Decolonising Architecture through Practice | ARM with Michelle Gan and Sheridan Hirst by RMIT Architecture

DECOLONISING ARCHITECTURE THROUGH PRACTICE During the first half of the semester we researched the museum â&#x20AC;&#x201C; in terms of history and origin, private vs public and old vs new, gallery experience and alternative platforms, in the second half of the semester weâ&#x20AC;&#x2122;ve looked at the museum moving forward in terms of decolonisation of architecture and gallery spaces. The effects of colonisation and Eurocentric views in the past are still echoed in and effect society today. A lack of attention to the colonial past or uncritically representing the past is problematic in the present, as it ignores power positioning created in the past effecting the present and privilege, which ultimately prevents diverse societies from becoming equal and inclusive.

Michelle Gan Sheridan Hirst Practice Research Elective ARM

Events World War 1

American Civil War

Paris Salon: Louvre

1730

1770

Academic Art Resistance: ‘Salon de Refuses’ Paris

British Institution: Art Sale and Art Loan

1820

1840

1860

International Exhibition Movement

1880

1900

1910

Art Destruction Due to Handling in Traveling Art Shows

Colonization and State Power through Art Exhibition and Architecture

Freedom Ride Aboriginal Rights Tent Embassy Australia

Universal Declaration of Human Rights: United Nations

Milam Building Texas: 1st Air Conditioned Building

Invention of the HVAC

Industrial Revolution End of the Global Age of Exploration

World War 2

Womens Liberation Movement

1940

1950

1960

1970

Shift in Themes Over Time Revealed Gallery Design

Invention

1980

2000

Art

2010

1940-Present 1730-1965 Slavery and Racial Segrecation of African Americans

1800 1788-1967

Chinese Communist Revolution Hukou Registration Policy

2020

Colonisation of the Dutch East Indies (Indonesia) Violence and slavery towards indigenous people

Erasure of Indegenous Practice, Culture and Tradition

1788-1967

COVID 19 Pandemic

Erasure of Indegenous Resistance, turmoil and oppresion. Excused White Violence

Black Lives Matter Movement

Crisis Human Rights

1880 International Exhibition Movement: Raison d’etre and conservation traditions

Exclusivity and lack of public accessibility of artwork

Art elitism and exclusivity Atefact loss of meaning within museums Capitalism of space

Privitisation of art insitutions

Invention Lack of viewing accessibility of artwork

Exclusivity and lack of public accessibility of artwork

Art

Culture Shift

2020 Technological Advancement Globalization

Global need for Online Connections

Rise of Research and Preservation of the Arts

Need To Control Internal Environments

Equality of Opportunity

Rise of Art Philanthropy

Idiosyncratic Design Shift

Rise of Online Galleries

Garden Palace Powerhouse Museum Royal Exhibition Building Art Gallery of South Australia Tasmainian Museum and Art Gallery New Museum Western Australia

Statens Museum for Kunst (SMK) Van Gogh Museum Rijksmuseum Smithsonian American Art Museum British Museum Adelaide Contemporary New Museum Western Australia Shepparton Art Gallery Garden Palace Royal Exhibition Building National Gallery Australia Powerhouse Museum Art Gallery of South Australia

1820

1995

Statens Museum for Kunst (SMK) John Soane Museum

ARTIST RUN INITIATIVES

JEWISH MUSEUM BERLIN BERLIN, GERMANY

ARCHITECTURAL EXPRESSION

The Factory Bus Projects TCB Art INC

19TH CENT. GALLERIES

ART FESTIVALS

PUBLIC OLD Burning Man Sculptures by the Sea

VIRTUAL PLATFORMS

JOURNALISM Antipodeans The Angry Penguins

Smithsonian American Art Museum British Museum Rijksmuseum

Tasmainian Museum and Art Gallery Queensland Art Gallery National Gallery Victoria

PUBLIC GALLERIES

ROYAL EXHIBITION BUILDING MELBOURNE, AUSTRALIA

EMERGENT ALTERNATIVE PLATFORMS Damien Hirst The $150,000 Banana

PRIVATE GALLERIES

Adelaide Contemporary National Gallery Victoria Queensland Art Gallery National Gallery Australia Shepparton Art Gallery Tate modern

White Rabbit Tate modern Heide Gallery New Museum NYC Whitney Museum of American Art The Broad Museum Phoenix Central Park Gallery Museum of Old and New Art DanGrove Art space Whitestone Gallery Whitney Museum of American Art Guggenheim FLW Guggenheim Bilbao Kimbell Art Museum The Broad Museum John Soane Museum Louisiana Museum of Modern Art Philip Johnson Glass House Philip Johnson Painting Gallery Philip Johnson Sculpture Gallery DSL Collection

GALLERY ENVIRONMENT ACTIVISM

CONTEMPORARY GALLERIES

Richard Bell Marla Rosler The Guerrilla Girls AIDS Exhibition Group Materials & David Wojnarowicz

Priority of urban interaction and public space, viewing ease

PUBLIC NEW

Repatriation policy and employment of Indegenous curators and staff

The Truth Booth Banksy

VIRTUAL PLATFORMS STREET ART

NGV: Japanese Modernism National Gallery Victoria Van Gogh Museum

Heide Gallery White Rabbit DanGrove Art space The Broad Museum New Museum NYC Museum of Old and New Art Phoenix Central Park Gallery Whitney Museum of American Art

The Broad Museum Whitney Museum of American Art Guggenheim FLW Guggenheim Bilbao Kimbell Art Museum Philip Johnson Glass House Philip Johnson Painting Gallery Philip Johnson Sculpture Gallery Louisiana Museum of Modern Art

GALLERY ENVIRRONMENT

CONTEMPORARY GALLERIES

PRIVATE NEW

DSL Collection Guggenheim FLM Whitestone Gallery

VIRTUAL PLATFORMS 180 Meters 160 Meters 140 Meters 120 Meters 100 Meters 80 Meters 60 Meters 40 Meters 20 Meters 0 Meters

1881 Circulation Space

1982

1988 Outdoor Space

1997

2003 Back of House Management

Rise of Art Philanthropy

2006

2007

Storage and Services

Rise of Research and Preservation of the Arts

2013

2014

2015

Preperatory and Restoration Facility Need To Control Internal Environments

2018 Performance Space

Idiosyncratic Design Shift

2020

Community Space

Rise of Online Galleries

Shift in Trends Over Time Revealed Gallery Design

Star of David Connecting locations of Jewish Importance Skylight and void symbolize absense and impenetrable history Use of stainless steel as separation from baroque building Use of hight and wall thicness to achieve muffled emptiness Darkness and slivers of light as emotion of loss of hope Garden of exile skewed form create disorientation and anxiety Holocaust tower hieght and darkness, muffles sound to emulate oppression

SIGNAGE AND MEANING

MATERIAL AS SYMBOLISM

Iron Faces - sound cries and number of lives lost

FORM AND ORNAMENT AS SYMBOLISM

FORM AS PUBLIC ACTIVATION

Tri-axial underground circulation as disorientation and narrative of Jewish turmoil

LIGHT AND SPACE AS EMOTION

ORGANIZATION FOR REPATRIATION

CIRCULATION AS NARRATIVE

CIRCULATION FOR PUBLIC ACCESS

LOCATION AS STRATEGY

CHANGE IN MUSEUM PRACTICE

2020

Equality of Opportunity

MELBOURNE MUSEUM MELBOURNE, AUSTRALIA Non-linear fragmentation of galleries understanding that any collection is subject to repatriation

ARTIST AUTHORITY National Gallery Victoria

1880

2000

2005

CONSTRUCTION AS SOCIAL ACTIVATION

NATIONAL MUSEUM OF AUSTRALIA CANBERRA, AUSTRALIA

CONTEMPORARY ART MUSEUM ST. LOUIS MISSOURI, USA

NATIONAL MUSEUM OF AFRICAN AMERICAN HISTORY AND CULTURE WASHINTON, DC

Boolean String as a symbol of a tangle of Indegenous and non-indegenous stories

Simplistic form to allow art display on the street face and to the public realm

Facade screen as a symbol of steelwork made by slaves

Shop front windows that generate public interest as opposed to 'walled off' controlled privacy in art insitutions

Replication of Washington Memorail Capstone

Axis combinging Walter Griffin design of Canberra and Uluru geographic centre Jigsaw puzzel representing conceptually unfinished Australian story Landscaping installation depicting map of locations of genocide

Breaking barriers connecting to site bounds and curbs to form smooth transitions from street to gallery

2015

2010

Emergent Style: Decolonialization of Institution and Art Collection

GALLERY ENVIRONMENT

Clonolizing Art: Exposure and Reaching Larger Populations

1788 British Invasion into Australia Oppression And Erasure Of Indegenous Peiople

Rise of Contemporary Art

Clonolizing Art: Exposure and Reaching Larger Populations

Exhibition Space

1941-1945 WW2 Holocaust

Indigenous object and collection - display of human remains, secret and sacred material

Crisis

Philanthropic Government Aid, USA

Governent Financial Aid on Art Preservation

Human Rights Activism

1880

Human Rights

Invention of World Wide Web

Advent of Art “The Conservation Advent of Preservation of Antiquities and Microclimate Research: British of Works of Art Control: British Museum Guidelines” British Museum Museum

War Impact Creating Global Emphasis on Social Welfare

Covid-19: Global Lockdown

Global Fiancial Crisis

Bronze material differentiation from Washinton Mall Use of darkness as light to depict suffering and hope Upward circulation following chronological narrative of slavery

Message in braille as an apology to the mistreatment of Aborigines

NINGBO MUSEUM NINGBO, ZHE JIANG, CHINA Mountain form to symbolise rural village topography Use of tiles, doors windows from demolished village Bamboo imprinted concrete as a symbol to immortalize rural village practice

UNIVERSITY OF MICHIGAN MUSEUM OF ART MICHIGAN, USA Shop front windows that generate public interest as opposed to 'walled off' controlled privacy in art insitutions Location on the main student concourse to assert art into the daily pedestrian experience

2020

ALWAYS THERE, ALWAYS WILL BE REKO RENNIE TAYLOR SQUARE NSW, AUSTRALIA Neon text reading ‘Always was, always will be‘ Geometric patterns symbolise traditional tree markings of the Kamilaroi people. The geometry and colours dominate both the building and Taylor Square.

Entry into the building through elevated platform over water or a nature-walk replicating the natural landscape Organic material application by the builders knowledge of construction

CURATORSHIP + EXHIBITION DESIGN

Wapan Construction Method adapted from pre-existing rural village Adaptation of mountain and valley in circulation to emulate traversing through an unknown territory

PUBLIC ACCESS AND INCLUSION INTO ART REVERSE RESTITUTION PROMOTING VIEWER INTERATION

INDIGENOUS AUSTRALIA: ENDURING CIVILIZATION THE SHEILD - THE WHOLE PICTURE BRITISH MUSEUM LONDON, ENGLAND

Slow furniture to push slow paced non paid viewing and promote viewer - viewer interaction

REDESIGNING DISPLAY MECHANISMS FOR VIEWING ACCESS

Inviting marginalised communities - Women refugees to enforce equal right to public space

EMPLOYMENT OF REPRESENTATIVE CURATORS ORDER OF REPRESENTATION AS NARRATIVE

Shifting curator/institution focus from artwork to viewer

ANTI ART-CAPITALISM

PUBLIC OWNERSHIP OF ART

DECOLONISATION ACROSS MEDIUMS, SCALES AND INTERACTIONS

ALL OF THIS BELONGS TO YOU VICTORIA AND ALBERT MUSEUM LONDON, ENGLAND Neon Sign - 'All of this belongs to you' breaking public/civic space barriers

DECOLONIZING NARRATIVE AND LABELS

Reverse resititution adapting artefact meaning and purpose upon relocation

STOCKHOLM NATIONAL MUSEUM STOCKHOLM, SWEDEN Kit of parts system consisting of walls, platforms, and podiums, to prioritise vieiwing accessibility Glass cases installed for individual display of artwork and controlled conditions Wall and ceiling height to draw attention to architecture as an artefact

TROPENMUSEUM AMSTERDAM, NETHERLANDS Employment of specialist advisors to critcally reflect on narrative and acquisition stories Relabeling and redesign of plaques, wall and photography to depict horrors and truths or violence and oppression

OPERATION NIGHT WATCH REMBRANDT RESTORATION RIJKSMUSEUM AMSTERDAM, NETHERLANDS Installment of glass chamber to allow viewing access to restoration Renturning of painting to the public - Public ownership of Art and right of education of restoration process

ENCOUNTERS: REVEALING STORIES OF ABORIGINAL TORRES STRAIGHT ISLANDER OBJECTS THE SHEILD - THE WHOLE PICTURE NATIONAL MUSEUM OF AUSTRALIA CANBERRA, AUSTRALIA

COLLECTIVE ACTIONS: ARTIST INTERVENTIONS IN A TIME OF CHANGE WHITNEY MUSEUM NYC, USA

Geographical order of display enabling visitors to control their route and engagement with the exhibtion, resisting the universalization of story Rephrasing to theme from Cook’s victory to Aboriginal resitance of the destruction of culture Employment of Aboriginal elders and members to write labels /essays of artecats Change of tone from teacherly and academic to personal and empathetic

1880

1941-1945

1788

WW2 Holocaust

British Invasion into Australia Oppression And Erasure Of Indegenous Peiople

Indigenous object and collection - display of human remains, secret and sacred material

1940-Present 1730-1965 Slavery and Racial Segrecation of African Americans

1800 1788-1967

Chinese Communist Revolution Hukou Registration Policy

Colonisation of the Dutch East Indies (Indonesia) Violence and slavery towards indigenous people

Erasure of Indegenous Practice, Culture and Tradition

2020 1788-1967

COVID 19 Pandemic

Erasure of Indegenous Resistance, turmoil and oppresion. Excused White Violence

Black Lives Matter Movement

Crisis Human Rights

1880 International Exhibition Movement: Raison d’etre and conservation traditions

Exclusivity and lack of public accessibility of artwork

1820

Equality of Opportunity

1995

2000

Art elitism and exclusivity Atefact loss of meaning within museums Capitalism of space

Privitisation of art insitutions

2005

Invention Lack of viewing accessibility of artwork

Exclusivity and lack of public accessibility of artwork

2015

2010

2020

Idiosyncratic Design Shift

Emergent Style: Decolonialization of Institution and Art Collection

COMPREHENISVE DIAGRAM CASE STUDY TIMELINE

DEEP-SEATED COLONIALISM PAINTING THE PICTURE OF COLONIALISM

CASE STUDIES HAVE PROVEN THAT ARCHITECTURE BY PRACTICE HAS THE CAPABILITY OF SETTING IN PLACE ANTICIPATIVE PROMPTS AND FOUNDATIONAL IDEAS THAT INFLUENCE A CULTURAL CHANGE WITHIN THE CURATORIAL SPACE AND PUBLIC INTERACTION WITH ART

IDENTIFYING THE EXTENT INEQUITIES BY LOOKING INTO TEXT, NARRATIVE, DISPLAYS, AND ARCHITECTURE. HOW DEEPLY ENGRAINED ARE THE ISSUES AND WHERE MUST ACTION BEGIN?

DEFINING DECOLONISATION OUTCOMES MUST NOT LIMITED TO THE DECOLONIZATION OF CULTURAL NARRATIVES BUT THE ABOLISHMENT OF ELITIST STIGMAS WITHIN THE ART WORLD AND WELCOMING PUBLIC INCLUSIVITY

A CURATOR’S POINT OF VIEW INTERVIEW WITH RORY HYDE

INSIGHT INTO HOW EXHIBITIONS HAVE SHIFTED INTENT TO AUDIENCE OVER COLLECTIONS, SLOW MOVEMENT, ACTIVISM AND INTERACTIONS

ARCHITECTURE REFLECTS THE WORLD AROUND IT AND THE CULTURAL PARADIGM OF THE ERA ARCHITECTS HAVE ACKNOWLEDGED ITS RELATIONSHIP AND INVOLVEMENT WITH UNSAVOURY BEHAVIOUR AND OPPRESSION AND HAVE SHIFTED THE TRANSLATION OF ITS AESTHETIC

DECOLONISATION METHODOLOGY HOW TO DECOLONISE PRACTICE

CREATING A ROBUST NARRATIVE TO ADVOCATE FOR CHANGE AND ACTIVATE A BUTTERFLY EFFECT OF RESPONSE ACROSS SCALES.

INTRODUCTION INTRODUCTION DECOLONISATION ACROSS MEDIUMS, SCALES AND INTERACTIONS

Art

Sheild displayed in a dark lit wooden cabinet adjacent to colorful larger objects merely as a relic to Cook's conquest or British Victory

“BARK SHIELD This is the earliest shield from New South Wales in the Museum. When Cook landed at Botany Bay in 1770, two men came forward with spears. Cook fired shot, hitting a man in the leg, the men retreated dropping the shield. It has been suggested, but not confirmed, that this is that sheild. First contacts in the Pacific WERE OFTEN TENSE AND VIOLENT.“

"often tense and violent" understating the agressive invasion into the indigenous islands - skips over the genocide and ongoing resistance against colonization

INDIGENOUS AUSTRALIA: ENDURING CIVILIZATION BRITISH MUSEUM LONDON, ENGLAND

ENCOUNTERS: REVEALING STORIES OF ABORIGINAL TORRES STRAIGHT ISLANDER OBJECTS NATIONAL MUSEUM OF AUSTRALIA CANBERRA, AUSTRALIA

“Shield, Gweagal people, collected at Botany Bay in April 1770, 97 x 29 x 12 cm. British Museum Oc1978,Q.839“ Encounters, NMA

PAINTING THE PICTURE OF COLONIALISM 2000

2018

Enlightenment Gallery, British Museum

Enlightenment Gallery - A Homogenous display of history touched, A blur of Natural History (Small wall mounted glass and wood cases display in sim lit dark colours with decorative inaccessible libraries for atmosphere) ( Without individual lables but in general groupings by type and by list of location) (No regard or represetnation of harm and opression in the acquisition of items) (distant and inaccessible as not to be reckoned with or argued about) (A celebration of culture only when touched by white man)

Chronological order of display, homogenous and flat - with a single trajectory

Geographical order of display enabling visitors to control their route and engagement with the exhibtion, resisting the universalization of story

Symbolism: Proximity to Cooks life and victory of colonization and power/ Action without consequence

Symbolism: Aborigianl resitance of the destruction of culture

Labels: general and assuming written by curators and experts in a teacherly mandating tone, Detatched and Academic

Labels: Words of indegenous elders and community members privileging different voices. Personal and Empathetic

Sheild displayed in a well lit singular cases with imagery depicting scene and lighting to show gun shot as a mark of violence

Stories from elders and community members about history and value of the object, imagery of past owner identity and geographic connection to place

TRANSITION FROM TROPHY CASE TO NON COLONIAL KEEPING HOUSE ASSERTING SOVEREIGNTY AND SELF DETERMINATION THE PAST AND FUTURE OF DECOLONIALISM ROYAL EXHIBITION BUILDING MELBOURNE, AUSTRALIA Royal Exhibition Building - Classical Program Analysis Diagrams

1823

Royal Exhibition Building - 1880 Ground Level Display and Mezanine Viewing Open Plan Circulation Connected by Stairs

Blending of circulation and exhibition space into a homogenous plane Royal Exhibition Building - Classical Program Analysis Diagrams

scale by embelishment, impenetrable and inaccessibility Symbolism and propaganda spread through the interior of state power Performance Space Retail Storage Back of House Management Toilets Circulation - Stairs Exhbition Space

Area Analysis

Performance Space Retail Storage Back of House Management Toilets Circulation - Stairs Exhbition Space

Area Analysis

MELBOURNE MUSEUM MELBOURNE, AUSTRALIA 1996-2001

Non-linear fragmentation of galleries understanding that any collection is subject to repatriation Curatorial flexibility display locations are subject to change in political agenda and viewer/public voice. Priority of urban interaction and public space, viewing ease Repatriation policy and employment of Indegenous curators and staff

STOP,

REALISE THE INEQUALITY - DO NOT ASSUME KNOWLEDGE

ROAD TO EQUALITY

ENQUIRE,

RESEARCH UNDERSTAND THE THE STORY - ESTABLISH THE NARRATIVE

A METHODOLOGY OF DECOLONISATION OF ARCHITECTURE IN PRACTICE

Creating a robust narrative to advocate for change and activate a butterfly effect across scales and mediums

DELIVER,

APPLY THROUGH ARCHITECTURE CONNECT THE MISSING LINK

3 TEST, FIND SOLUTION - IDENTIFY APPROPRIATE ACTIONS

Rory Hyde Interview From the point of view of a curator of the V&A

The Guerilla Girls at the V&A in 2014.

Michelangeloâ&#x20AC;&#x2122;s The Virgin and Child with the Infant St John (around 1504-05), Royal Academy of Arts, London

AUDIENCE, THE SLOW MUSEUM, INVITING ACTIVISM, SELLING COLLECTIONS

1880

1941-1945

1788

WW2 Holocaust

British Invasion into Australia Oppression And Erasure Of Indegenous Peiople

Indigenous object and collection - display of human remains, secret and sacred material

1940-Present 1730-1965 Slavery and Racial Segrecation of African Americans

1800 1788-1967

Chinese Communist Revolution Hukou Registration Policy

2020

Colonisation of the Dutch East Indies (Indonesia) Violence and slavery towards indigenous people

Erasure of Indegenous Practice, Culture and Tradition

1788-1967

COVID 19 Pandemic

Erasure of Indegenous Resistance, turmoil and oppresion. Excused White Violence

Black Lives Matter Movement

Crisis Human Rights

1880 International Exhibition Movement: Raison dâ&#x20AC;&#x2122;etre and conservation traditions

Exclusivity and lack of public accessibility of artwork

1820

Equality of Opportunity

1995

Art elitism and exclusivity Atefact loss of meaning within museums Capitalism of space

Privitisation of art insitutions

2000

2005

Invention Lack of viewing accessibility of artwork

Exclusivity and lack of public accessibility of artwork

Art

2015

2010

2020

Idiosyncratic Design Shift

Emergent Style: Decolonialization of Institution and Art Collection

ARCHITECTURAL EXPRESSION

The Impact of Loss and Absence Jewish Museum, Daniel Libeskind

Garden Palace Fire Barrangal Dyara, Jonathan Jones

Architecture is the Artwork: Symbolic Representation of the Truth within the Form

National Museum of Australia, ARM

Architecture of Anticipation and Subtlety

Jewish Museum, Daniel Libeskind

Ningbo History Museum, Amatuer Architects

National Museum of African American History and Culture, Adjaye Associates

Jewish Museum, Daniel Libeskind

University of Michigan Gallery, Allied Works Architects

Emotional Atmosphere: Recreating Narrative

National Museum of Australia, ARM

National Museum of African American History and Culture, Adjaye Associates

Contemporary Art Museum, St. Louis Allied Works Architects

Stockholm National Museum, Joel Sanders Architects

Always Was, Always Will Be Reko Rennie

Melbourne Museum, DCM Architects

Framing Perspectives of Forgiveness through Apertures Jewish Museum, Daniel Libeskind National Museum of African American History and Culture, Adjaye Associates

ARCHITECTURAL EXPRESSION DECOLONISATION ACROSS MEDIUMS, SCALES AND INTERACTIONS

Signage and Mantras All of This Belongs to You, Victoria and Albert Museum, Rory Hyde Always Was, Always Will Be Reko Rennie Tropen Musuem

Architecture is the Artwork: Symbolic Representation of the Truth within the Form National Museum of Australia, ARM Ningbo History Museum, Amatuer Architects Jewish Museum, Daniel Libeskind National Museum of African American History and Culture, Adjaye Associates Stockholm National Museum, Joel Sanders Architects

National Museum of Australia Canberra, Australia

Formal Articulation Responsive to Political Events

National Museum of Australia Canberra, Australia

The form itself reflects on Australian history entangling the indigenous and non indigenous as well as it evolving into the future. Form - the boolean string - representing Australian history as tangled and incomplete - the jigsaw puzzel - representing museum as conceptually unfinished, as the Australian experience evolves over time.

These diagrams show the strings, ropes, snakes, threads, cuts, knots and recesses. The Main Hall, its form generated by a Boolean string, is shaped like a giant knot to represents the tangle of stories of Indigenous and non-Indigenous Australians. The loop outside (is an extension on the boolean string) which lands on a footpath which points to Uluru. The 30 meter high loop at the entrance creates a landmark and provides a sheltered walkway into the Museum, and is considered to represent both the rainbow serpent from Aboriginal dreaming and a piece of the Boolean string, considered a metaphor for the strands that tie the nation together.

Symbolic representation of the truth/narrative within the form

National Museum of Australia Canberra, Australia

Exhibition Space Circulation Retail Courtyard Toilet Back of house Lockers/school K space VIP

The basis of the Museum design is an interweaving of Australian stories, with key elements being a reimagining of the key axes from Walter Burley Griffinâ&#x20AC;&#x2122;s vision for Canberra, tangling his land, water and municipal axes, and combining them with new axes to the city centre and Parliament House. A further axis is also incorporated: the Uluru line connecting the Parliamentary Triangle with Uluru, the geographic centre of the country. These tangled axes weave throughout the site, the Uluru axis running from the lake, through the building, past AIATSIS and ending in a curled red concrete ramp conceptually heading to Uluru, and are echoed by the building, which wraps around on the peninsula to take advantage of the spectacular views from the hall, galleries and administration. The key meeting point of the various axis is in the Atrium.

Ningbo History Museum Zhejiang Province, China

FORM

National Museum of African American History and Culture Hukou Policy Introduction

China = Fastest Growng Economy Globally

Chinese Communitst Revolution Qing Dynasty Zhejiang, deepwater trade and economy centre

World War 1

Invention of the HVAC

Industrial Revolution End of the Global Age of Exploration

Paris Salon: Louvre

1730

1770

Academic Art Resistance: ‘Salon de Refuses’ Paris

British Institution: Art Sale and Art Loan

1820

Colonization and State Power through Art Exhibition and Architecture

1840

1860

Urbanization Extends to Zhejiang Province

Demolition of Rural Villages

Coastal Typhoon Disaster Relief: WaPan Construction

American Civil War

International Exhibition Movement

1880

Art Destruction Due to Handling in Traveling Art Shows

1900

World War 2

Milam Building Texas: 1st Air Conditioned Building

1910

1940

Universal Declaration of Human Rights: United Nations

Freedom Ride Aboriginal Rights Tent Embassy Australia

1960

War Impact Creating Global Emphasis on Social Welfare

Formal Articulation Responsive to Political Events

Wang Shu First Chinese Citizen Awarded Pitzker Prize

Village Ruins and Debris Lost Rural Identity

Events Covid-19: Global Lockdown

Invention

Philanthropic Government Aid, USA

1980

Crisis Human Rights

Invention of World Wide Web

Governent Financial Aid on Art Preservation

Shift in Themes Over Time Revealed Gallery Design Clonolizing Art: Exposure and Reaching Larger Populations

1970

Global Fiancial Crisis

Womens Liberation Movement

Advent of Art “The Conservation Advent of Preservation of Antiquities and Microclimate Research: British of Works of Art Control: British Museum Guidelines” British Museum Museum

1950

Wang Shu Amateur Architects Awarded Project Ningbo History Museum Design and Construction

Rapid Area GDP Growth

China Opens to Foreign Trade and Investment

Move from Agriculture to Industrialization

Ming Dynasty

Chinese Museum International Competition

Development of Chinese Cultural Precinct

2000 Human Rights Activism

Art

2010

2020

Culture Shift

Technological Advancement Globalization

Global need for Online Connections

Idiosyncratic Design Shift

Rise of Online Galleries

Rise of Contemporary Art Rise of Research and Preservation of the Arts

Need To Control Internal Environments

Rise of Art Philanthropy

Equality of Opportunity

Ningbo History Museum Zhejiang Province, China MATERIAL PLACEMENT/IRREGULARITY AND CRAFTSMEN/ARCHITECT RELATIONSHIP Twenty different types of grey and red bricks and tiles, salvaged remains of the farmers’ razed homes, depict another ‘archaeological’ layer that borrows from WAPAN construction, a regional tradition of building emergency walls after typhoons. As Wang recalls, there was heated debated over whether or not to redo the wrong parts. ‘Finally, I had no choice but to persuade all parties with a theory of “letting nature take its course”. https://www.architectural-review.com/buildings/ ningbo-museum-by-pritzker-prize-winner-wangshu?tkn=1

“This one was produced over 400 years ago – that’s the Ming Dynasty. That is a very standard size. This one is from the Qing Dynasty. Some people have found older ones. The oldest one is from the Tang Dynasty – that’s 1,500 years ago.” https://www.domusweb.it/en/from-the-archive/2012/03/03/ningbo-history-museum.html

Formal Articulation Responsive to Political Events

Ningbo History Museum Zhejiang Province, China

“When I designed this, I was thinking of mountains. I couldn’t design something for the city, because there is no city here yet, so I wanted to do something that had life. Finally I decided to design a mountain. It’s a part of Chinese tradition.” https://www.domusweb.it/en/from-thearchive/2012/03/03/ningbo-history-museum.html

Formal Articulation Responsive to Political Events

THE BUILDING - A MOUNTAIN, A NATURAL LANSCAPE TOUCHED BY MAN – ARCHEOLOGICAL NAVIGATION THROUGH THE RUINS, VALLEYS AND TRAILS. ‘A mountain represents the place for Chinese people to find their lost and hidden culture,’ Wang claims. Historic Chinese ink-and-wash landscape paintings seem to support his hypothesis and responding to Yinzhou’s natural landscape, a mountain is an appropriate leitmotif. But Wang’s notion of the mountain also responds to Ningbo’s old city code with its maximum eaves height of 24m, so the building extends horizontally. Decisive, sharp cuts and the layered facade represent man’s footprint on the building/mountain, either as relics or as the new manifestation of a vital city structure https://www.architectural-review.com/buildings/ningbo-museum-by-pritzker-prize-winner-wang-shu?tkn=1

Ningbo History Museum Zhejiang Province, China

Wapan construction from salvaged demolished rural material clads the entirety of the facade. A combination of clay, ashlar, terracotta, and bamboo-imprinted concrete are seen. Cutthrough openings are spread across the facade in no evident pattern filled in with recovered window, frames and doors to show the number of homes lost through the rural village erasure.

The “valley” forms a connection to the mountainlike buildings with long flights of stairs and “rivers” as glass lined cut through voids

Main entry circulation is partially immersed in a man-made lake lined with reeds

Adjacent to the museum is a body of water densely covered in local flaura and fauna, a nature trail that visitors can traverse through prior to entering the museum

Parkland and government buildings surround the Ningbo History Museum development

Formal Articulation Responsive to Political Events

Jewish Museum Berlin Berlin, Germany

Jewish Museum Berlin Closes

FORM

Jewish Museum Berlin

Germany Declared Jew-Free

Adolf Hitler Elected Chancellor Jew Deportation and Forced Labour

Prussian Court of Justice Building

Concentration Camps

Jewish Museum Berlin Opens

Star of David Identification Badge Gas Chambers

Axis + Nazi pull back, Allies liberate Jews

Berlin Government: Jewish Museum Anonmous Competition

Hitler Suicide, Germany Surrender

Libeskind Awarded

WW2 End Berlin Wall Deconstructed

Berlin Wall

World War 1

American Civil War

Invention of the HVAC

Industrial Revolution End of the Global Age of Exploration

Paris Salon: Louvre

1730

1770

Academic Art Resistance: ‘Salon de Refuses’ Paris

British Institution: Art Sale and Art Loan

1820

Colonization and State Power through Art Exhibition and Architecture

1840

1860

International Exhibition Movement

1880

Art Destruction Due to Handling in Traveling Art Shows

1900

World War 2

Milam Building Texas: 1st Air Conditioned Building

1910

1940

Universal Declaration of Human Rights: United Nations

Freedom Ride Aboriginal Rights Tent Embassy Australia

1950

1960

Formal Articulation Responsive to Political Events

1970

Invention

Philanthropic Government Aid, USA

1980

Crisis Human Rights

Invention of World Wide Web

Governent Financial Aid on Art Preservation

War Impact Creating Global Emphasis on Social Welfare

Events Covid-19: Global Lockdown

Global Fiancial Crisis

Womens Liberation Movement

Advent of Art “The Conservation Advent of Preservation of Antiquities and Microclimate Research: British of Works of Art Control: British Museum Guidelines” British Museum Museum

Shift in Themes Over Time Revealed Gallery Design Clonolizing Art: Exposure and Reaching Larger Populations

Jewish Museum Berlin

2000 Human Rights Activism

Art

2010

2020

Culture Shift

Technological Advancement Globalization

Global need for Online Connections

Idiosyncratic Design Shift

Rise of Online Galleries

Rise of Contemporary Art Rise of Research and Preservation of the Arts

Need To Control Internal Environments

Rise of Art Philanthropy

Equality of Opportunity

Jewish Museum Berlin Berlin, Germany

CONCEPT Conceptually, Libeskind wanted to express feelings of absence, emptiness, and invisibility – expressions of disappearance of the Jewish Culture. It was the act of using architecture as a means of narrative and emotion providing visitors with an experience of the effects of the Holocaust on both the Jewish culture and the city of Berlin.

FORM The project begins to take its form from an abstracted Jewish Star of David that is stretched around the site and its context. The form is established through a process of connecting lines between locations of historical events that provide structure for the building resulting in a literal extrusion of those lines into a “zig-zag” building form.

Formal Articulation Responsive to Political Events

Jewish Museum Berlin Berlin, Germany

Skylights Outlining Main Internal Void: Symbol of Absence of Jewsih Culture, Impenetrable History

Holocaust Tower: Empty Muffled Void

Garden of Exile Skewed Orientation - Disorientation Plenters: Soild from Berlin, Central Planter - Soil from Jerusalem

Old Prussian Court of Justice Building Entrance, Cloak, Glass Courtyard, Cafe, Gift Shop

Openings: Differing Openings Creating Slivers of Light Internally Materialiy: Juxstaposition Against Baroque Stlye: Steel, Concrete, Stainless steel

Circulation: Underground

Formal Articulation Responsive to Political Events

National Museum of African American History and Culture Washington, USA

National Museum of African American History and Culture FORM

Abraham Lincoln

Slavery Legalized

USA: Emancipation Proclamation

British “Black Gold”

Steel + Agriculture Labour Prostitution

National Museum of African American History and Culture

Royal African Company

Martin Luther King Jr. Assasination

Martin Luther King Jr.

Slavery Abolished

Racial segregation, Unequal rights, Disenfranchisement continues

American Civil War

King Assasination Riots

Civil Rights Movement

Barrack Obama

Legal Protection of Civil Rights

First Black President Elected

End of de jure segregation

Holy Week Riots World War 1

American Civil War

Invention of the HVAC

Industrial Revolution End of the Global Age of Exploration

Paris Salon: Louvre

1730

1770

Academic Art Resistance: ‘Salon de Refuses’ Paris

British Institution: Art Sale and Art Loan

1820

Colonization and State Power through Art Exhibition and Architecture

1840

1860

International Exhibition Movement

1880

Art Destruction Due to Handling in Traveling Art Shows

1900

World War 2

Milam Building Texas: 1st Air Conditioned Building

1910

1940

Universal Declaration of Human Rights: United Nations

Freedom Ride Aboriginal Rights Tent Embassy Australia

Formal Articulation Responsive to Political Events

Womens Liberation Movement

1950

1960

1970

War Impact Creating Global Emphasis on Social Welfare

Invention

Philanthropic Government Aid, USA

1980 Governent Financial Aid on Art Preservation

Crisis Human Rights

Invention of World Wide Web

Advent of Art “The Conservation Advent of Preservation of Antiquities and Microclimate Research: British of Works of Art Control: British Museum Guidelines” British Museum Museum

Shift in Themes Over Time Revealed Gallery Design Clonolizing Art: Exposure and Reaching Larger Populations

Events Covid-19: Global Lockdown

Global Fiancial Crisis

2000 Human Rights Activism

Art

2010

2020

Culture Shift

Technological Advancement Globalization

Global need for Online Connections

Idiosyncratic Design Shift

Rise of Online Galleries

Rise of Contemporary Art Rise of Research and Preservation of the Arts

Need To Control Internal Environments

Rise of Art Philanthropy

Equality of Opportunity

National Museum of African American History and Culture Washington, USA

Washington Memorial 169 m A Reflection of Turmoil, Suffering and Achievements of the African American People

Site Respect: Washinton Memorial 17-degree Capstone Adjacency: Closest Museum to Memorial

Identity: Bronze Paneling: Material Differentiation from Washinton Mall Palaces Culture: Corona: Yoruba Sculpture Reference

Formal Articulation Responsive to Political Events

Natioanal Museum of African American History and Culture 3 Storey Above Ground 2 Storey Below Ground

National Museum of African American History and Culture Washington, USA

The corona is based on elements of the Washington Monument, closely matching the 17-degree angle of the capstone and the panel size and pattern has been developed using the Monument stones as a reference.

Corona after an African word for crown, features an intricately detailed, bronze-colored façade that is steeped in references to the struggles and achievements of African Americans. The inspiration for the tiered exterior came from one of the sculptures in the museum’s collection, a 7-foot-tall depiction of a crowned figure that was carved by late African artist Olowe of Ise. “It is a building with many narratives — relating to the context, the history and the program,” David Adjaye, founder of Adjaye Associates, told Architizer. “This narrative is articulated immediately by the silhouette — borrowing from the form of a Yoruba sculpture — while also resonating with the angle of the Washington Monument.”

Formal Articulation Responsive to Political Events

National Museum of African American History and Culture Washington, USA

The panels themselves were designed to evoke the decorative ironwork found throughout southern architecture, which was often forged by African American slaves and unrecognized freedmen. The architects studied iron railings and faĂ§ade ornaments from South Carolina to New Orleans before selecting a historic grille as the basis of their design.

the colour not only makes the building distinctive, but is also a reminder of â&#x20AC;&#x153;a strong, dark presence not recognized in American history.â&#x20AC;?

Formal Articulation Responsive to Political Events

Stockholm Nationalmuseum Stockholm, Sweden

Swedens Nationalmuseum, was originally designed in 1866 the renovation was suppose to bring the building and galleries up to contemporary standards. The process led to uncovering windows, repurposing two courtyards, the installation of a glass roof, and a new sculptural lift shaft. Architect Joel Sanders from New Yorkbased Joel Sanders Architect, worked on the gallery spaces -the architects original design reflected how the collections were displayed by medium: paintings on the second floor, the Royal Library on the first floor, and the Royal Armoury, wardrobe and coin cabinet on

Architecture as the artwork

While the first-floor gallery was originally designed as a library – which means there’s no wall surface, and the architects were actually removing more walls because they opened up the windows for natural light. Similarly on the third floor, the museum’s top-lit galleries were ill-equipped for presenting anything but paintings on the walls. Sanders’ designed ‘a kit of parts’: ‘a system consisting of walls, platforms, and podiums, that are deployed throughout the museum systematically, to show the works,’ . ‘The idea was to tell a narrative story three dimensionally, to create rooms within a room that would allow different mediums such as paintings, sculpture, objects and furniture, to be integrated together.’ Glass cases were installed within some windows facing the interior courtyard. Halls column bases and saucer domes –the height of the walls were designed for the viewer to appreciate the architecture as an artifact in itself.

Emotional Atmosphere: Recreating Narrative Jewish Museum, Daniel Libeskind National Museum of African American History and Culture, Adjaye Associates National Museum of Australia, ARM

Jewish Museum Berlin Berlin, Germany

VOID IRON FACES One of the most emotional and powerful spaces in the building is a 66’ tall void that runs through the entire building. The concrete walls add a cold, overwhelming atmosphere to the space where the only light emanates from a small slit at the top of the space. The ground is covered in 10,000 coarse iron faces. A symbol of those lost during the Holocaust; the building is less of a museum but an experience depicting what most cannot understand.

Formal Articulation Responsive to Political Events

GARDEN OF EXILE Libeskind’s extension leads out into the Garden of Exile where once again the visitors feel lost among 49 tall concrete pillars that are covered with plants. The overbearing pillars make one lost and confused, but once looking up to an open sky there is a moment of exaltation. Libeskind’s Jewish Museum is an emotional journey through history.

Jewish Museum Berlin Berlin, Germany

SYMBOLIC LIGHT The interior is composed of reinforced concrete which reinforces the moments of the empty spaces and dead ends where only a sliver of light is entering the space. It is a symbolic gesture by Libeskind for visitors to experience what the Jewish people during WWII felt, such that even in the darkest moments where you feel like you will never escape, a small trace of light restores hope.

Formal Articulation Responsive to Political Events

National Museum of African American History and Culture Washington, USA

A dramatic infusion of natural light and a diverse material palette comprising pre-cast concrete, timber and a glazed skin that sits within the bronze lattice. The openness to light is symbolic for a museum that seeks to stimulate open dialogue about race and help promote reconciliation and healing. From the topmost corona, the view reaches ever upward, reminding visitors the Museum is an inspiration, open to all as a place of meaning, memory, reflection, laughter, and hope

Below ground, the ambience is contemplative and monumental, achieved by the triple height history gallery and symbolised by the memorial space – the “oculus” – that brings light diffused by a cascade of water into the contemplative space from the Monument grounds. Moving upwards, the views become pivotal, as one circulates along the corona with unrivalled panoramas of the Mall, Federal Triangle buildings and Monument Grounds.

Formal Articulation Responsive to Political Events

National Museum of African American History and Culture Washington, USA L04: Culture Galleries: Tradition and Innovation Exhibiton Space

Phoenix Central Park Program Analysis Diagrams

Gallery narrative begins underground in darkness with the turmoil of AfricanPhoenixAmericans Central Park in slavery.

L03: Community Galleries: Making a Way out of No Way Exhibiton Space

Program Analysis Diagrams

Every level holds a reflactions area for the rest and contemplation of the viewer. 6

It emerges above ground with a hopeful outlook, as spaces move towards public activation, contemplation and progressive culture.

L02: Interactive Gallery: Library and Classrooms

1 6 4

Legend 1 2 3 4 5 6 7 8

Basement 01 Plan

Car Lift Plant Room Void Over Gallery 01 Void Over Gallery 02 Gallery 03 Lobby Performance Space Green Room

Car Lift Staff End of Trip Facility Storage Plant Room Plant Room Car Park

1 2 31 4 5 6 7 8

Basement 03 Plan

Legend

Legend 5

0 3

Car Lift Plant Room Void Over Gallery 01 Void Over Gallery 02 Gallery 03 Lobby Performance Space Green Room

Legend 1 2 3 4 5 6

L01: Heritage Hall: Information, Pavillion, Circulation

Basement 01 Plan

1 2 3 4 5 6 7 8 9 10 11

Legend

1 2 3 4 95 6

Gallery 06 Gallery 07 Gallery 08 Gallery 09 Library Gallery 10 Balcony Void Over Gallery 04 Connecting Balcony Sky Gallery Void Over Performance Space

Concourse: Retail, Contempletative Court, Theatres, Exhibition Space

Car Lift Staff End of Trip Facility Storage Plant Room Plant 10 Room Car Park

Basement 03 Plan Legend 1 2 3 4 5 6 7 8 9 10 11

6 2 3

3 5

Gallery 06 Gallery 07 Gallery 08 Gallery 09 Library Gallery 10 Balcony Void Over Gallery 04 Connecting Balcony Sky Gallery Void Over Performance Space

Outdoor 1 Car Lift Courtyard 2 3 4 5 6 7 8 9 10

Art Storage Gallery 01 Gallery 02 - Vitrine Lobby Kitchen Plant Room Accessible WC Dressing Room Green Room

Storage Back of House Management Parking/Loading Toilets Circulation - Stairs Exhbition Space Contempletative Court

Area Analysis

Legend

Performance Space Retail

Basement 02 Plan

Legend

1 2 3 4 5 6 7 8 9 10 11

Entry Courtyard Garden 9 Lobby8 Balcony Void Over Performance Space Lobby Void Over Gallery 01 Gallery 04 Car Lift Plant Room Gallery 05

Outdoor 1 Car Lift Courtyard 2 3 4

Art Storage Gallery 01 Gallery 02 - Vitrine

7 8 9 10

Plant Room Accessible WC Dressing Room Green Room

5 Lobby Performance Space 6 Kitchen

Retail

Storage

Legend

4 7

Ground Plan

Legend 1 2 3 4 5 6 7 8

Gallery 11 Gallery 12 Gallery 13 Void Over Gallery 10 Lobby Office Bathroom Courtyard garden

Basement 02 Plan Legend 1 2 3 4 5 6 7 8 9 10 11

Entry Courtyard Garden Lobby Balcony Void Over Performance Space Lobby Void Over Gallery 01 Gallery 04 Car Lift Plant Room Gallery 05

C1: A Changing America: 1968 and beyond: Exhibition space, theatre 8

C2: Defining Freedom, The Era of Segregation: 1876-1968 Exhibition space, theatre 11

Ground Plan

Back of House Management Parking/Loading Toilets Circulation - Stairs

Formal Articulation Responsive to Political Events Exhbition Space Contempletative Court

Area Analysis

C3: Slavery and Freedom: Exhibition space, theatre

Legend 1 2 3 4 5 6 7 8

Gallery 11 Gallery 12 Gallery 13 Void Over Gallery 10 Lobby Office Bathroom Courtyard garden

National museum of Australia Canberra, Australia

The Garden of Australian Dreams (GOAD) in the centre of the building interweaves the stories of Aboriginal and Torres Strait Islander and migrant communities of Australia through the overlay of the English language map of Australia with a map of the linguistic boundaries of Indigenous Australia and the word home in 100 different languages.

Conceived by architect Howard Raggatt as “one in the eye for John Howard” - as one critic put it - and the taxpayers who footed the $155 million bill for its construction, the chaotic structure on the shores of Canberra’s Acton Peninsula featured giant braille symbols pressed into the anodised aluminium cladding. “Forgive us our genocide” was one of the messages intended as a reproach to John Howard’s Government for refusing to apologise for the mistreatment of Aborigines by previous generations. “Sorry” was written in braille several times as well as “Resurrection city”, a reference to a 1968 civil rights protest in Washington DC. Other messages were: “God knows”, “She’ll be right”, “Mate”, “Who is my neighbour?”, “Time will tell”, “Good as gold” and “Love is blind”. https://www.smh.com.au/opinion/disclosed-at-last-the-embedded-messages-that-adornmuseum-20060402-gdnaec.html

Emotional atmosphere recreating narrative

The Impact of Loss and Absence Jewish Museum, Daniel Libeskind

Garden Palace Fire Barrangal Dyara, Jonathan Jones Always Was, Always Will Be Reko Rennie Melbourne Museum, DCM Architects

Jewish Museum Berlin Berlin, Germany

Phoenix Central Park Program Analysis Diagrams

L04: Library Library, Circulation, Admin and Mech

L03: Permanent Exhibition Exhibition Space, Circulation, Admin

Legend 1 2 3 4 5 6 7 8

Car Lift Plant Room Void Over Gallery 01 Void Over Gallery 02 Gallery 03 Lobby Performance Space Green Room

Basement 01 Plan

L02: Permanent Exhibition

Legend

Legend 1 2 3 4 5 6

1 2 3 4 5 6 7 8

Car Lift Staff End of Trip Facility Storage Plant Room Plant Room Car Park

Exhibition Space, Circulation, Admin 5

Basement 01 Plan

Car Lift Plant Room Void Over Gallery 01 Void Over Gallery 02 Gallery 03 Lobby Performance Space Green Room

Legend 1 2 3 4 5 6

Car Lift Staff End of Trip Facility Storage Plant Room Plant Room Car Park

6 2 3

L01: Eric F. Ross Gallery + Memory Void Exhibition Space, Circulation, Void and Mech

Legend 1 2 3 4 5 6 7 8 9 10

Car Lift Art Storage Gallery 01 Gallery 02 - Vitrine Lobby Kitchen Plant Room Accessible WC Dressing Room Green Room

Storage/Services Back of House Management Void Library

4 8

Legend

Basement 02 Plan Legend 1 2 3 4 5 6 7 8 9 10 11

Entry Courtyard Garden Lobby Balcony Void Over Performance Space Lobby Void Over Gallery 01 Gallery 04 Car Lift Plant Room Gallery 05

1 2 3 4 5 6 7 8 9 10

Car Lift Art Storage Gallery 01 Gallery 02 - Vitrine Lobby Kitchen Plant Room Accessible WC Dressing Room Green Room

Basement: Entry from Baroque Building: Underground Axial Trajectories: Axis of Exile - Garden of Exile + Emigration Storage/Services Axis of Coninuity - Stair of Continuity Back of House Management Axis of the Holocaust - Holocaust Tower Exhibition Space, Circulation and Mech

Void Library

Circulation - Stairs

Exhbition Space

Garden of Exile

Area Analysis

Formal Articulation Responsive to Political Events

Garden of Exile

Area Analysis

Basement 02 Plan Legend 1 2 3 4 5 6 7 8 9 10 11

Entry Courtyard Garden Lobby Balcony Void Over Performance Space Lobby Void Over Gallery 01 Gallery 04 Car Lift Plant Room Gallery 05

Jewish Museum Berlin Berlin, Germany The “Holocaust Tower” The Axis of the Holocaust ends in the “Voided Void,” or Holocaust Tower, an isolated building splinter whose sole connection to the Libeskind building is underground. Daylight penetrates the tower only through a narrow slit in the unheated concrete silo and any exterior sounds are heavily muffled by the walls. Many visitors experience a feeling of oppression or anxiety inside the Holocaust Tower.

Formal Articulation Responsive to Political Events

Garden Palace Fire Ultimo Sydney, NSW This collection included significant ethnological specimens such as Australian Indigenous artefacts, many of which were acquired from the Sydney International Exhibition. Collections belonging to the Linnean Society and Arts Society of New South Wales were lost, as was the colony’s census of 1881, documents relating to land occupation and railway surveys. In September 1882 before the new museum could be opened a fire completely destroyed the Garden Palace, leaving the museum’s first curator, Joseph Henry Maiden with a collection consisting of only the most durable artefacts including a Ceylonese statue of an elephant carved in graphite that had miraculously survived the blaze despite a 5-storey plunge. One theory blamed the wealthy residents of Macquarie Street, disgruntled at losing their harbour views. Another was that it was burnt to destroy records stored in the basement of the building that contained embarrassing details about the convict heritage of many distinguished families.

The skulls and skeletons in particular were used as reinforcement for social Darwinist ideas about Indigenous inferiority, which helped justify the concept of terra nullius – “nobody’s land”. The international exhibition was, says Jones, “designed to exclude histories of agriculture, histories of architecture, histories of how people have lived in this country in different ways for thousands of years”. “Some have refused to acknowledge the words ‘agriculture’ and ‘Aboriginal’ in the same sentence,” says Jones, clutching a paperback copy of Pascoe’s book in his hands, staring at the jacket. “So I’m terrified with what we are facing. People are terrified of [revoking] terra nullius. It’s the whole underpinning of our legal system; it’s the whole reason Australia is in existence.”

History - Jonathan Jones’ artwork barrangal dyara (skin and bones)

Reko Rennie Taylor Square, Sydney

Before

Reko Rennie’s work in Taylor Square addresses colonisation by painting geometric patterns, referencing the artist’s associations to north-western New South Wales and the traditional markings of the Kamilaroi people. Florecent paints (pink, blue and black), consume the former Commonwealth Bank (built in 1910). The scale and colours dominate both the building itself as well as Taylor Square. The neon text acts as a temporary work in this urban context the meaning is clear – this was Gadigal country and always will be Gadigal.

Impact of Absence/difference

In 2017, the mural was replaced with salmon-pink paint and white trimmings. Reko Rennie was promted to erase the artwork following the City of Sydney’s decision to sell the building. Rennie: “There’s no way I want my artwork to be associated with a gaming venue or any licensed establishment. So unfortunately the City of Sydney gave me no other choice but to have the work removed because it couldn’t guarantee the future of it.”

After

Melbourne Museum Melbourne, Australia

The fragmentation of the galleries allows the museum to try different strategies for different kinds of audiences, and to revise one exhibition without revising them all. This is important when the agenda of such institutions, no longer self evident, is subject to ongoing change. In this regard, the most problematic of the exhibition volumes is the Forest Gallery, the legacy of a previous museum director with experience in wild-life sanctuaries. It has anomalously installed a fragment of Victoria’s “natural” environment under the blade roof right at the centre of the building. Its trees and pools will be populated with birds, fish, snakes, insects. But DCM has even extracted some advantage out of this curiosity. Mesh walls and a steep blade outside the visitor’s angle of vision enable transparency to be extended right though the middle of the building from the glassy screens of the northern facade. https://architectureau.com/articles/melbournemuseum/

Public Amphitheater and Theater Garden Exhibition Touring Hall Exhibition Cluster

Formal Articulation Responsive to Political Events

Architecture of Anticipation and Subtlety

University of Michigan Gallery, Allied Works Architects Contemporary Art Museum, St. Louis Allied Works Architects

Contemporary Art Museum, St. Louis Brad Cloepfil - Allied Works Architects

““Rooms resonate with possibility and when right, are as finely tuned as a piano awaiting pressure on the keys. Anticipation is the charge of space, the energy spaces set in motion.” Brad Cloepfil

This building is a simultaneous act of enclosure and invitation, allowing the landscape to flow through the entire site, while tenuously capturing and containing rooms for art. The museum is not a privileged domain, but an open field that concentrates the forces of the city in preparation for later occupation by the artists. https://www.archdaily.com/117143/contemporary-art-museum-st-louis-allied-works-architecture

In architecture we are creating open and empty vessels - vessels with a clear intention, and many possible futures. I’m working on an essay entitled “Anticipation”, where I speak of empty rooms: “Rooms resonate with possibility and when right, are as finely tuned as a piano awaiting pressure on the keys. Anticipation is the charge of space, the energy spaces set in motion.” Buildings at their best are frames of reference and inspiration for life. Art, by contrast, manifest life itself. Buildings are intended to be occupied by the other – they are melancholy in a way, as they long to be filled. Filled by light, art and people. https://www.laurenhenkin.com/brad-cloepfil

Diversifying Galleries - Abolishing Elistism

University of Michigan Gallery Brad Cloepfil - Allied Works Architects

ART FOR THE PUBLIC – SHOP FRONT DESIGN – INTERACTION WITH THE STREET BC That particular gallery at the University of Michigan was designed in response to its site on the “Diag” – a path that leads to the Student Union, where literally tens of thousands of students pass by. Its transparency was created to assert art into the daily experience of the pedestrians. The window on the corner of the CAM St. Louis has a similar intention. It provides a way to see into the building on the way to the mini mart down the street. I think the goal of all art space is immediacy, breaking down the barriers between the “real world” and art. I attempt to pull people into buildings that are inherently walled off and controlled by their need to provide control, context and safety for what is inside. To create spaces where one cannot distinguish between the building, its purpose and the immediate experience. Not to seek transcendence, but quite the opposite, to concentrate and compress the experience and energy of a place so that it opens up your mind and perception of things. Immediacy is also a good term for this. The space creates an immediacy of experience that is consuming. https://www.laurenhenkin.com/brad-cloepfil

Diversifying Galleries - Abolishing Elistism

Framing Perspectives of Forgiveness through Apertures Jewish Museum, Daniel Libeskind National Museum of African American History and Culture, Adjaye Associates

Jewish Museum Berlin Berlin, Germany

VOID A Void cuts through the zigzagging plan of the new building and creates a space that embodies absence. It is a straight line whose impenetrability becomes the central focus around which exhibitions are organized. In order to move from one side of the museum to the other, visitors must cross one of the 60 bridges that open onto this void. Daniel Libeskind uses the voids to address the physical emptiness that resulted from the expulsion, destruction, and annihilation of Jewish life in the Shoah, which cannot be refilled after the fact. He wanted to make this loss visible and tangible through architecture.

Formal Articulation Responsive to Political Events

National Museum of African American History and Culture Washington, USA

Located between the Washington Monument and the Mall’s museum core. Faced an identity crisis. Adjaye embedded history into the bronze-colored screen as well. He said it spoke to the centuries of labor free and enslaved African Americans have contributed to building the United States. David Adjaye, the sought-after British architect and son of Ghanaian diplomats, said he wanted to provide a “punch” at the end of the “row of palaces,” as he referred to the other museums at Washington DC’s National Mall. And the architecture needed to “speak the story of the museum, the origins in Africa,” he said, and not be another “stone box with things in it.” http://brunoclaessens.com/2016/12/the-african-art-that-inspired-the-new-african-american-history-museums-building/#. X2yj_WgzaUk

Formal Articulation Responsive to Political Events

Signage and Mantras All of This Belongs to You, Victoria and Albert Museum, Rory Hyde Always Was, Always Will Be Reko Rennie Tropen Musuem

All of This Belongs to You Victoria and Albert Museum, London, England

ALL OF THIS BELONGS TO YOU – BREAKING MUSEUM BOUNDARIES OF PUBLIC SPACE Rory Hyde: We did a show called All of This Belongs to You and the first statement was to simply write those words in the grand entrance in neon. We tried to break down the boundaries of the museum. One of the great things about the V&A is that you don’t have to buy a ticket. Effectively it’s continuous with the public realm, you can come in off the street and sit down for the whole day and no one is going to shuffle you on. REVOLUTIONISING INTITUTION AND THE CURATORS – ENCOURAGING THE INTERACTION WITH THE VIEWER THAN THE ARTWORK. RH: One of the subtle, underlying things about that project is the concept of audience. I think the intended audience for Liza was the museum itself [laughs]. She was interested in institutional change. Of course it was about engaging the public, and doing things in public is critical. But Liza wanted to challenge the curators, who were upstairs in their offices writing their deep, peerreviewed articles about medieval sculpture; to remind them they’re working with living objects. architecture https://assemblepapers.com.au/2017/10/26/the-adjacent-possible-a-centre-foreverything-x-rory-hyde/

Diversifying Galleries - Abolishing Elistism

All of This Belongs to You Victoria and Albert Museum, London, England Reverse Restitution: ‘An analogy exists between political policy and life as it is lived, and the simplification of meaning when objects are removed from their contexts of use.’ Exploring ideas of boundary, threshold, and shared space ‘More Than One (Fragile) Thing‘ is a unique public space that connects the precious artefacts of the V&A Collection with their former homes and, in so doing, brings people, object and place closer together. The sculptures, fountains and figures that inhabit the space are removed from the places they used to inhabit. They have been protected from the vagaries of weather, conflict and the everyday. Alongside each object from the collection muf exhibited contemporary objects from their previous homes. These ‘after-files’ drew a direct connection between the past and present of their objects, and illuminated the tension between history and memory in a process of ‘reverse restitution’.

Diversifying Galleries - Abolishing Elistism

A 16th-century Venetian frieze of a Madonna holding open her cloak and sheltering people underneath. It was originally on a charity building, as a sort of promise: ‘This is a place of caring.’ However, this changed when it was brought to London: it became an art object rather than an object of social use. So muf proposed to reintroduce that promise. They hosted a charity called Women for Women Refugees in the gallery for the course of the show, where they had English lessons, workshops and art classes. They also used it as a platform for their campaign for women seeking asylum to be housed in community care rather than in prisons. It was a really powerful project that started with a simple idea http://muf.co.uk/portfolio/more-than-one-fragilething-at-a-time/allied-works-architecture

Tropenmuseum Amsterdam, Netherlands

The Tropenmuseum (tropical museum ) adopts an honest approach, is self-critical of its reassessment of Dutch colonialism, in an attempt to tackle its past. The Tropenmuseum in Amsterdam was originally a colonial museum founded in 1864, built on principles of scientific research, growing in collection – size proportionate to Dutch colonial expansion, with much of the collections stolen from the Dutch East Indies (which is now Indonesia). The museum is a reminder of Dutch colonialism to originally inject within the Dutch people a sense of grandeur and moral obligation of the Dutch civilisation mission.

Signage

The museum has undertaken a consultation process to decolonise its exhibitions, involving curators working with specialist advisors to reflect critically on how the museum had acquired its collections. Objects on display were not changed, but the walls and plaques were redesigned to for example introduce updated explanatory texts and photographic prints more honestly. Afterlives of Slavery. The exhibition focuses on the enslaved and their descendant, using personal stories to interrogate the history of slavery and its current-day legacies. Personal accounts and memory have become hallmarks of the post-colonial exhibition. The exhibition was designed and created by curators, artists and activists, providing a more democratic and multi-vectored interpretation. Often, public discourse around European colonialism fails to recognize the historical continuity of its legacies and their effect on contemporary society. The exhibition tackles subjects such as ‘Power and Race’, and ‘Protest Against Racism’, explaining the ways in which European colonialism played a significant role in creating racial power structures based on white supremacy which continue to disadvantage and oppress minority groups today.

Reko Rennie Taylor Square, Sydney

Kamilaroi artist Reko Rennie is known for his use of recurring geometric designs. Traditionally geometric and linear designs were incised on trees to mark out ceremonial sites and are a potent signifier of Kamilaroi Identity. The entire building was painted pink, black and blue amd emblazoned with a neon sign with the refrain ‘Always was Always Will Be’. This phrase is often recited in full at marches, protests and demonstrations like a mantra. But the full statement is unequivocal: ‘Always was, Always will be Aboriginal Land’. The work occupied the site from 2012-2017, when the City of Sydney opted to sell the building and remove the artwork which was always intended to be temporary. In this straightforawrd commission, Rennie beautified a highly visible but architecturally unremarkable corner building and inflected it - however temporarily - with an abiding message about the coninuity of Aboriginal presence. Sovereign Words, Indigenours Art, Curation and Criticism Daniel Browning

Signage

1880

1941-1945

1788

WW2 Holocaust

British Invasion into Australia Oppression And Erasure Of Indegenous Peiople

Indigenous object and collection - display of human remains, secret and sacred material

1940-Present 1730-1965 Slavery and Racial Segrecation of African Americans

1800 1788-1967

Chinese Communist Revolution Hukou Registration Policy

Colonisation of the Dutch East Indies (Indonesia) Violence and slavery towards indigenous people

Erasure of Indegenous Practice, Culture and Tradition

2020 1788-1967

COVID 19 Pandemic

Erasure of Indegenous Resistance, turmoil and oppresion. Excused White Violence

Black Lives Matter Movement

Crisis Human Rights

1880 International Exhibition Movement: Raison d’etre and conservation traditions

Exclusivity and lack of public accessibility of artwork

1820

Equality of Opportunity

1995

Art elitism and exclusivity Atefact loss of meaning within museums Capitalism of space

Privitisation of art insitutions

2000

2005

2010

Invention Lack of viewing accessibility of artwork

Exclusivity and lack of public accessibility of artwork

2015

2020

Idiosyncratic Design Shift

Emergent Style: Decolonialization of Institution and Art Collection

ARCHITECTURAL EXPRESSION

Architecture is the Artwork: Symbolic Representation of the Truth within the Form The Impact of Loss and Absence Framing Perspectives of Forgiveness through Apertures

Emotional Atmosphere: Recreating Narrative

Architecture of Anticipation and Subtlety “Architecture should serve people and as a prevalent force within all our lives it too should take to the realm of egalitarianism.”

Signage and Mantras

Sir David Adjaye OBE

CURATORSHIP + EXHIBITION DESIGN

CURATORSHIP AND EXHIBITION DESIGN DECOLONISATION ACROSS MEDIUMS, SCALES AND INTERACTIONS

Art

Tropen Musuem

AN HONEST NARRATIVE

Operation Night Watch, Rembrandt Restoration Rijksmuseum

PUBLIC RIGHT AND OWNERSHIP OF ART

All of This Belongs to You Victoria and Albert Museum

REDEFINING PUBLIC SPACE, PRIORITISING INTERACTION

Effect of Architecture - A Shift in Ideology Curatorship and Exhibition Design

Tropen museum Amsterdam

AN HONEST NARRATIVE

Operation Night Watch, Rembrandt Restoration Rijksmuseum, Amsterdam

PUBLIC RIGHT AND OWNERSHIP OF ART All of This Belongs to You Victoria and Albert Museum, London, England

Diversifying Galleries - Abolishing Elistism

REDEFINING PUBLIC SPACE, PRIORITISING INTERACTION

1880

1940-Present

1941-1945

1788

WW2 Holocaust

British Invasion into Australia Oppression And Erasure Of Indegenous Peiople

Indigenous object and collection - display of human remains, secret and sacred material

1730-1965 Slavery and Racial Segrecation of African Americans

1800 1788-1967

Chinese Communist Revolution Hukou Registration Policy

Colonisation of the Dutch East Indies (Indonesia) Violence and slavery towards indigenous people

Erasure of Indegenous Practice, Culture and Tradition

2020 1788-1967

COVID 19 Pandemic

Erasure of Indegenous Resistance, turmoil and oppresion. Excused White Violence

Black Lives Matter Movement

1880 International Exhibition Movement: Raison dâ&#x20AC;&#x2122;etre and conservation traditions

Art elitism and exclusivity Atefact loss of meaning within museums Capitalism of space

Privitisation of art insitutions

Invention Lack of viewing accessibility of artwork

Exclusivity and lack of public accessibility of artwork

Idiosyncratic Design Shift

ARCHITECTURAL EXPRESSION

EFFECT

Emergent Style: Decolonialization of Institution and Art Collection

Architecture is the Artwork: Symbolic Representation of the Truth within the Form The Impact of Loss and Absence

Emotional Atmosphere: Recreating Narrative

DECOLONISATION METHODOLOGY

Architecture of Anticipation and Subtlety

CURATORSHIP + EXHIBITION DESIGN

Signage and Mantras

2 3

AN HONEST NARRATIVE PUBLIC RIGHT AND OWNERSHIP OF ART REDEFINING PUBLIC SPACE, PRIORITISING INTERACTION

REALISE THE INEQUALITY - DO NOT ASSUME KNOWLEDGE

TEST,

ENQUIRE,

RESEARCH UNDERSTAND THE THE STORY - ESTABLISH THE NARRATIVE

Celebrate the glory of the culture over the pain, suffering and death

FIND SOLUTION - IDENTIFY APPROPRIATE ACTIONS

DELIVER,

APPLY THROUGH ARCHITECTURE CONNECT THE MISSING LINK

Creating a robust narrative to advocate for change and activate a butterfly effect of response across scales. Reinforcing the prevalence of architecture in society to shift our lives towards elgalitarianism

STOP,

Framing Perspectives of Forgiveness through Apertures

EFFECT

Equality of Opportunity

Exclusivity and lack of public accessibility of artwork

Developing and reconstructing broken relationships ARCHITECTURE REFLECTS THE WORLD AROUND IT AND THE CULTURAL PARADIGM OF THE ERA

CONCLUSION DECOLONISATION ACROSS MEDIUMS, SCALES AND INTERACTIONS

Crisis Human Rights

ARCHITECTS HAVE ACKNOWLEDGED ITS RELATIONSHIP AND INVOLVEMENT WITH UNSAVOURY BEHAVIOUR AND OPPRESSION AND HAVE SHIFTED THE TRANSLATION OF ITS AESTHETIC

Art

The Visual Dictionary of Gallery Design // PRAC TICE RESEARCH ELECTIVE ARM ARCHITECTURE MID SEMSETER PRESENTATION SHERRI HIRST MICHELLE GAN

History of Museums

‘Museum’ originally comes from the Greek Goddess of inspiration (from the nine muses). The earliest modern museums were recorded in the 17th and 18th century, where objects were displayed in central areas such as medieval church treasuries and town squares. The museum became an influential tool for colonisation, a site for local adaptation and, in places other than the West, self-definition. The earliest modern museums in Europe took the form of cabinets called ‘Wunderkammern’, usually owned by wealthy elite and scholars, which gathered and interpreted the ‘riches of the world’. The proximity meant objects were handled and compared before put in a storage area, out of sight, more like a private study. Enlightenment Museums and physical artefacts were an important part of this movement, as enlightenment thinkers relied on sense-based evidence and proof through repetition (basic concepts of modern Science). The British museum (1750) was built on the ideals of Enlightenment. The architectural references to classical temples was intentional, symbolising a space of protection and prestige, and the nationalist imagery above its entrance made it clear just who controlled the materials within—much of it from the colonies. Rather than mirroring the balanced, interwoven web of the divine microcosm, however, the new sciences emphasised differentiation and development as tools for an empirical understanding of the universe. During this time we began to see specialised collections and museums specialised to art, plants (botanic gardens) and animals (zoological gardens). https://www.khanacademy.org/humanities/approaches-to-art-history/tools-for-understanding-museums/museums-in-history/a/a-brief-history-of-the-art-museum-edit

PUBLIC GALLERIES Clonolizing Art: Exposure and Reaching Larger Populations

PRIVATE GALLERIES

Garden Palace Royal Exhibition Building National Gallery Australia Powerhouse Museum Art Gallery of South Australia

Rise of Art Philanthropy

Tasmainian Museum and Art Gallery Queensland Art Gallery National Gallery Victoria

OLD

NEW

19TH CENT. GALLERIES

CONTEMPORARY GALLERIES

Tate modern

Idiosyncratic Design Shift

Heide Gallery New Museum NYC Whitney Museum of American Art Adelaide Contemporary The Broad Museum New Museum Western Australia Phoenix Central Park Gallery Museum of Old and New Art DanGrove Art space Shepparton Art Gallery GALLERY LIGHTING

Rise of Research and Preservation of the Arts

Need To Control Internal Environments

Whitney Museum of American Art Statens Museum for Kunst (SMK) Guggenheim FLW Guggenheim Bilbao Kimbell Art Museum National Gallery Victoria The Broad Museum John Soane Museum Louisiana Museum of Modern Art Philip Johnson Glass House Philip Johnson Painting Gallery Philip Johnson Sculpture Gallery VIRTUAL PLATFORMS

Rise of Online Galleries

Smithsonian American Art Museum DSL Collection Guggenheim FLM Rijksmuseum National Gallery Victoria Van Gogh Museum Whitestone Gallery NGV: Japanese Modernism British Museum ALTERNATIVE PLATFORMS

Equality of Opportunity

The Factory Bus Projects TCB Art INC Burning Man Sculptures by the Sea Antipodeans The Angry Penguins The ‘O’ The Guerrilla Girls Banksy The NGV - MPavilion The Truth Booth The $150,000 Banana Damien Hirst Marla Rosler AIDS Exhibition Group Materials & David Wojnarowicz

Events World War 1

American Civil War

End of the Global Age of Exploration

Paris Salon: Louvre

1730

1770

Academic Art Resistance: ‘Salon de Refuses’ Paris

British Institution: Art Sale and Art Loan

1820

1840

1860

International Exhibition Movement

1880

1900

1910

Art Destruction Due to Handling in Traveling Art Shows

Colonization and State Power through Art Exhibition and Architecture

Freedom Ride Aboriginal Rights Tent Embassy Australia

Universal Declaration of Human Rights: United Nations

Milam Building Texas: 1st Air Conditioned Building

Invention of the HVAC

Industrial Revolution

World War 2

Womens Liberation Movement

1950

1960

War Impact Creating Global Emphasis on Social Welfare

1970

Shift in Themes Over Time Revealed Gallery Design

Invention

Philanthropic Government Aid, USA

1980

2000

Governent Financial Aid on Art Preservation

Human Rights Activism

Crisis Human Rights

Invention of World Wide Web

Advent of Art “The Conservation Advent of Preservation of Antiquities and Microclimate Research: British of Works of Art Control: British Museum Guidelines” British Museum Museum

1940

Covid-19: Global Lockdown

Global Fiancial Crisis

Art

2010

Culture Shift

2020 Technological Advancement Globalization

Global need for Online Connections

Idiosyncratic Design Shift

Rise of Online Galleries

Rise of Contemporary Art

Clonolizing Art: Exposure and Reaching Larger Populations

Rise of Research and Preservation of the Arts

Need To Control Internal Environments

Equality of Opportunity

Rise of Art Philanthropy

GALLERY ENVIRONMENT Garden Palace Powerhouse Museum Royal Exhibition Building Art Gallery of South Australia Tasmainian Museum and Art Gallery New Museum Western Australia

Statens Museum for Kunst (SMK) John Soane Museum

ARTIST RUN INITIATIVES The Factory Bus Projects TCB Art INC

19TH CENT. GALLERIES

ART FESTIVALS

PUBLIC OLD Burning Man Sculptures by the Sea

VIRTUAL PLATFORMS

JOURNALISM Antipodeans The Angry Penguins

Smithsonian American Art Museum British Museum Rijksmuseum

Tasmainian Museum and Art Gallery Queensland Art Gallery National Gallery Victoria

PUBLIC GALLERIES

EMERGENT ALTERNATIVE PLATFORMS Damien Hirst The $150,000 Banana

ARTIST AUTHORITY National Gallery Victoria

PRIVATE GALLERIES

Adelaide Contemporary National Gallery Victoria Queensland Art Gallery National Gallery Australia Shepparton Art Gallery Tate modern

GALLERY ENVIRONMENT ACTIVISM

CONTEMPORARY GALLERIES

Richard Bell Marla Rosler The Guerrilla Girls AIDS Exhibition Group Materials & David Wojnarowicz

PUBLIC NEW The Truth Booth Banksy

VIRTUAL PLATFORMS STREET ART

NGV: Japanese Modernism National Gallery Victoria Van Gogh Museum

Heide Gallery White Rabbit DanGrove Art space The Broad Museum New Museum NYC Museum of Old and New Art Phoenix Central Park Gallery Whitney Museum of American Art

GALLERY ENVIRRONMENT

CONTEMPORARY GALLERIES

PRIVATE NEW

DSL Collection Guggenheim FLM Whitestone Gallery

VIRTUAL PLATFORMS 180 Meters 160 Meters 140 Meters 120 Meters 100 Meters 80 Meters 60 Meters 40 Meters 20 Meters 0 Meters

1880 Exhibition Space Clonolizing Art: Exposure and Reaching Larger Populations

1881 Circulation Space

1982

1988 Outdoor Space

1997

2003 Back of House Management

Rise of Art Philanthropy

2006

2007

Storage and Services

Rise of Research and Preservation of the Arts

2013

2014

2015

Preperatory and Restoration Facility Need To Control Internal Environments

2018 Performance Space

Idiosyncratic Design Shift

2020

2020 Community Space

Equality of Opportunity

Rise of Online Galleries

Shift in Trends Over Time Revealed Gallery Design

Events World War 1

American Civil War

End of the Global Age of Exploration

1730

Academic Art Resistance: ‘Salon de Refuses’ Paris

British Institution: Art Sale and Art Loan

Paris Salon: Louvre

1770

1820

1840

Colonization and State Power through Art Exhibition and Architecture

Milam Building Texas: 1st Air Conditioned Building

Invention of the HVAC

Industrial Revolution

1860

International Exhibition Movement

1880

1900

World War 2

1910

Art Destruction Due to Handling in Traveling Art Shows

Universal Declaration of Human Rights: United Nations

Freedom Ride Aboriginal Rights Tent Embassy Australia

1950

1960

1970

2000

Art

2010

2020

Culture Shift

Human Rights Activism

Technological Advancement Globalization

Global need for Online Connections

Equality of Opportunity

Idiosyncratic Design Shift

Rise of Online Galleries

Rise of Contemporary Art

Clonolizing Art: Exposure and Reaching Larger Populations

Rise of Research Need To Control Internal and Preservation Environments of the Arts

PUBLIC GALLERIES

Representative of state or local culture Requirement for public space of facilities for public engagement Collection must reflect themes to support history, culture & belief and the state. tend to be larger, give more of an overall taste of different groups and cultures

Advantage / Disadvantage Prescriptive of State culture Requirement to activate and engage state-wide interaction Highly curated, may become limiting for wider artist representation

RESEARCH BREADTH KEY

Invention

Philanthropic Government Aid, USA

1980

Crisis Human Rights

Invention of World Wide Web

Governent Financial Aid on Art Preservation

War Impact Creating Global Emphasis on Social Welfare

Shift in Themes Over Time Revealed Gallery Design

The NGV - MPavilion New Museum Western Australia Powerhouse Museum Paramatta Tate modern Tasmainian Museum and Art Gallery National Museum Australia

Womens Liberation Movement

Advent of Art “The Conservation Advent of Preservation of Antiquities and Microclimate Research: British of Works of Art Control: British Museum Guidelines” British Museum Museum

1940

Covid-19: Global Lockdown

Global Fiancial Crisis

Rise of Art Philanthropy

PRIVATE GALLERIES

Collections specific to taste of philanthropist Idiosyncratic spaces More leeway to curate spaces instead of being allocated as seen in public galleries. Spaces cater to philanthropic priority, for example, performance spaces, art storage & restoration facilities Private curators have the main say on the nature of the building and its site over private property, eg residence-galleries, expansions Advantage / Disadvantage

Heide New Museum NYC White Rabbit Phoenix Gallery MONA Louisiana John Soane Museum Philip Johnson Galleries DanGrove Art space The Broad Phoenix Gallery Philip Johnson Galleries Heide Gallery Louisiana The Whitney Museum of American Art

benefits from philanthropic investment free from constraints of representing the wider community Potential to give voice to the unfamiliar/contemporary Owners have freedom to research and track statistics based on use Highly curated, may become limiting for wider artist representation

RESEARCH METHODOLOGY

MUSEUM ORIGIN HISTORY GALLERY RESEARCH GALLERY SPACE CONFIGURATIONS AREA ANALYSIS ESSAY CONCLUSION

Method of Art Display Diagrams

Philanthropist Identity

PRIVATE

21st

Cent

PRIVATE

National or State Identity

PUBLIC

20th Cent

PUBLIC

20th Cent

PUBLIC

Gallery Space Configurations

20th Cent

21st

Cent

The Art Gallery of South Australia Adelaide SA

PUBLIC

The Art Gallery of South Australia is a classical building, with colonnaded portico, opened in 1900. The Elder Wing on the ground floor is named after the Gallery’s first major benefactor, Sir Thomas Elder. Additions to the building followed in 1936, 1962, 1979 and 1996. Today the Gallery houses a large collection of works, with focus on Australian art, Aboriginal art, British art and Asian art, textiles and ceramics. The Gallery was opened in 1900, but art societies were active long before this. The South Australian Society of Arts, established in 1856, is one of the oldest fine arts society in Australia. It held annual exhibitions in rooms in the South Australian Institute, on the corner of Kintore Avenue. The society was one of several advocates for the creation of a permanent public art collection. Libraries, museums and art galleries were thought to be important markers of ‘civilised’ societies at this time. Supporters of a public art collection also argued that it would help to elevate public taste. In 1880 Parliament gave 2,000 pounds to the Institute to start acquiring a collection and the National Gallery of South Australia opened in rooms in the present Mortlock Wing (now part of the State Library) in June 1881. Similar ‘national’ galleries opened in other colonies in these decades, reflecting robust colonial nationalism and a strong sense of competitiveness. Initially acquisitions reflected prevailing interest in British and European art traditions, but from 1939 the Art Gallery began to acquire works from Aboriginal painters - the first major Australian gallery to do so - but systematic acquisition of Aboriginal and Torres Strait Islander art did not follow until the mid-1950s. Until that point most Aboriginal art in public collections was found in the ethnographic collections of museums. The gallery now displays a significant collection of Australian Aboriginal art including paintings, sculptures, installations, photographs, prints, videos and decorative arts, and owns what is probably the most important survey collection of dot paintings of the Western Desert. https://sahistoryhub.history.sa.gov.au/places/art-gallery-of-south-australia#:~:text=Like%20many%20of%20its%20Australian,arts%20society%20still%20in%20existence.

South Australia Gallery of Art Program Analysis Diagrams

Retail Storage Back of House Management Toilets Circulation - Stairs Exhbition Space

Area Analysis

New Museum of Western Australia Perth, Western Australia

PUBLIC

A core element of the design is the ‘City Room’—a sheltered outdoor public space at the centre of the Museum, framed by the refurbished heritage buildings and a large cantilevered volume. The ‘City Room’ is an open space for everyone to stimulate their imagination and creativity, and participate with a variety of activities, from large scale community events to smaller gatherings. “The ‘City Room’ is the Museum threshold, inviting everyone to engage with the Museum, the Perth Cultural Centre and each other,” says Loughnan. A large new temporary gallery space complements the Museum’s extensive permanent collection and the ‘City Room’. https://www.archdaily.com/930564/newmuseum-for-western-australia-hassell-plusoma

CITY ROOM

The City Room

New Museum of Western Australia Program Analysis Diagrams

Community Hub/City Room Performance Space Retail Storage Back of House Management Parking/Loading Toilets Circulation - Stairs Exhbition Space Learning Space

Area Analysis

White Rabbit Public vs Private

The White Rabbit houses a collection of Chinese contemporary art founded by Judith Neilson, focusing on works produced after 2000. The project comined the brick warehousea former Rolls-Royce showroom, with a rooftop level accommodate four floors of gallery space, a tea-house, digital media theatrette, reception, staff car parking and an artist-in-residence studio.

PRIVATE

The Broad Museum Los Angeles, California

Veil

PRIVATE

Vault

BACK OF HOUSE

Interioir Geometric Genesis

Veil

The Broad Museum Los Angeles, California

PRIVATE

The public is then drawn upwards via escalator, tunneling through the vault, arriving onto nearly an acre of column-free gallery space bathed in diffuse light. The gallery has 23- foot-high ceilings, and the roof is supported by 7-foot-deep steel girders. Departure from the third floor gallery space is a return trip through the vault via a winding central stair that offers glimpses into the vast holdings of the collection. There is no front desk; instead, visitor-services associates greet guests with mobile devices. Lobby and exhibitions spaces are connected by an escalator and a glass-enclosed elevator.

Public Viewing of Back of House Operations

MONA Museum of Old and New Art Hobart, Tasminia

PRIVATE

HIDDEN MUSEUM ‘No, it should go in the museum, because it is what everyone is going to be coming to see.’ So then David liked the idea of it being in the library even more, because if it’s going to be the thing that everyone comes to see, it should be the hardest thing to find.

PATHWAY/ARRIVAL It’s built into a rock face And there is no set way around it. That begins as soon as you get there. If you arrive by jetty you come up those stairs thinking you’ll get somewhere momentous, but then you get to the top and turn around and there’s just this small house. Then you go in, and go down a heap more stairs. A big space. ‘Wow, I didn’t know it was going to be so big.’ Still no art. More to clear the mind, and cue you that you are entering into a different kind of world. And from that point, you are on your own— there is no guiding path to follow. That’s unlike a traditional gallery, which is a series of rooms that you explore in a particular order. And if you arrive by car—the idea was that eventually, the building would disappear into the side of the hill, with the landscape growing back over the top of it. You’d get there, and you’d go, ‘Oh, I thought this was a big museum. Where is it?’

BLACK WHOLE ENTRY WAY The idea behind the mirror entry is about the event horizon surrounding black holes, the point of no return when you can’t escape the pull of gravity.

https://mona.net.au/museum/architecture

TENNIS COURT The idea was that the reflections give you this whole distorted space effect. Nonda came up with the line that it would be good if it reflected the colour green— something like the colour of a tennis court. And David said, ‘I know what’s the colour of a tennis court…’

Arrival

MONA Museum of Old and New Art Hobart, Tasminia ARCHITECTURE ADAPTING TO A GROWING COLLECTION OF WORK – DESIGNED TO WRAP AROUND ART WORK That’s true in another sense as well, because we always planned for the site to grow and change along with its needs. It’s not supposed to be fixed and finished but to adapt, in an architectural sense. ANSEL KEIFER Part of the deal for purchasing the work was that it had a particular space for its display. When Kiefer showed it in Paris, it had its own corrugated iron box. We didn’t want to use corrugated iron, because in Australia that would generate a different set of associations—a comment on vernacular architecture or something. That was not what Kiefer was on about. So we put it in a zinc box, which is a slightly more refined material. https://mona.net.au/museum/architecture

Designed around the Art

PRIVATE

The O – Device that replaces all wall texts around a museum You can ignore the O and wander around in a state of pleasant reverie / moderate anxiety. Or else use it to read and listen to stories, essays, music and interviews, as well as other bits and pieces, that are 70-80 per cent art-wank free at any given moment.

The “O” MONA Tasmania

PRIVATE

““The O liberated (Mona) from white walls… (It delivers) vastly more important information of greater richness than conventional signage.”” — Richard Flannigan, New York Times

You can ignore the O and wander around in a state of pleasant reverie / moderate anxiety. Or else use it to read and listen to David Walsh commentary stories, essays, music and interviews, as well as other bits and pieces, that are 70-80 per cent artwank free at any given moment. When David Walsh opened the Museum of Old and New Art (Mona) he wanted to revolutionise the way a museum could look and feel—no wall labels, no scholarly rhetoric. He wanted a different type of storytelling. So Art Processors invented The O. The O mobile guide uses indoor location technology to find visitors wherever they are in the cavernous and controversial museum and tell them about the closest artwork on display. It also challenges the traditional museum experience by encouraging visitors to rate the art, offers virtual queuing and makes it possible for augmented reality (AR) to be incorporated into major exhibitions. The O put Mona at the cutting edge of museum mobile technology and continues to push the boundaries of what immersive and interactive visitor experiences. The O allows for a seamless experience that disseminates crowds and allows for cue free visits with 100% of time surrounded by art. Richard Flanagan, Tasmanian Devil, The New Yorker

Digital and Audio Art Guide

Events World War 1

American Civil War

End of the Global Age of Exploration

1730

Academic Art Resistance: ‘Salon de Refuses’ Paris

British Institution: Art Sale and Art Loan

Paris Salon: Louvre

1770

1820

1840

1860

International Exhibition Movement

1880

1900

Art Destruction Due to Handling in Traveling Art Shows

Colonization and State Power through Art Exhibition and Architecture

Universal Declaration of Human Rights: United Nations

Milam Building Texas: 1st Air Conditioned Building

Invention of the HVAC

Industrial Revolution

World War 2

1910

Freedom Ride Aboriginal Rights Tent Embassy Australia

Womens Liberation Movement

1950

1960

1970

2000

Governent Financial Aid on Art Preservation

War Impact Creating Global Emphasis on Social Welfare

Shift in Themes Over Time Revealed Gallery Design

Invention

Philanthropic Government Aid, USA

1980

Crisis Human Rights

Invention of World Wide Web

Advent of Art “The Conservation Advent of Preservation of Antiquities and Microclimate Research: British of Works of Art Control: British Museum Guidelines” British Museum Museum

1940

Covid-19: Global Lockdown

Global Fiancial Crisis

Art

2010

2020

Culture Shift

Human Rights Activism

Technological Advancement Globalization

Global need for Online Connections

Equality of Opportunity

Idiosyncratic Design Shift

Rise of Online Galleries

Rise of Contemporary Art

Clonolizing Art: Exposure and Reaching Larger Populations

Rise of Research Need To Control Internal and Preservation Environments of the Arts

PUBLIC

Art Gallery of SA Royal Exhibition Building Garden Palace

PUBLIC PRIVATE

OLD

NEW

19TH CENT. GALLERIES

CONTEMPORARY GALLERIES

Colonialism - ornamentation style and size - reflects history and state power

Tasmainian Museum and Art Gallery Powerhouse Museum Tate modern

Collection expansion and relocation into buildings Adaptive reuse - Gallery design may be limited to pre-existing configurations

Royal Exhibition Building Queensland Art Gallery

Repetitive floor plans & circulation reflective of European precedents Adjacent rooms

AREA ANALYSIS

Predominantly exhibition spaces with limited management spaces / back of house facilities.

Rise of Art Philanthropy

White Rabbit MONA Phoenix Gallery

Spaces curated around the artworks Experimental circulation and gallery design. Idiosyncratic experiences

Phoenix Gallery MONA

User / curated interview - led design

White Rabbit NGV Danish Museum of Art Guggenheim FLW Guggenheim Bilbao Kimbell Art Museum

More expressive architectural forms, building as an artwork itself. Greater experimentation with natural and artificial lighitng techniques with greater art preservation technology

Kimbell Art Museum The Broad Museum National Gallery Australia

AREA ANALYSIS

Higher concerntration of back of house, restoration areas, offices & storage facilities. Gallery spaces tend to be connected by a large atrium, showcasing large format artwork.

RESEARCH BREADTH KEY

RESEARCH METHODOLOGY

GALLERY RESEARCH DISPLAY TYPOLOGY ANALYSIS CIRCULATION ANALYSIS AREA ANALYSIS ESSAY CONCLUSION

Circulation Studies Diagrams

COLONIZATION + STATE POWER

HUMAN RIGHTS

19th Cent

Royal Exhibition Building - 1880 Ground Level Display and Mezanine Viewing Open Plan Circulation Connected by Stairs

Circulation Evolution

20th Cent

NGA - 1968 Stacked Floor Plates Hallways connecting Room Clusters Stairs and Elevator Connection Centerpiece at lobby

IDIOSYNCRATIC EXPERIENCE

RISE OF CONTEMPORARY ART

21st Cent

NGV - 2003 Stacked Floorplates East and west wing circular ramp around an atrium Large Central Atrium

OLD 19th-20th CENT. GALLERIES Tasmanian Museum and Art Gallery Program Analysis Diagrams

Royal Exhibition Building

South Australia Gallery of Art

Guggenheim Museum Bilbao Bilbao, Spain

Public Space Retail Storage/Services Back of House Management Toilets Circulation - Stairs Exhbition Space

Area Analysis: Floor Plan 1:500 A3

National Gallery of Australia

Guggenhiem Bilbao

VIP Room Outdoor Spacw Retail Storage Back of House Management Toilets Circulation - Stairs Exhbition Space

Area Analysis

Powerhouse Museum

NEW CONTEMPORARY GALLERIES Phoenix Central Park Program Analysis Diagrams

Whitney Museum of American Art Program Analysis Diagrams New Museum, NYC Program Analysis Diagrams Phoenix Central Park Program Analysis Diagrams

The Broad Museum

New Museum WA 6

1 6

10 6

Whitney Museum of American Art Program Analysis Diagrams

11 3

2 8

2 1

Legend 1 2 3 4 5 6 7 8

Basement 01 Plan

Car Lift Plant Room Void Over Gallery 01 Void Over Gallery 02 Gallery 03 Lobby Performance Space Green Room

Legend 1 2 3 4 5 6

Basement 03 Plan Legend

Car Lift Staff End of Trip Facility Storage Plant Room Plant Room Car Park

1 2 3 4 5 6 7 8 9 10 11

Level 01 Plan

2 8

Gallery 06 Gallery 07 Gallery 08 Gallery 09 Library Gallery 10 Balcony Void Over Gallery 04 Connecting Balcony Sky Gallery Void Over Performance Space

1 9

4 8

10 3

10 6

6 2 3

Legend

Basement 01 Plan

1 2 3 4 5 6 7 8

Car Lift Plant Room Void Over Gallery 01 Void Over Gallery 02 Legend Gallery 03 Courtyard Outdoor Lobby Performance Space Performance Space Green Room Retail 7

Basement 02 Plan

Phoenix Central Park 1 2 3 4 5 6 7 8 9 10

Car Lift Art Storage Gallery 01 Gallery 02 - Vitrine Lobby Kitchen Plant Room Accessible WC Dressing Room Green Room

Legend 1 2 3 4 5 6 7 8 9 10 11

Storage

Ground Plan

Entry Courtyard Garden Lobby Balcony Void Over Performance Space Lobby Void Over Gallery 01 Gallery 04 Car Lift Plant Room Gallery 05

Legend 1 2 3 4 5 6 7 8

Gallery 11 Gallery 12 Gallery 13 Void Over Gallery 10 Lobby Office Bathroom Courtyard garden

Legend 1 2 3 4 5 6

Car Lift Staff End of Trip Facility Storage Plant Room Plant Room Car Park 0

Level 02 Plan

Toilets

1 2 3 4 5 6 7 8 9 10 11

Retail

Gallery 06 Gallery 07 Gallery 08 Gallery 09 Library Gallery 10 Balcony Void Over Gallery 04 Connecting Balcony Sky Gallery Void Over Performance Space

Storage

Toilets 2 3

Back of House Management

Circulation - Stairs

Parking/Loading 1

Toilets

Learning Space

Area Analysis

Circulation - Stairs

Exhbition Space

The Whitney Museum

Tasmanian Museum and Art Gallery

Exhbition Space

Level 01 Plan

Retail 9

Parking/Loading

Performance Space

Back of House Management

Exhbition Space

Community Hub/City Room

Storage

Circulation - Stairs

Basement 03 Plan

Performance Space

Parking/Loading

Area Analysis

Museum NYC

Back of House Management

Green Room

Legend

Whitney Museum of American Art New Program Analysis Diagrams 2

Learning Space

Area Analysis

Community Hub/City Room

Queensland Art Gallery Program Analysis Diagrams

Performance Space

Dan Grove Art Space Program Analysis Diagrams

Retail Legend

Outdoor 1 Car LiftCourtyard 2 3 4 5 6 7 8 9 10

Basement 02 Plan

Storage Legend

Art Storage Gallery 01 Gallery 02 - Vitrine Lobby Kitchen Plant Room Accessible WC Dressing Room Green Room

1 2 3 4 5 6 7 8 9 10 11

Performance Space Retail

Storage

Ground Plan

Back of House Management

Entry Courtyard Garden Lobby Balcony Void Over Performance Space Lobby Void Over Gallery 01 Gallery 04 Car Lift Plant Room Gallery 05

Parking/Loading Toilets Circulation - Stairs

Legend 1 2 3 4 5 6 7 8

Gallery 11 Gallery 12 Gallery 13 Void Over Gallery 10 Lobby Office Bathroom Courtyard garden

Exhbition Space Learning Space

Area Analysis

Back of House Management Parking/Loading

Community Hub/City Room

Toilets

Retail

Performance Space

Storage

Circulation - Stairs Exhbition Space Green Room

Area Analysis

Community Hub/City Room

Back of House Management

Performance Space

VIP Room Retail Parking/Loading

National Gallery of Victoria

Storage

Toilets

Back of House Management Toilets

Circulation - Stairs

Circulation

Exhbition Space Exhbition Space

Area Analysis

Learning Space

Area Analysis

Retail Storage

Queensland Art Gallery

Dan Grove Art Space

Back of House Management Parking/Loading Toilets Circulation - Stairs Exhbition Space Learning Space

Area Analysis

Level 02 Plan

2013

PRIVATE

Tasmanian Museum and Art Gallery

1880

1881

1988

1982

1997

PUBLIC

2014

Royal Exhibition Building

The Whitney Museum

2015

PUBLIC

South Australia Gallery of Art

PRIVATE

The Broad Museum

2003

PUBLIC

Powerhouse Museum

PUBLIC

PRIVATE

2006

2007

19th Cent

PRIVATE

20th Cent

PUBLIC

1982

1988 National Gallery of Australia

PRIVATE

Phoenix Central Park

2020 New Museum New York

21st Cent

PUBLIC

2020

Queensland Art Gallery

Guggenheim Museum Bilbao ( Ground Floor )

PRIVATE

Dan Grove Art Space

PUBLIC

National Gallery of Australia

PRIVATE

2018

National Gallery of Victoria

PUBLIC

New Museum of Western Australia

Rise of Contemporary Art

PUBLIC

PRIVATE

1997

2003

2006

2007

Guggenheim Museum Bilbao ( Ground Floor )

National Gallery of Victoria

Queensland Art Gallery

New Museum New York

PRIVATE

2014

2015

2018

The Whitney Museum

The Broad Museum

PRIVATE

PUBLIC

180 Meters 160 Meters 140 Meters 120 Meters 100 Meters 80 Meters 60 Meters 40 Meters 20 Meters 0 Meters

Exhibition Space

Clonolizing Art: Exposure and Reaching Larger Populations

1880

1881

Royal Exhibition Building

South Australia Gallery of Art

Powerhouse Museum

Circulation Space

Outdoor Space

Idiosyncratic Design Shift

Back of House Management

Rise of Art Philanthropy

Storage and Services

Rise of Research and Preservation of the Arts

2013

Tasmanian Museum and Art Gallery

Preperatory and Restoration Facility

Need To Control Internal Environments

Dan Grove Art Space

2020 Phoenix Central Park

2020

New Museum of Western Australia

Performance Space

Equality of Opportunity

Community Space

Rise of Online Galleries

Shift in Trends Over Time Revealed Gallery Design

Queensland Art Gallery Old vs New

Queensland Art Gallery

The Queensland National Art Gallery opened in 1895 in the now demolished Brisbane Town Hall building placed at the disposal of the Trustees by the Municipal Council. Occupying a modest space on the first floor, the Gallery’s collection comprised 24 pictures, one marble bust, 70 engravings, and 27 pieces of Doulton ware. In 1905 the Gallery relocated to the Executive Building (Land Administration Building) in George Street followed in 1931 to the Exhibition Building Concert Hall at Gregory Terrace. In 1969 the South Bank site was purchased for the development of the permanent Gallery building and in 1975 moves to temporary premises in M.I.M building, Ann Street before permanently settling in South Bank. The Exhibition Building’s Concert Hall provided the Gallery’s premises from 1930 to 1974. The Old Museum was originally called the Exhibition Building and Concert Hall. It was built in 1891 for the Queensland National Agricultural and Industrial Association after Brisbane’s first exhibition building which had occupied the land, was destroyed by fire on 13 June 1888. The new exhibition building was designed by the architect George Henry Male Addison (1857–1922), the style of the building may best be described as progressive eclecticism. Having won a two-stage competition in 1973 to design a new building to house the Queensland Art Gallery, the firm he founded, Robin Gibson and Partners, set about transforming the southern bank of the Brisbane River from wasteland into a bustling cultural hub. International Influence Gibson was known to look for international modernist precedents for design inspiration. After completing a diploma of architecture in Australia, he moved to London where he worked as a design team member on the first of the tall office buildings in London, developing his skills under the auspices of architects Sir Hugh Casson, Neville Conder and James Cubitt and Partners. https://www.qagoma.qld.gov.au/about/our-story https://www.abc.net.au/news/2014-03-31/robin-gibson-brisbane-queensland-architectdesigned-qpac-dies/5352028?nw=0

National theatre, London

Royal Exhibition Builiding Carlton, VIC

1880 International Exposition in Melbourne is Italianate with a Florentine dome with Baroque style gardens The exterior of the dome is gilded gold – from the time that Victoria was awash with money from the Gold Rush period. The height of the dome is 33 metres which also happens to be the same height as the nearby Melbourne Museum Composed of brick, timber, steel, and slate, the Exhibition Building is representative of the Byzantine, Romanesque, Lombardic and Italian Renaissance styles. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris Architect: architect Joseph Reed of Reed and Barnes architecture – Currently Bates smart; State Library, Collins Street Independent Church, Melbourne Trades Hall St Pauls Anglican Cathedral; Town Hall

The Exhibition Building and Carlton Gardens were completed in 1880 for Melbourne’s first international exhibition, a product of the optimism, enthusiasm and energy of the people of Melbourne in the late19th century. Melbourne was a prosperous city, basking in the wealth from the richest gold rush in the world. Publicised the achievements and opportunities in the colony of Victoria than by hosting an international exhibition. One of the world’s oldest exhibition pavilions, symbolising the great 19th-century international exhibition movement.

History - Symbol of the International Exhibition Movement

Royal Exhibition Builiding Carlton, VIC

Parliament of Australia in 1901 following the inauguration of the Commonwealth of Australia on 1 January. After Royal Exhibition Building - Classical the official opening, the Federal Parliament moved to Program Analysis Diagrams the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. Announcement of the winners of the Australian National Flag Design Competition by Countess of Hopetoun: 5.5 x 11 meter flag first unfurled over the dome

Performance Space Retail Storage Back of House Management Toilets Circulation - Stairs Exhbition Space

Area Analysis

Significant Political Events, Colonial Artwork

National Gallery Victoria International Southbank, VIC

Performance Space Retail Storage/Services Back of House Toilets Circulation - Stairs Exhbition Space

Area Analysis

The fundamental geometric order and the courtyards relate the NGV building to Grounds’ other work, all of it however at a much smaller scale. It also relates the building to the historical model for the art museum as it developed through the nineteenth century – the palazzo arranged around symmetrically placed courts giving order to a hierarchical plan. The dynamic opportunities of the Grounds design, the possibility of putting art works into unexpected relationships – implicitly in connection to a wider world – have been put aside. Interior Design and Circulation - Collaborative Approach

National Gallery Victoria International Southbank, VIC

Six times larger than the Swanston Street gallery, the new building ’s architectural detailing, the publicity emphasised, was designed with fatigue – ‘the greatest challenge of enjoyment’ – in mind.5 Its simplicity, spaciousness and language of materials and colour created an ambience of restrained luxury, while the floor plan of three inner courtyards, around which different galleries flowed in sequence, could be easily travelled with none of the tiring staircases or endlessly long galleries of old. Relief from fatigue was provided by Grounds’s innovative ceiling and clerestory lighting system which, together with the courtyards, flooded the internal spaces with daylight and provided refreshing glimpses of the outside world. Similarly, a play of different lighting, ceiling heights, and wall and floor treatments had been introduced to mark transitions in space and ambience, and provide variety for visitors as they moved through the exhibition spaces to view the art on display. Interior Design - Light systems - Ambience - Interaction

Phoenix Central Park Chippendale, NSW Celebrating personal discovery throughout the gallery, idiosyncratic spaced are strategically placed before flights or stairs, next to a bench or in the middle of a lengthy walk way. The purpose of these â&#x20AC;&#x153;monk spacesâ&#x20AC;? is to change the atmosphere and divert attention to a much more concentrated level.

Monk Spaces

Phoenix Central Park Chippendale, NSW Like an Elizabethan theatre, the action is in the round, seen from many vantage points. A projecting balcony loops into the volume, creating an alternate stage or viewing box. The circulation is direct or via a gracious set of stepped landings, scaled for arresting movement and inviting overview. The over-scaled gold window allows glimpses and light from the street in an otherwise dark space. The theatre is lined with timber fabricated from digital templates in the factory and assembled on site. Performances at Phoenix Central Park will be diverse and eclectic: audiences can expect anything from the classics to new experimental music â&#x20AC;&#x201C; from solo piano recitals to opera, from contemporary dance to poetry reading, and from chamber music to edgy performance art. https://durbachblockjaggers.com/projects/ commercial/phoenix

Durbach Block Jaggers - Performance Space

Events World War 1

American Civil War

End of the Global Age of Exploration

1730

Academic Art Resistance: ‘Salon de Refuses’ Paris

British Institution: Art Sale and Art Loan

Paris Salon: Louvre

1770

1820

Colonization and State Power through Art Exhibition and Architecture

1840

1860

International Exhibition Movement

1880

1900

Art Destruction Due to Handling in Traveling Art Shows

1910

Freedom Ride Aboriginal Rights Tent Embassy Australia

Universal Declaration of Human Rights: United Nations

Milam Building Texas: 1st Air Conditioned Building

Invention of the HVAC

Industrial Revolution

World War 2

Womens Liberation Movement

1950

1960

1970

2000

Governent Financial Aid on Art Preservation

War Impact Creating Global Emphasis on Social Welfare

Shift in Themes Over Time Revealed Gallery Design

Invention

Philanthropic Government Aid, USA

1980

Crisis Human Rights

Invention of World Wide Web

Advent of Art “The Conservation Advent of Preservation of Antiquities and Microclimate Research: British of Works of Art Control: British Museum Guidelines” British Museum Museum

1940

Covid-19: Global Lockdown

Global Fiancial Crisis

Art

2010

2020

Culture Shift

Human Rights Activism

Technological Advancement Globalization

Global need for Online Connections

Equality of Opportunity

Idiosyncratic Design Shift

Rise of Online Galleries

Rise of Contemporary Art

Clonolizing Art: Exposure and Reaching Larger Populations

Rise of Research Need To Control Internal and Preservation Environments of the Arts

Rise of Art Philanthropy

GALLERY ENVIRONMENT CIRCULATION LIGHTING OR EVENT LIGHTING CATERED FOR PUBLIC HIGH TRAFFIC AREAS

ARTWORK DISPLAYED SCULPTURE (ABLE TO WITHSTAND DIRECT LIGHT AND OUTDOOR ENVIRONMENT)

ATMOSPHERE / FEELING NATURAL LIGHT CONNECTIONS TO NATURE / TIME OF DAY GLIMPSES OF SURROUNDS, CONNECTION TO SITE PROVIDING CHANGE OF FOCUS/RELIEF BETWEEN VIEWINGS

DIFFUSED ARTIFICIAL LIGHT

DIRECT SUNLIGHT

DIFFUSED SUNLIGHT

LOCATION: MAIN ATRIUM FOYER CIRCULATION WALKWAYS

LOCATION: INTERIOR GALLERIES

ARCHITECTURAL FORM

NEW OLD

NEW OLD NEW RESEARCH BREADTH KEY

DIRECT ARTIFICIAL LIGHT

CURTAIN WALL ATRIUM GUGGENHIEM BILBAO LARGE FORMAT UNINHIBITED SKYLIGHT NGV GUGGENHIEM FLW SMK MUSEUM

ARCHITECTURAL FORM

NEW NEW

TRANSLUCENT WALKWAYS DIFFUSING LIGHT NGV

NEW

SKYLIGHT LOUVRES DIFFUSED OVER PAINTINGS FLOATING ON CURVED WALLS GUGGENHIEM FLW

POCKET COURTYARDS ROY GROUNDS NGV KIMBELL CONNECTING WALKWAYS/RAMPS NGV GUGGENHIEM BILBAO

ANGLED SKYLIGHTS INTERCEPTING FORM GUGGENHIEM BILBAO

REPLICATES NATURAL LIGHT IN THE ABSENCE OF SUNLIGHT, CATERED TO ARTWORK REQUIREMENTS

ARTWORK DISPLAYED ANCIENT ARTEFACTS TAPESTRY PAINTING (SENSITIVE TO SUN DAMAGE, TEMP., HUMIDITY)

ATMOSPHERE / FEELING MYSTERIOUS / MYSTICAL INTERIORS ENCAPSULATING THEME OF COLLECTIONS SENSE OF LIGHTNESS AND AN EXAGERATION OF SPATIAL GENEROSITY A REPLICATION OR TRANSLATION OF NATURAL SURROUNDS

TECHNICAL MECHANICAL

NEW

LIGHT SENSORS MECHANIZED SHADES THE BROAD

NEW

ALUMINIUM LIGHT REFLECTORS - DOME KIMBELL

NEW

COLOUR & INTENSITY REPLICATION OF NATURAL LIGHT SMK MUSEUM

OLD

CONCEALED OIL LAMPS, COLOURED GLASS, MIRRORS, SKYLIGHTS JOHN SOANE MUSEUM

RESEARCH METHODOLOGY

GALLERY RESEARCH SECTION ANALYSIS SUN ANALYSIS TECHNICAL DETAIL ANALYSIS ESSAY CONCLUSION

Method of Art Display Diagrams

COLONIZATION + STATE POWER

Travelling Exibitions Art Sale and Loan

19th Cent

Art Degradation and Deformation

WW1 & WW2 Destruction of Humanity and Art

Art Corrosion from Harsh Enviroments

Human Rights Abuse

Advent of Art Preservation: Preservation Antiquities and Preservation Guidelines

Technological Art Archival Advancement

Internal Microclimate Control

Gallery for the Viewer

IDIOSYNCRATIC EXPERIENCE 20th Cent

Light Natural V Artificial Patron Viewing Tolerance Ink and Pigment Tolerance Visible Light Levels + UV Radiation Relative Humidity Effect of Seasonal Temperature Base and Material Sensitivity 35-50% Humidity Temperature Temperature Range through HVAC Outside Air and Air Distribution 10c Min -25c Max

The Museum // Cultural History

Royal Exhibition Building 1880 Ornate Cabinet - Cluster of Objects

Display Case Joinery

Week 2

NGV - 1986 Bespoke Arrayed Joinery Single Object Eye level

NGV - 1986 Wall Recessed Joinery Single Object Light Play

John Soane Museum Natural vs Artificial Light

Statens Museum for Kunst Natural vs Artificial Light

Guggenheim Natural vs Artificial Light

The Kimbell Museum Texas, USA The distinct form of the Kimbell Museumâ&#x20AC;&#x2122;s cycloid barrel vaults are rimmed with narrow plexiglass skylights, providing room for natural light to penetrate into the spaces. To diffuse this light, pierced-aluminum reflectors shaped like wings hang below, illuminating the smooth surfaces of the concrete vault while providing elegant and enchanting light conditions for the works of art. Bilbao https://www.guggenheim-bilbao. eus/en/the-building/inside-the-museum

Portico

Gallery

Light Court

Cafeteria

Auditorium

Back of House Offices Artificial Light Natural Light

Section 1:100 A3 1:100 A3

The Kimbell Museum Texas, USA

Glazing Aluminium Sheet Perforatred Sheet Light Fixture

Glazing

AC unit and Air Vents

Timber Floors Recessed return air

Through the light fixture detail, natural light is able to enter the building through the strands of skylights. Natural light reflects through the reflective aluminium panels to the vault surface. The Vault surfaces, deflect the light back through perforated meshto control light levels.Finally, light is returned back to the vault ceiling, gently diffuse light into the room,

Artificial Light Natural Light

Detail 1:50 A3 1:100 A3

1:50 A3

The Broad LA Program Analysis Diagrams

Gallery Space

Conference Room

Prep

Storage

Lobby

Car Park Artificial Light Natural Light

Section 1:250 A3

The veil pattern continues on the roof above the gallery floor in the form of 318 skylights in the roof. Museum spokesperson Alex Capriotti says the skylights â&#x20AC;&#x153;harvest sunlight coming from true north and are designed to diffuse that daylight optimally for the artwork.â&#x20AC;? Each skylight is also equipped with a mechanized screen to let less light in when the California sun is too strong. https://www.forbes.com/pictures/ehlk45mlgi/the-broad-skylights/#7bf1fd5b3a72

1:250 A3

The Broad LA Program Analysis Diagrams

Automated Sun Shading Glazing Recessed Sunlight level sensors GFRG Reinforced Conrete Skylight Shell

Light Fixture

Artificial Light Natural Light

Detail 1:20 A3

1:20 A3

Events World War 1

American Civil War

End of the Global Age of Exploration

1730

Academic Art Resistance: ‘Salon de Refuses’ Paris

British Institution: Art Sale and Art Loan

Paris Salon: Louvre

1770

1820

Colonization and State Power through Art Exhibition and Architecture

1840

1860

International Exhibition Movement

1880

1900

1910

Art Destruction Due to Handling in Traveling Art Shows

Freedom Ride Aboriginal Rights Tent Embassy Australia

Universal Declaration of Human Rights: United Nations

Milam Building Texas: 1st Air Conditioned Building

Invention of the HVAC

Industrial Revolution

World War 2

Womens Liberation Movement

1950

1960

1970

2000

Governent Financial Aid on Art Preservation

War Impact Creating Global Emphasis on Social Welfare

Shift in Themes Over Time Revealed Gallery Design

Invention

Philanthropic Government Aid, USA

1980

Art

2010

2020

Culture Shift

Human Rights Activism

Technological Advancement Globalization

Global need for Online Connections

Equality of Opportunity

Idiosyncratic Design Shift

Rise of Online Galleries

Rise of Contemporary Art

Clonolizing Art: Exposure and Reaching Larger Populations

Rise of Research Need To Control Internal and Preservation Environments of the Arts

Rise of Art Philanthropy

VIRTUAL PLATFORMS

COVID-19 RESPONSE REFLECTING INITIATIVES AND AGENDAS INNOVATIVE RESPONSE STATIC RESPONSE

Open navigation, sometimes incomplete, distorted, non representative of atmosphere. Inability to view up close

SMITHSONIAN AMERICAN ART MUSEUM

INTERACTIVE

FILMED

Acurate representation of artowrk, lighting, spatial qualities. Close up detail for some works. Music and voice overs become engaging

VR EXPERIENCE THROUGH STEAM

OLD

NEW

GUIDED CAMERA WALKTRHOUGH W/ AMBIENT MUSIC

DSL COLLECTION

DIGITALLY MODELED VIRTUAL COLLECTION

NEW

CURATOR NARRATED WALK THROUGH

GUGGENHEIM RIJKSMUSEUM

GOOGLE STREET VIEW - 360 STITCHED IMAGE

OLD

NGV JAPANESE MODERNISM

POINT CLOUD RECORDING W/ AMBIENT PLAYLIST

NEW

WEBSITE NAVIGATION

NEW

RESEARCH BREADTH KEY

Crisis Human Rights

Invention of World Wide Web

Advent of Art “The Conservation Advent of Preservation of Antiquities and Microclimate Research: British of Works of Art Control: British Museum Guidelines” British Museum Museum

1940

Covid-19: Global Lockdown

Global Fiancial Crisis

NGV VAN GOGH MUSEUM WHITESTONE GALLERY

NGV

Comprehensive exhibition of entire collection. Non emersive, non engaging

THUMBNAIL VIEWING W/ CONNECTING INFORMATION

BRITISH MUSEUM

RESEARCH METHODOLOGY

GALLERY RESEARCH VIDEO COMPILATION SUMMARY ESSAY CONCLUSION

Guided Film Virtual Platforms

FILMED

NEW

GUIDED CAMERA WALKTRHOUGH W/ AMBIENT MUSIC

CURATOR NARRATED WALK THROUGH

ACTIVE RESPONSE

NGV, Whitestone Gallery, Vang Gogh Museum

STATIC RESPONSE

Recorded Interactive Walk Through Virtual Platforms

INTERACTIVE

GOOGLE STREET VIEW - 360 STITCHED IMAGE

OLD

VR EXPERIENCE THROUGH STEAM

OLD

POINT CLOUD RECORDING W/ AMBIENT PLAYLIST

NEW

ACTIVE RESPONSE

RijksMuseum, Guggenhiem, NGV Japanese Modernism

STATIC RESPONSE

Virtually Curated Interactive Virtual Platforms

INTERACTIVE

NEW

DIGITALLY MODELED VIRTUAL COLLECTION

WEBSITE NAVIGATION

NEW

THUMBNAIL VIEWING W/ CONNECTING INFORMATION

ACTIVE RESPONSE

DSL Private Collection, British Museum

STATIC RESPONSE

Events World War 1

American Civil War

Invention of the HVAC

Industrial Revolution End of the Global Age of Exploration

1730

Academic Art Resistance: ‘Salon de Refuses’ Paris

British Institution: Art Sale and Art Loan

Paris Salon: Louvre

1770

1820

1840

1860

International Exhibition Movement

1880

1900

Art Destruction Due to Handling in Traveling Art Shows

Colonization and State Power through Art Exhibition and Architecture

World War 2

Milam Building Texas: 1st Air Conditioned Building

1910

Freedom Ride Aboriginal Rights Tent Embassy Australia

Universal Declaration of Human Rights: United Nations

Womens Liberation Movement

1950

1960

1970

2000

Governent Financial Aid on Art Preservation

War Impact Creating Global Emphasis on Social Welfare

Shift in Themes Over Time Revealed Gallery Design

Invention

Philanthropic Government Aid, USA

1980

Crisis Human Rights

Invention of World Wide Web

Advent of Art “The Conservation Advent of Preservation of Antiquities and Microclimate Research: British of Works of Art Control: British Museum Guidelines” British Museum Museum

1940

Covid-19: Global Lockdown

Global Fiancial Crisis

Art

2010

2020

Culture Shift

Human Rights Activism

Technological Advancement Globalization

Global need for Online Connections

Equality of Opportunity

Idiosyncratic Design Shift

Rise of Online Galleries

Rise of Contemporary Art

Clonolizing Art: Exposure and Reaching Larger Populations

Rise of Research Need To Control Internal and Preservation Environments of the Arts

Rise of Art Philanthropy

PUBLIC PRIVATE

REFORM AGAINST PUBLIC/PRIVATE ART INSTITUTION POLITICS PROTEST POLITICAL REFORM EQUAL REPRESENTATION

exposes gender and ethnic bias in the art world

THE GUERRILLA GIRLS

BROADER AUTHORSHIP + MULTIDISCIPLINE CROSS POLLINATION

ARTIST RUN INITIATIVES

uses stensil to critique political themes, war, capitalism, the art world & greed. art as for the people not that of kings and queens.

Alternative Platforms of Multimedia Exhibition ALTERNATIVE PLATFORMS

STREET ART

THE TRUTH BOOTH

Temporary works for the untrained artist for viewer experience. Protest against art consumerism

BURNING MAN

JOURNALISM

Revolution featuring darker realistic depictions of country rejected by state, Rejection of international styles adopted by trend

ANTIPODEANS THE ANGRY PENGUINS Activism

Artist Run Initiatives

Multimedia Art Festivals

Journalism Digital Gallery Tours

RESEARCH BREADTH KEY

ART FESTIVALS

The new hybrid of performance, multimedia, musicals, acoustics, technology, and visual art - the search for a new platform,surface, and scene. Through our research we can start to explore alternative exhibition formats celebrating the conversation between the community and middle class emerging artists as opposed to the elite. These groups attempt to create platforms to break art institution authorship of culture and of taste. Why do socioeconomic circles, race, or gender have to equate to art exposure and credibility? Who has the say on what gets displayed?

BANKSY video / street artwork to capture a diverse scope of people around the world.

THE FACTORY BUS PROJECTS

ACTIVISM

Celebrating public - artist conversations and the transfer of authority

Open space for exploration of works not accepted by conservative institutional agendas, allowing cross pollination and collaboration between art industries

Temporary Pavillions

Street Art

RESEARCH METHODOLOGY

ALTERNATIVE PLATFORM RESEARCH ESSAY CONCLUSION

Banksy Political Art / Street Art

Banksy work continuously questions authority of institutions, suggesting the art scene as belonging to everyone, and needs to be celebrated. Banskey’s work takes authority from institutions, brings artwork to the streets and also uses other platforms such as Instagram. “There’s a whole new audience out there, and it’s never been easier to sell [one’s art],” Banksy has maintained. “You don’t have to go to college, drag ’round a portfolio, mail off transparencies to snooty galleries or sleep with someone powerful, all you need now is a few ideas and a broadband connection. This is the first time the essentially bourgeois world of art has belonged to the people. We need to make it count.” Banksy also uses Instagram as a platform to critique his works and what happens to them, he also creates film, in his 2009 exhibition in the Bristol museum, Banksy mixed his works in with the museum’s collection - his art ‘blending in’ in period appropriate frames.

Guerilla Girls Feminism / Activism

Shortly after the group formed, they sent out this poster to well known art collectors. This send up of femininity is aimed at the expectation that, even when presenting a serious complaint, women should do so in a socially acceptable â&#x20AC;&#x2DC;niceâ&#x20AC;&#x2122; way.

PROGRESS OVER 30 YEARS

Guerilla Girls Feminism / Activism

Argued only half our culture is being represented through museums - museums and galleries are not an accurate depiction of our culture. They argue along similar Banksy in that the art world is a record of violence in itself - for years kings and queens decided what art was (pictures of them), now it should be about our culture and represent all of us, art production. After thirty years the problem hasnâ&#x20AC;&#x2122;t been solved - the g girls have spread out to politics, film. They argue billionaire collectors have so much of the same art - a kind of cookie cutter collection of art which tends to dominate the art world. There are so many more great artists and too much discrimination.

Richard Bell: … no tin shack … / EMBASSY Australia

An activist and artist, Bell works across video, painting, installation and text to pose provocative, complex and humorous challenges to our preconceived ideas of Aboriginal art, as well as addressing contemporary debates around identity, place and politics. Argues: “We need to behave like an industry and demand industry standards with respect to artists’ fees/wages, with respect to us getting paid every time our artworks are shown. We should be getting a payment, in the same way thatmusicians are paid when their work is on radio or television.” “It is very important to have your work accepted into an institution like the Tate. I know that those big museums are trophy rooms for colonial powers. They are the individuals who have benefited the most from the underlying principle of contemporary art. My position within that? I am a spanner in the works for them perhaps. I have to navigate this dilemma on a daily basis. The commercial reality is that political art is what I do. It is not décor or design. Political art only makes up four per cent of the market. I see that as an opportunity – to grow something from four percent to 96 per cent.” “I will be setting up for the 2021 show of EMBASSY at the Tate Modern. I think the Tate is working to decolonize their collection. My practice critiques colonialism and contemporary art and how it’s positioned. So it is like the be all and end all of art on this planet which is some kind of chauvinism! Curator Maura Reilly, in her research, found that art in selected major collections is 95% white male, 4% white female and 1% is made by the rest of the world’s population. We need lots more black and brown people in these collections.” “Bell will wrap a replica of the Australian Pavilion in chains, site it on a barge, and sail it throughout the Venetian lagoon. By taking himself to Venice, the artist continues his Indigenous land rights and anti-racism activism in a global context. Louise Martin-Chew spoke to Bell about gate-crashing the 2019 Venice Biennale.”

Artist Authority

Burning Man Black Rock City, Nevada, USA

Burning Man is organized by the Burning Man Project, a non-profit organization that, in 2013, succeeded Black Rock City LLC, a for-profit Limited liability company. The Burning Man Project endorses multiple smaller regional events guided by the Burning Man principles, both in the United States and internationally. The organization provides the essential infrastructure of Black Rock City and works year-round to bring Burning Man culture to the world through programs such as Burners Without Borders, Black Rock Solar, and Global Arts Grants Through art grants, mentorship, and art management programs, Burning Man Arts supports the creation of impactful, interactive artwork around the world and in Black Rock City, home to the seminal Burning Man event. The mission of Burning Man Arts is to change the paradigm of art from a commodified object to an interactive, participatory, shared experience of creative expression. Burning Man Arts acts on the belief that communitydriven, inclusive and interactive art is vital to a thriving culture. https://burningman.org/culture/burning-man-arts/

Interactive Immersive Sculpture

The Factory Andy Warhol New York City, USA

By the time Warhol had achieved a reputation, he was working day and night on his paintings. Warhol used silkscreens so that he could massproduce images the way corporations mass-produced consumer goods. To increase production, he attracted a ménage of adult film performers, drag queens, socialites, drug addicts, musicians, and free-thinkers who became known as the Warhol Superstars, to help him. These “artworkers” helped him create his paintings, starred in his films, and created the atmosphere for which the Factory became legendary. https://www.theguardian.com/artanddesign/ gallery/2019/apr/11/inside-andy-warhol-factoryin-pictures

Screen Printing Workshop

The Factory Andy Warhol New York City, USA The Factory was the hip hangout for artistic types, amphetamine (speed) users, and the Warhol superstars. It was famed for its groundbreaking parties. In the studio, Warhol’s workers would make silkscreens and lithographs under his direction. In 1968, Warhol moved the Factory to the sixth floor of the Decker Building, 33 Union Square West, near Max’s Kansas City, a club which Warhol and his entourage frequently visited Billy Name brought in the red couch which became a prominent furnishing at the Factory, finding it on the sidewalk of 47th street during one of his “midnight outings.” The sofa quickly became a favorite place for Factory guests to crash overnight, usually after coming down from speed. It was featured in many photographs and films from the Silver era, including Couch and Blow Job. During the move in 1968, the couch was stolen while left unattended on the sidewalk for a short time. https://www.theguardian.com/artanddesign/gallery/2019/apr/11/ inside-andy-warhol-factory-in-pictures

Interactive Immersive Sculpture

National Gallery Australia Powerhouse Museum Art Gallery of South Australia

Clonolizing Art: Garden Exposure and Palace Rise of Art Reaching Larger Royal Exhibition Building Philanthropy Populations

PRIVATE GALLERIES

Gallery New Museum NYC Whitney Museum of American Art Adelaide Contemporary The Broad Museum New Museum Western Australia Phoenix Central Park Gallery Museum of Old and New Art DanGrove Art space Shepparton Art Gallery

Idiosyncratic Design ShiftHeide

Tate modern

1. Diagraming Potential Best Qualities in Gallery Precedents 2. Creating Design Solutions from Research / New Typologies 3. Continuation of Essay Writing 4. Research into Decolonization of Galleries 5. BLURB Publication The Factory Projects TCB Art INC Burning Man Sculptures by the Sea Antipodeans The Angry Penguins The ‘O’ The Guerrilla Girls Banksy The NGV - MPavilion The Truth Booth The $150,000 Banana Damien Hirst Marla Rosler AIDS Exhibition Group Materials & David Wojnarowicz

What is the best case scenario that merges good qualities inherent in new, old, public and private galleries? OLD

19TH CENT. GALLERIES

NEW

What form or medium will the gallery take post lockdown?

The Guerrilla Girls Banksy The NGV - MPavilion The Truth Booth The $150,000 Banana Damien Hirst Marla Rosler AIDS Exhibition Group Materials & David Wojnarowicz

The Factory Bus Projects TCB Art INC Burning Man Sculptures by the Sea Antipodeans The Angry Penguins The ‘O’

ALTERNATIVE PLATFORMS

Smithsonian American Art Museum DSL Collection Guggenheim FLM Rijksmuseum National Gallery Victoria Van Gogh Museum Whitestone Gallery NGV: Japanese Modernism British Museum

VIRTUAL PLATFORMS

GALLERY LIGHTING

Tate modern

CONTEMPORARY GALLERIES

How can the elite and classist stigmas aound art be abolished?

Equality of Opportunity Bus

Garden Palace Royal Exhibition Building National Gallery Australia Powerhouse Museum Art Gallery of South Australia

PRIVATE GALLERIES

How can galleries accomodate the middle class as well as the representatives of emergent alternative platforms? Tasmainian Museum and Art Gallery Queensland Art Gallery National Gallery Victoria

PUBLIC GALLERIES

How are galleries trying to decolonize their collections?

ALTERNATIVE PLATFORMS

Smithsonian American Art Museum Rise of Online DSL Collection Galleries Guggenheim FLM Rijksmuseum National Gallery Victoria Van Gogh Museum Whitestone Gallery NGV: Japanese Modernism British Museum

VIRTUAL PLATFORMS

Rise of Research Whitney Museum of American Art and Preservation Statens Museum for Kunst (SMK) of the Arts Guggenheim FLW Guggenheim Bilbao Kimbell Art Museum National Gallery Victoria The Broad Museum John Soane Museum Louisiana Museum of Modern Art Philip Johnson Glass House Philip Johnson Painting Gallery Philip Johnson Sculpture Gallery

GALLERY LIGHTING

Steps Moving Forward

Need To Control Internal Environments

NEW CONTEMPORARY GALLERIES

OLD 19TH CENT. GALLERIES

Tasmainian Museum and Art Gallery Queensland Art Gallery National Gallery Victoria

PUBLIC GALLERIES

Questions Moving Forward

For example: What changes could be made to older galleries to be able to retain the benefits of the contemporary?

Blurb Publication

Contents

Chapter Header

Diagram Page

Essay Page

Body Page

Title Page

Body Page