?format=1000w List of Figures: [Accessed 8 October 2017]. Figure 1: Amoretti, A. (2017) Zinc Mine Museum – Allmannajuvet – Norway– Peter Zumthor. http://www.aldoamoretti.it/reportage-zinc-mine-allmannajuvet-peter-zumthor-norway/ [Accessed 10 October 2017]

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Figure 2: Meredith, A. (2012) Steilneset Memorial / Peter Zumthor and Louise Bourgeois. http://www.archdaily.com/213222/steilneset-memorial-peter-zumthor-and-louise-bourgeois-photographed-by-andrew-meredith/a4544421 [Accessed 10 October 2017] Figure 3: Hjortshøj, R. (2017) Kolumba. https://www.behance.net/gallery/53199743/K-O-L-U-M-B-A [Accessed 10 October 2017] Figure 4: Ludwig, S. (2007) Bruder Klaus Field Chapel / Peter Zumthor. http://www.archdaily.com/106352/bruder-klaus-field-chapel-peter-zumthor [Accessed 10 October 2017] Figure 5: Guerra, F. (2004) Peter Zumthor | Thermal Vals | Vals, Ch | 2004. http://ultimasreportagens.com/urdata/16/index.html#4 [Accessed 10 October 2017]

The Craft in ofTradition Creating for Emotion Principles Effective Designs book rewiev of Peter aasummary statement ofZumthors Adam Carusos Atmospheres Traditions

Birkhauser, Basel Jan 2004, Issue65, ‘Ornamentation‘, pp. 76-89 OASE, Amsterdam,

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Art, Architecture Identity |The Whitworth Art Gallery The TheCraft Craftand ofofCreating Creating Emotion Emotion

Buildings Buildings are are designed designed with with aa utility, utility, aa use, use, but but what what makes makes those those architecture architecture isis the the ability ability toto emotionally emotionally affect, affect, move move people, people,itsitsusers; users;the theway waythis thiscan canbe bedesigned designedand andachieved achieved isis the the craft craft ofof architecture. architecture. Peter Peter Zumthor Zumthor describes describes what what he he sees seesas asthe thequalities qualitiesofof‘good’ ‘good’architecture, architecture,what whatisisunderstood understood as as an an atmosphere atmosphere and and aa set set ofof architectural architectural principles principles which which he he and and his his practice practice use use when when designing designing and and thinking thinking about about buildings. buildings. Through Through aa great great deal deal ofof interconnected interconnected social social and and physical physical design design considerations, considerations, the the craftsmanship craftsmanship ofof architecture architectureisisachieved. achieved. Architectural Architectural quality quality comes comes from from designing designing buildings buildings that that people people can can interact interact with with on on not not only only aa physical physical but but also also an an emotional emotional level, level, which which can can be be labelled labelled as as the the atmosphere atmosphere ofof architecture. architecture. The The built built environment environment isis the the environment environment ofof the the today’s today’s human human and and people people have have learned learned toto understand understand buildings, buildings,furniture, furniture,design designclues cluesininaalinear, linear,logical logicalway, way,totouse use those thoseeffectively. effectively.The Theauthor authorargues arguesthat thataastronger strongersense senseofoffirst first impressions impressionsstill stillprevails prevailsininthe theway wayhumans humansperceive perceivethe theworld. world. This This emotionally emotionally strong strong reaction reaction toto things things isis both both inevitable inevitable and anduseful usefulininnature naturewhen whendanger dangerisispresent. present.As Asininmost mostcases, cases, danger dangerisisnot notwhat whatpeople peopleexperience experienceininarchitecture, architecture,the thefirst first impression impression becomes becomes aa sense sense ofof atmosphere. atmosphere. AA non-linear non-linear thought thoughtprocess, process,designing designingfor forwhich whichcan canachieve achievewhat whatmakes makes buildings buildingsarchitecture, architecture,an anemotional emotionalreaction. reaction.

Fig.1 Fig.1Zinc ZincMine MineMuseum MuseumAllmannajuvet, Allmannajuvet,Norway Norway

The The sense sense ofof atmosphere atmosphere inin architecture architecture isis created created by by considering consideringvarious variouscomplexities complexitiesofofitsitsphysicality, physicality,social socialfacets, facets, use use and and emotionality. emotionality. Zumthor Zumthor examines examines architecture architecture as as an an art art that that people people interact interact with. with. As As the the object object ofof architecture, architecture, aa painting, painting,or oraapiece pieceofofmusic, music,which whichthe theauthor authordescribes describesas asthe the art artofofall allarts, arts,isisexperienced, experienced,the thehuman humanisiscapable capabletotopick pickout out and and appreciate appreciate complexities complexities and and apparent apparent thought thought process, process, knowledge, knowledge, craft. craft. Consciously Consciously or or subconsciously subconsciously people people realise realiseand andfeel feelthe theeffort effortand anddesign designdecisions decisionsthat thathave havegone gone into into designing designing aa piece piece ofof architecture. architecture. This This atmosphere atmosphere isis set set toto be be achieved achieved by by design design principles principles ofof architecture architecture beyond beyond quantitative quantitative elements elements ofof the the built built environment, environment, qualitative qualitative knowledge, knowledge, experience, experience, the the craft craft ofof architecture. architecture. This This craft craft isis highly highly personal, personal, the the author author points points out, out, itit comes comes from from an an individual individualparadigm. paradigm.Each Eachperson personcan canunderstand understandthe the

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atmosphere differently, differently, whether whether itit isis close close and and familiar familiar toto the the atmosphere person,or ordistant distantand andstrange. strange.Whatever Whateverthe thecase, case,architecture architecture person, hastotoadd addtotothe theemotional emotionalpalette paletteofofaaplace. place. has The design design ofof aa building building encompasses encompasses aa collection collection ofof The interlaced principles, principles, from from itsits structure structure toto materiality, materiality, toto interlaced use and and image, image, the the perception perception ofof architecture. architecture. P.Zumthor P.Zumthor use sets out out nine nine design design principles principles applied applied toto any any successful successful sets architectural design design and and further further describes describes aa couple couple ofof ways ways architectural thinking, that that help help achieve achieve quality quality architecture. architecture. These These ofof thinking, principles, although although considering considering various various aspects aspects ofof aa built built principles, form, are are completely completely entwined entwined toto create create aa coherent coherent piece piece ofof form, architecture.The Theauthor authormoves movesthrough throughaascale scalefrom fromphysical physical architecture. aspects ofof architecture, architecture, toto emotional emotional and and social social aspects. aspects. He He aspects talks about about ‘The ‘The Body Body ofof Architecture’ Architecture’ describing describing buildings buildings talks notonly onlyas asobjects, objects,that thathumans humanscan cantouch, touch,but butalso alsoentities, entities, not that can can touch touch us. us. AA physicality physicality that that goes goes beyond beyond the the finish finish that the floors floors and and walls, walls, the the skin, skin, through through toto the the structure structure and and ofof the all the the elements, elements, that that make make the the building building work, work, the the organs. organs. AA all large consideration consideration isis given given toto the the ‘Material ‘Material Compatibility’, Compatibility’, large describingthe theendless endlesspossibilities possibilitiesininthe theuse useofofmaterials. materials.The The describing amount used, used, the the finish, finish, the the interaction interaction with with other other materials materials amount and environments. environments. Zumthor Zumthor describes describes how how aa number number ofof and materialsutilised utilisedcreate createrelationships relationshipswith witheach eachother, other,how howthe the materials proximity ofof some some can can create create vibrant vibrant effects, effects, however however others others proximity need distance, distance, toto relieve relieve tension. tension. Material Material combinations combinations can can need be considered considered further further toto achieve achieve aa certain certain ‘Sound ‘Sound ofof Space’. Space’. be Sound reflection, reflection, absorption, absorption, the the weight weight and and surface surface ofof the the Sound material, space space those those are are used used in, in, the the friction friction created created when when material, used, the the use use ofof the the space space all all have have aa sound. sound. And And materials materials used, canand andmust mustbe beused usedtotoachieve achievequiet quietininthe thenoise noisefull fullworld worldofof can today.Another Anothermaterial materialsensibility sensibilityisistowards towardsthe the‘Temperature ‘Temperature today. Space’. The The capacity capacity toto hold hold or or transfer, transfer, reflect reflect heat heat isis ofof aa Space’. inherent toto materials materials and and because because ofof people’s people’s sense sense and and inherent recognition ofof these these characteristics characteristics materials materials can can have have an an recognition emotional, associative associative effect effect even even visually. visually. An An absolute, absolute, well well emotional, thoughtthrough throughset setofofmaterials materialsininaaspace spaceisisdescribed describedas asaa thought ‘Tempered Space’ Space’ by by Peter Peter Zumthor; Zumthor; tempered tempered toto aa feeling. feeling. ‘Tempered Architecturefundamentally fundamentallyowes owesthe theexperience experienceofofitittotolight. light.ItIt Architecture theway wayhumans humansprimarily primarilyexperience experiencethe theworld. world.Continuing Continuing isisthe thematerial materialconsiderations, considerations,light lightand andmateriality materialityhave havetotobe be the

Fig.3Kolumba KolumbaMuseum MuseumCologne, Cologne,Germany Germany Fig.3

Fig.2Steilneset SteilnesetMemorial Memorial Fig.2 Vardø,Norway Norway Vardø,

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designed designedhand handininhand; hand;reflective reflectivematerials materialsshine shineininthe thelight, light, textured textured materials materials crave crave light light toto create create miniature miniature shadows. shadows. Studying Studying ‘The ‘The Light Light ofof Things’ Things’ the the author author introduces introduces light light as as aa spatial spatial entity, entity, suggesting suggesting designing designing buildings buildings as as masses masses ofof shadow, shadow, pierced pierced and and cut cut by by light light where where necessary, necessary, toto guide guide through through and and express express architectural architectural space. space. He He describes describes how how visual visual clues, clues, physical physical boundaries boundaries or or the the absence absence ofof such such can can be be designed designed toto achieve achieve architecture architecture that that guides, guides, creates creates aa narrative, narrative,or oron onthe thecontrarycontrary-frees, frees,lets letsthe theuser userofofarchitecture architecture loose. loose. ‘Between ‘Between Composure Composure and and Seduction’ Seduction’ explores explores how how architecture architecture can can be be experienced experienced spatially, spatially, moving moving through through and and around around it,it, but but also also temporarily, temporarily, limited limited toto aa moment moment ofof noticing, noticing,deciding, deciding,getting gettinglost, lost,being beingseduced. seduced.This Thisinteraction interaction with with space space isis further further examined examined inin ‘Levels ‘Levels ofof Intimacy’, Intimacy’, where where architectural architectural scale scale isis not not seen seen as as aa dimension dimension ofof the the door door or or aa ceiling ceiling height, height, but but as as aa proportional proportional relationship relationship between between the thearchitectural architecturalelements elementsand andaahuman humanbeing. being.The Thegrandness grandness ofof spaces spaces can can have have the the effect effect ofof intimidation intimidation or or proudness proudness depending depending on on how how those those are are designed designed toto interact interact with, with, they they can can slow slow the the observer observer down down toto appreciate appreciate or or make make feel feel protected, protected,sheltered. sheltered.This Thisscale scalealso alsointeracts interactswith withthe theamount amount ofof people, people, the the building building isis designed designed for, for, creating creating aa sense sense ofof home, home,individuality, individuality,or orbeing beingaapart partofofaalarger largergroup, group,aamass. mass. AA similar similar effect effect isis described described inin ‘Tension ‘Tension between between Interior Interior and and Exterior’, Exterior’, where where the the exterior exterior has has the the capacity capacity toto present present an an image imageofofthe thebuilding’s building’sowner, owner,user, user,interior, interior,whilst whilstthe theinterior interior remains remains aa curiosity, curiosity, an an ambiguity. ambiguity. Here Here the the architect architect must must decide, decide,whether whetherthe thedesign designisisfor forthe thearchitect, architect,the theexterior, exterior,or or the theend enduser, user,the theinterior. interior.AAdifficult difficulttotopin pindown downthreshold thresholdarises arises here, here,where wherethe theinterior interiorand andexterior, exterior,interchange, interchange,become becomeone one and andthe theother; other;the thedoor, door,the thelobby, lobby,aawidow. widow.This Thisintroduces introducesthe the peculiarity peculiarityofofthe thearchitects’ architects’work, work,the thefact factthat thatititlives livesbeyond beyondthe the designers designersreach reachofofinfluence. influence.Zumthor Zumthorexplains explainsthat thatwhat whathelps helps him himdesign designspaces spacesthat thatfunction functionwell wellafter afterhanding handingthem themover over toto the the client client isis the the ‘Surrounding ‘Surrounding Objects’. Objects’. As As people people interact interact with with objects, objects, those those are are collected, collected, become become dear dear and and acquire acquire an an importance importance toto the the individual. individual. The The author author explores explores ifif the the job jobofofarchitecture architectureisistotohouse housesmaller, smaller,significant significantobjects objectsand and toto allow allow those those toto remain remain active, active, meaningful. meaningful. ‘Architecture ‘Architecture as as Surroundings’ Surroundings’ describes describes architecture architecture as as human human environment. environment. Architecture Architectureitself itselfovertime overtimegains gainsindividual individualimportance importancetoto

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Art,Self-Projection Architecture and Identity |TheofWhitworth Art Gallery Self-Projection on onArchitecture Architecture ofTime Time

people, people, as as the the first first memory, memory, as as aa romantic romantic moment, moment, an an element elementininaastory storyofofaaperson. person.ItItbecomes becomesthe theset setfor forhuman human lives, lives, has has meaning meaning years years after after itsits completion completion or or an an article article about aboutititininaajournal. journal.ItItalso alsobecomes becomesaapart partofofitsitssurroundings, surroundings, becomes becomessurroundings surroundingsitself itselftotoother otherbuildings, buildings,spaces, spaces,events. events. Architecture Architecture realizes realizes and and changes changes itsits place place and and meaning meaning inin context context as as the the context context changes. changes. Hence Hence quality quality inin architecture architecture isis ofof such such high high importance, importance, as as itit succeeds succeeds the the architect architect and and the the current current moment moment ofof designing designing it.it. The The combination combination ofof all all the theprinciples principlesdescribed, described,the thesuccessful successfulset setofofdesign designdecisions decisions isis characterized characterized by by ‘Coherence’. ‘Coherence’. The The author author argues argues that that architecture architecture has has toto be be an an applied applied art art and and that that itit should should be be coherent coherentenough enoughtotoexplain explainitself. itself.ItsItsuse, use,itsitsfunction functionshould shouldbe be the themeaning meaningofofit,it,not notprescribed prescribedtotothe thebuilt builtform formafter afterthe thefact. fact. Finally, Finally, Zumthor Zumthor talks talks about about ‘The ‘The Beautiful Beautiful Form’ Form’ as as aa final final achievement achievement inin aa design design for for an an architect. architect. He He describes describes itit as as the theeffect effectofofevery everyother otheraspect aspectofofthe thedesign designbeing beingcoherently coherently inin place, place, but but not not necessarily necessarily ever ever present. present. Not Not every every logically logically designed designed building building will will become become aesthetically aesthetically pleasing pleasing or or beautiful beautiful beyond beyond that, that, however however aa building building that that functions functions well well on onaaphysical physicaland andemotional emotionallevel levelcan canbecome becomethat thatbecause because ofofthe thefact. fact.

Fig.4 Fig.4Bruder BruderKlaus KlausField Field Chapel ChapelMechernich, Mechernich,Germany Germany

Craftsmanship Craftsmanship inin architecture architecture can can be be described described as as the the skill skill and and the the thought thought process process that that creates creates aa coherent coherent and and aa beautiful beautiful building. building. ItIt encompasses encompasses fine fine consideration consideration ofof the the materials materials used, used, what what effects effects those those have have on on our our senses, senses, what what meaning meaning they they carry. carry. ItIt understands understands the the interaction interaction between between aa person, person,architecture architectureand andother otherobjects, objects,physically physicallyand andmentally. mentally. ItItisisaware awareofofthe thesocial socialperceptions perceptionsand andphysiological physiologicalaffects affects spaces spaces and and forms forms ofof architecture architecture can can have have on on aa person. person. ItIt designs designsfrom fromaapoint pointofofview viewofofaaperson personininaagroup groupofofpeople people and andsociety. society.ItItbecomes becomesaapart partofofsomething somethinglarger largerthan thanitself, itself, something somethingeverchanging. everchanging.ItItcarries carriesthrough throughtime. time.Whatever Whateverthe the expression expression ofof aa piece piece ofof architecture, architecture, the the tools tools that that aa certain certain architect architect uses, uses, the the craft craft ofof itit isis toto create create emotion emotion and and shelter, shelter, express, express,remind remindabout aboutititatatthe thesame sametime timebeing beingaware awareofofthe the utility utilitythe thebuilding buildinghas. has.The Thecraft craftofofcreating creatingan anatmosphere. atmosphere.

Fig.5 Fig.5Therme ThermeVals Vals Vals, Vals,Switzerland Switzerland

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References: Zumthor, P. (2006) Atmospheres. Basel: Birkhauser. List of Figures: Figure 1: Amoretti, A. (2017) Zinc Mine Museum – Allmannajuvet – Norway– Peter Zumthor. http://www.aldoamoretti.it/reportage-zinc-mine-allmannajuvet-peter-zumthor-norway/ [Accessed 10 October 2017] Figure 2: Meredith, A. (2012) Steilneset Memorial / Peter Zumthor and Louise Bourgeois. http://www.archdaily.com/213222/steilneset-memorial-peter-zumthor-and-louise-bourgeois-photographed-by-andrew-meredith/a4544421 [Accessed 10 October 2017] Figure 3: Hjortshøj, R. (2017) Kolumba. https://www.behance.net/gallery/53199743/K-O-L-U-M-B-A [Accessed 10 October 2017] Figure 4: Ludwig, S. (2007) Bruder Klaus Field Chapel / Peter Zumthor. http://www.archdaily.com/106352/bruder-klaus-field-chapel-peter-zumthor [Accessed 10 October 2017] Figure 5: Guerra, F. (2004) Peter Zumthor | Thermal Vals | Vals, Ch | 2004. http://ultimasreportagens.com/urdata/16/index.html#4 [Accessed 10 October 2017]

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Fig 11 Whitworth Whitworth Art Art Gallery Gallery byby Author Author Fig

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Art, Architecture and Identity |The Whitworth Art Gallery

The Role of Art in Society and The Manifestation of that in Architecture

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Question: How has the role of art changed since the beginning of the 20th century and what effects has that had on the identity of a space that an art gallery inhabits and creates and how has the craftsmanship of architecture reflected and empowered that?

Art, Architecture and Identity |The Whitworth Art Gallery

Hypothesis: The last 100 years have seen a shift in what art is and what role the public, the users of art have in creating, experiencing and maintaining art. The architecture of art galleries has reflected that closely.

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by Authohrs

Art, Architecture and Identity |The Whitworth Art Gallery

Fig 33 Whitworth, Whitworth, Manchester, Manchester, UK UK Map Map Fig by Authohrs

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Whitworth WhitworthArt ArtGallery GalleryExtension Extension Megane MeganeKearney, Kearney,Rihards RihardsSaknitis, Saknitis, Sidharth SidharthJain, Jain,EdEdRevans, Revans,Ryan RyanSteed Steed

Art, Architecture and Identity |The Whitworth Art Gallery

Fig 33 Whitworth Fig Whitworth Park Park Undated Undated http://rusholmearchive.org/_image/AWxZihttp://rusholmearchive.org/_image/AWxZi68NEo_297334_1501167888.jpg 68NEo_297334_1501167888.jpg

The The Parks Parks were were aa great great social social gathering gathering space space in in the the industrial industrial city. city. AA refuge refuge from from the the factofactories both physically and emotionally. ries both physically and emotionally.

109 (Rusholmearchive, 2017) (Rusholmearchive, 2017)

Whitworth WhitworthArt ArtGallery GalleryExtension Extension Megane MeganeKearney, Kearney,Rihards RihardsSaknitis, Saknitis, Sidharth SidharthJain, Jain,EdEdRevans, Revans,Ryan RyanSteed Steed

Art, Architecture and Identity |The Whitworth Art Gallery

Fig Fig 44 Grove Grove House House Circa Circa 1900 1900 http://rusholmearchive.org/_image/daLtvrUW-

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The Whitworth Whitworth Institute Institute art art The gallery isis established established in in the the Grove Grove gallery House in 1889. House in 1889.

http://rusholmearchive.org/_image/daLtvrUWjW_92653_1324028267.jpg jW_92653_1324028267.jpg

110 (Rusholmearchive, 2017) (Rusholmearchive, 2017)

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Over Over aa period period of of 18 18 years years Grove Grove House House isis transformed transformed into into aa late late Victorian Victorian art art gallery, which is completed in 1908 gallery, which is completed in 1908 and and isis free to the public . free to the public .

Whitworth WhitworthArt ArtGallery GalleryExtension Extension Megane MeganeKearney, Kearney,Rihards RihardsSaknitis, Saknitis, Sidharth SidharthJain, Jain,EdEdRevans, Revans,Ryan RyanSteed Steed

Art, Architecture and Identity |The Whitworth Art Gallery

Fig Fig 55 Whitworth Whitworth Institute Institute 1910 1910 http://rusholmearchive.org/_image/XOguIhttp://rusholmearchive.org/_image/XOguIW5YMD_217561_1416582083.jpg W5YMD_217561_1416582083.jpg

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by Authors

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Fig 7 Whitworth Art Gallery Proportion Elevation Diagram

Whitworth WhitworthArt ArtGallery GalleryExtension Extension Megane MeganeKearney, Kearney,Rihards RihardsSaknitis, Saknitis, Sidharth SidharthJain, Jain,EdEdRevans, Revans,Ryan RyanSteed Steed

Art, Architecture and Identity |The Whitworth Art Gallery

Whitworth Art Gallery Extension Megane Kearney, Rihards Saknitis, Sidharth Jain, Ed Revans, Ryan Steed

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Fig 66 Whitworth Whitworth Art Art Gallery Gallery Scale Scale Diagram Diagram Fig by Authors

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Whitworth Art Gallery Extension Megane Kearney, Rihards Saknitis, Sidharth Jain, Ed Revans, Ryan Steed

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Fig 88 Whitworth Whitworth Art Art Gallery Gallery Proportion Proportion Elevation Elevation Diagram Diagram Fig by Authors

Fig 9 Whitworth Art Gallery Symmetry Plan Diagram

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Fig 10 Whitworth Art Gallery 1908 by Authors

Whitworth Art Gallery Extension Megane Kearney, Rihards Saknitis, Sidharth Jain, Ed Revans, Ryan Steed

There is a religion like single truth, a sovereign subject. This is reinforced by the tall, vertical proportion, strong symmetry, heavy, rich materials. Art galleries are castle-like, overlooking the public.

Art, Architecture and Identity |The Whitworth Art Gallery

Art galleries are an apparatus of this power relationship, the architecture of the galleries is an expression of their status.

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Whitworth Institute 1908

Art as Pedagogy; the artist is the teacher, who determines what the public learns. The public takes part in this as it signifies intelligence and class.

Art is the aspirations and utopia of the public. 117 (Bell, 1998)

https://peoplemakeglasgow.com/images/Things_to_do/Museums_and_galleries/Kelvingrove-995.jpg

Fig 12 12 Walker Walker Art Art Gallery Gallery 1897 1897 Fig

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Fig 13 13 Victoria Victoria Gallery Gallery Liverpool Liverpool 1892 1892 Fig https://media.dayoutwiththekids.co.uk/media/16744/33917-victoria-gallery-and-museum-liverpool-01.jpg?mode=crop&quality=75&width=1680&height=940 https://media.dayoutwiththekids.co.uk/media/16744/33917-victoria-gallery-and-museum-liverpool-01.jpg?mode=crop&quality=75&width=1680&height=940

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Fig 11 11 Kelvingrove Kelvingrove Art Art Gallery Gallery 1901 1901 Fig https://peoplemakeglasgow.com/images/Things_to_do/Museums_and_galleries/Kelvingrove-995.jpg

Whitworth WhitworthArt ArtGallery GalleryExtension Extension MeganeKearney, Kearney,Rihards RihardsSaknitis, Saknitis, Megane SidharthJain, Jain,EdEdRevans, Revans,Ryan RyanSteed Steed Sidharth

Art, Architecture and Identity |The Whitworth Art Gallery

Fig Fig 14 14 Tate Tate Britain1897 Britain1897 https://www.artfund.org/assets/what-to-see/museums-and-galleries/t-v/tate-britain/tate-britain-1536.jpg https://www.artfund.org/assets/what-to-see/museums-and-galleries/t-v/tate-britain/tate-britain-1536.jpg

Fig 15 Fig 15 Manchester Manchester Art Art Gallery Gallery 1827 1827 https://upload.wikimedia.org/wikipedia/commons/thumb/e/e7/Manchester_Art_Gallery_-_geograph.org.uk_-_1748756.jpg/799px-Manchester_Art_Gallery_-_geograph.org.uk_-_1748756.jpg https://upload.wikimedia.org/wikipedia/commons/thumb/e/e7/Manchester_Art_Gallery_-_geograph.org.uk_-_1748756.jpg/799px-Manchester_Art_Gallery_-_geograph.org.uk_-_1748756.jpg

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Fig 17 Solomon R. Guggenheim Museum 1939 https://evemuseografia.files.wordpress.com/2014/07/gugg_interior-1256x889.jpg

Whitworth Art Gallery Extension Megane Kearney, Rihards Saknitis, Sidharth Jain, Ed Revans, Ryan Steed

https://upload.wikimedia.org/wikipedia/commons/thumb/2/22/Government_Museum_and_Art_Gallery%2C_Chandigarh..jpg/800px-Government_Museum_and_Art_Gallery%2C_Chandigarh..jpg

Fig 18 Tate St Ives 1980

Art, Architecture and Identity |The Whitworth Art Gallery

Fig 16 Government Museum and Art Gallery, Chandigarh 1967

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As a reaction to the horrors of the two World Wars and the past ideals those tore apart the movement of Modernism arose tailoring to the new media and technology. It moved away from religion and absolute views, certainty. Modernism gave way to experimental practices in many aspects of art , in search for new ideals and truths, or the lack of those. Art was no longer singularly true, universal. Plurality of thinking emerged.

Art, Architecture and Identity |The Whitworth Art Gallery

WhitworthArt ArtGallery GalleryExtension Extension Whitworth MeganeKearney, Kearney,Rihards RihardsSaknitis, Saknitis, Megane SidharthJain, Jain,EdEdRevans, Revans,Ryan RyanSteed Steed Sidharth

Whitworth Whitworth Art Art Gallery Gallery 1960s 1960s

120 (Bell, 1998) (Bell, 1998)

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Whitworth Art Gallery 1958 When the public funding for galleries dried up in the fifties, the gallery, keen to continue acquiring new pieces was taken over by the University of Manchester. With its new patron, the Whitworth continued to grow its collection at a time when other galleries did not. Around this time the galleryâ&#x20AC;&#x2122;s interior was overhauled by the architects, Bickerdike, Allen and Partners. The new interior with its striking Scandinavian style, paralleled with the galleryâ&#x20AC;&#x2122;s championing of emerging artists like David Hockney, allowed it to stay relevant at a time when many other galleries were experiencing a decline in popularity. (WM, 2017) Fig 19 Whitworth Art Gallery Interior by Authors

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Fig 21 Fig 21 Barbican Barbican Centre Centre 1982 1982 https://www.artfund.org/gallery/800x450/assets/what-to-see/museums-and-galleries/a-c/barbican-art-gallery/barbican-art-gallery-view-of-cafe.jpg

Fig Fig 20 20 Hayward Hayward Gallery Gallery 1968 1968

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Art, Architecture and Identity |The Whitworth Art Gallery

Fig 22 22 The The Lowry Lowry 1999 1999 Fig https://upload.wikimedia.org/wikipedia/commons/thumb/0/0a/The_Lowry.jpg/800px-The_Lowry.jpg https://upload.wikimedia.org/wikipedia/commons/thumb/0/0a/The_Lowry.jpg/800px-The_Lowry.jpg

Fig 23 23 Walsall Walsall New New Art Art 2000 2000 Fig

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Fig Fig 24 24 Whitworth Whitworth Art Art Gallery Gallery Extension Extension Exterior Exterior byby Authors Authors

Art, Architecture and Identity |The Whitworth Art Gallery

Whitworth WhitworthArt ArtGallery GalleryExtension Extension Megane MeganeKearney, Kearney,Rihards RihardsSaknitis, Saknitis, Sidharth SidharthJain, Jain,EdEdRevans, Revans,Ryan RyanSteed Steed

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MOMA Architects Architects design design two two new new wings wings to to the the gallery, gallery, 2015. 2015. MOMA These These house house long long needed needed functional functional spaces. spaces.

Fig Fig 25 25 Whitworth Whitworth Art Art Gallery Gallery Extension Extension Interior Interior byby Authors Authors

123 (Kingdom, 2015) (Kingdom, 2015)

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Whitworth WhitworthArt ArtGallery GalleryExtension Extension Megane MeganeKearney, Kearney,Rihards RihardsSaknitis, Saknitis, Sidharth SidharthJain, Jain,EdEdRevans, Revans,Ryan RyanSteed Steed

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Fig 26 26 Whitworth Art Gallery Extension Scale Diagram Fig by AuthorsWhitworth Art Gallery Extension Scale Diagram

Fig 27 27 Whitworth Art Gallery Extension Proportion Diagram Fig by AuthorsWhitworth Art Gallery Extension Proportion Diagram

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Whitworth Art Gallery Extension Megane Kearney, Rihards Saknitis, Sidharth Jain, Ed Revans, Ryan Steed

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Fig 28 Fig 28 Whitworth Whitworth Art Art Gallery Gallery Extension Extension Asymmetry Asymmetry Diagram Diagram by Authors

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Fig 29 Whitworth Art Gallery Extension Asymmetry Plan Diagram

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Workshops Workshops

Learning Learning Studio Studio

Art, Architecture and Identity |The Whitworth Art Gallery

Whitworth WhitworthArt ArtGallery GalleryExtension Extension MeganeKearney, Kearney,Rihards RihardsSaknitis, Saknitis, Megane SidharthJain, Jain,EdEdRevans, Revans,Ryan RyanSteed Steed Sidharth

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Study Study Centre Centre

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Fig 30 FigAuthors 30 Whitworth Whitworth Art Art Gallery Gallery Extension Extension Social Social Spaces Spaces Plan Plan Diagram Diagram by by Authors

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The The Gallery Gallery

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Sculptures Sculptures in in The The Park Park

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Playground Playground

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Fig 31 31 Whitworth Art Gallery Connection to The Park Map Diagram Fig by AuthorsWhitworth Art Gallery Connection to The Park Map Diagram by Authors

Art as Heutagogy; the art is learns from the public, the public learns from the art. The user of the art is the art.

WhitworthArt ArtGallery GalleryExtension Extension Whitworth MeganeKearney, Kearney,Rihards RihardsSaknitis, Saknitis, Megane SidharthJain, Jain,EdEdRevans, Revans,Ryan RyanSteed Steed Sidharth

Plurality of subject is the truth, as the art is shaped by the viewer, each experience a different truth. This is neutered by human scale, calm, proportionally horizontal â&#x20AC;&#x2DC;layingâ&#x20AC;&#x2122; structures. These exhibit asymmetry, signifying freedom of thought and truth. The complexity of the architecture is subtle, open to interpretation. Art galleries are for and by the public.

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Art is the mirror of the public.

Art, Architecture and Identity |The Whitworth Art Gallery

Art is the experience of it, not the process and craft of creating it, hence it depends on the viewer, their social paradigm.

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Whitworth Whitworth Art Art Gallery Gallery Now Now

(Bell, 1998) (Bell, 1998)

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what is the role of art now?

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Fig 47 47 Whitworth Whitworth Art Art Gallery Gallery Photo Photo Montage Montage byby Authors Authors Fig

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Kingdom, Kingdom, U. U. and and MUMA, MUMA, T.T. (2015). (2015). The The Redevelopment Redevelopment Of Of The The Whitworth Whitworth // MUMA. MUMA. [online] [online] ArchDaily. ArchDaily. Available Available at: at: https://www.archdaily. https://www.archdaily. com/596947/the-redevelopment-of-the-whitworth-muma com/596947/the-redevelopment-of-the-whitworth-muma [Accessed [Accessed 20 20 Nov. Nov. 2017]. 2017]. Mairs, Mairs, J.J. (2015). (2015). MUMA MUMA unveils unveils glass glass and and brick brick extensions extensions to to The The Whitworth. Whitworth. [online] [online] Dezeen. Dezeen. Available Available at: at: https://www.dezeen. https://www.dezeen. com/2015/02/03/muma-whitworth-gallery-manchester-extensions-renovation-brick-glass-steel/ com/2015/02/03/muma-whitworth-gallery-manchester-extensions-renovation-brick-glass-steel/ [Accessed [Accessed 20 20 Nov. Nov. 2017]. 2017]. Rusholmearchive.org. (2017). (2017). Whitworth Whitworth Park Park and and Gallery Gallery || Rusholme Rusholme && Victoria Victoria Park Park Archive. Archive. [online] [online] Available Available at: at: http:// http:// Rusholmearchive.org. rusholmearchive.org/whitworth-park-and-gallery [Accessed [Accessed 26 26 Nov. Nov. 2017]. 2017]. rusholmearchive.org/whitworth-park-and-gallery Whitworth.manchester.ac.uk. Whitworth.manchester.ac.uk. (2017). (2017). Staff Staff || Whitworth Whitworth Art Art Gallery. Gallery. [online] [online] Available Available at: at: http://www.whitworth.manchester.ac.uk/ http://www.whitworth.manchester.ac.uk/ about/staff/ about/staff/ [Accessed [Accessed 19 19 Nov. Nov. 2017]. 2017]. Whitworth.manchester.ac.uk. Whitworth.manchester.ac.uk. (2017). (2017). Whitworth Whitworth Art Art Gallery. Gallery. [online] [online] Available Available at: at: http://www.whitworth.manchester.ac.uk http://www.whitworth.manchester.ac.uk [Accessed [Accessed 20 20 Nov. Nov. 2017]. 2017].

Art, Architecture and Identity |The Whitworth Art Gallery

References: References: Bell, Bell, M. M. (1998). (1998). Slow Slow space. space. New New York: York: The The Monacelli Monacelli Press. Press.

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