Protuding, Surprising
The model is submitted into Google 3d Warehouse:
Form and structure
This newly shaped model is much more successful and practical than the draft, in size and form. Goodwin’s studio is neat and geometrical. The concertina by-fold doors open out to a spilling staircase, leading to his outdoor work space. The open studio and outdoor area allow him to be in touch with nature, a contributing factor is his practice. Piccinini’s studio is more mysterious and closed, to concentrate her imagination. I often had a cave in mind when constructing her studio, as I feel she would be motivated by this seclusion.
Materials
- The whole complex will be brick rendered in a simple light, neutral colour
- The coloured prisms protruding from Goodwin’s studio will be mesh
- The other coloured decoration will be Perspex
- Goodwin’s outdoor space and Piccinini’s stairs will be raw concrete. This repeated use at either end of the building will create focus on the datum and link the two artists
- Gallery steps: the raiser will be transparent glass, textured with a subtle smudge pattern
- Piccinini’s sculpture studio: exposed brick
- Piccinini’s computer lab: a heavy sheet-like material pinned in place to create a fleshy, wrinkled texture. The colour is to be picked up off the bricks, but the sudden change in material will be a direct contrast
- Interior: simple white painted walls with wooden floorboard, so all attention is on the artworks themselves
Stairs
With the newly formed shapes, the stair configuration fell into place nicely. The stairs can now be in single flights, with no need to worry about platforms. This will made it a lot easier to transport the artworks, plus the new positioning means they can be wide – thus there is no need to worry about a pulley system.
Both artists need to bring their artwork through the main gallery entrance of by-fold doors. These would be open during exhibitions, so Goodwin’s outdoor display will flow onto the inside space. The external access for both artists makes them equals in the space, and makes the process of exhibiting works a considered one.
I like the way the stairs lead to closed doors – the studios become like a mysterious space for the gallery’s audience, making them ponder how the works are made. The large deep steps lead up to Goodwin’s studio, where a window acts as a link between the two spaces. Piccinini’s stairs seem to plunge to the underground, which would be viewed upon arrival.
Piccinini’s stairs are wide to allow her to bring large sculpture objects in and out.
Goodwin’s stairs seem to spill out to meet the outdoors. By making them of steel I hope they will be structurally strong enough to hang freely like this. This way they are an architectural expression, thus revealing Goodwin’s two practices: architecture and sculpture.
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