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Refiguring the Pavilion: Garden Wall, 2017 National Gallery of Victoria Architecture Commission, by Retallack Thompson and Other Architects
Australian and New Zealand Journal of Art Pub Date : 2018-01-02 , DOI: 10.1080/14434318.2018.1481338
Susan Holden 1
Affiliation  

Garden wall, by Retallack Thompson and Other Architects, tests the limits of what we think of as architecture. It does not provide shelter. Its enclosing walls define a series of corridors and rooms, and yet appear to dissolve as surfaces under the play of light, shadow and wind. Of course, this is to be expected of the annual National Gallery of Victoria (NGV) Architecture Commission, which emphasises the experimental capacity of such temporary structures; and more generally of this type of ‘pavilion’ architecture, which has proliferated in art institutions following the success of the Serpentine Pavilions commissioned annually since 2000. Sited in the Grollo Equiset Garden – the indeterminate backyard of the NGV – Garden wall is the third iteration of its Architecture Commission. It follows Haven't you always wanted ... ?, the playful remake of a suburban carwash by M@studio in 2016, and I dips me lid by John Wardle Architects in 2015, which had a colourful grid shell structure meant to echo the Sidney Myer Music Bowl. The Commission is one of several recent design-focused initiatives of the Gallery, heralded by the establishment of the Contemporary Design and Architecture curatorial department in 2015, and followed in 2017 by the inaugural NGV Triennial, of which Garden wall is part. These structures are beacons for visitors, and provide new programming opportunities for the Gallery, not to mention being incredibly ‘Instagrammable’. In the global context, the proliferation of pavilions in art institutions is evidence of the current popularity of architecture in contemporary culture. And yet Garden wall eschews the kind of architecture-as-spectacle that has come to be associated with the contemporary pavilion phenomenon, and which incites its most strident critics. Instead, Garden wall makes a nuanced engagement with site specificity – as both architectural technique and artistic strategy. One of the most photographed views of Garden wall is one in which the otherwise prosaic, simply-framed geotextile screen walls become a seductive veil through which to view Henry Moore's Draped seated woman (1958) (Figure 1). There are many such views of the sculptural figures in the garden along the pathway laid out by Garden wall as the visual alignment and layering of the screen walls change. Such effects borrow from installation art as much as they are conventions of architectural design, and draw attention to the function of the gallery

中文翻译:

Refiguring the Pavilion: Garden Wall, 2017 维多利亚国家美术馆建筑委员会,Retallack Thompson 和其他建筑师

由 Retallack Thompson 和其他建筑师设计的花园墙测试了我们所认为的建筑的极限。它不提供庇护所。它的围墙定义了一系列的走廊和房间,但在光、影和风的作用下,它似乎变成了表面。当然,这是一年一度的维多利亚国家美术馆 (NGV) 建筑委员会的意料之中,该委员会强调这种临时结构的实验能力;更普遍的是这种类型的“亭子”建筑,自 2000 年以来每年委托的蛇形亭子取得成功后,这种类型的“亭子”建筑在艺术机构中激增。位于 Grollo Equiset 花园 - NGV 不确定的后院 - 花园墙是第三次迭代其建筑委员会。它遵循你不是一直想要......?,2016 年 M@studio 对郊区洗车场的俏皮翻拍,我在 2015 年由 John Wardle Architects 给我盖上了盖子,它有一个彩色的网格外壳结构,旨在呼应 Sidney Myer 音乐碗。该委员会是画廊最近几项以设计为重点的举措之一,2015 年成立了当代设计和建筑策展部门,随后在 2017 年举办了首届 NGV 三年展,花园墙是其中的一部分。这些结构是游客的灯塔,并为画廊提供新的编程机会,更不用说令人难以置信的“Instagrammable”。在全球范围内,艺术机构展馆的激增证明了当前建筑在当代文化中的流行。然而,花园墙避开了与当代展馆现象相关的那种建筑奇观,它激起了最尖锐的批评者。取而代之的是,花园墙与场地特异性进行了细微的互动——既是建筑技术,也是艺术策略。花园墙拍摄得最多的景色之一是,原本平淡无奇的土工布幕墙变成了一层诱人的面纱,透过它可以看到亨利·摩尔的《披着坐姿的女人》(1958)(图 1)。沿着园墙布置的小路,随着屏风的视觉对齐和层次的变化,花园中的雕塑人物有许多这样的景色。这种效果既借鉴了装置艺术,也借鉴了建筑设计的惯例,
更新日期:2018-01-02
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