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The courtyard café lies outside the main wall, an escape from the intensity of an exhibition but also allowing views back into the gallery. In the entrance lobby, the powerful, three-storey diagonal wall leads to the reception desk, which itself points towards the way into the gallery. If the exterior is intriguing, the interior is compelling. Behind a full-height door in the northern wall is a triple-height entry space with a diagonal wall running from the door to the reception desk and a waiting area in the right angle of this triangle. White-painted and grey-floored, its texture comes from a multiplicity of light and shadow, and depending on the institute’s programme sometimes includes displays. The main exhibition space lies behind the desk. Sandwiched between two deep walls, which contain the mechanical and electrical services, it is an essential part of the design strategy to keep the gallery space as open plan as possible. This also called for some ingenious structural engineering from Arup. In the centre of the building, running parallel with its long axis, is a rooflight that brings daylight into the top floor. On either side are 27-metre (89-foot) long deep beams from which the top and first floors are hung, leaving columnfree space on the ground floor of 465 square metres (5,005 square feet) and 4 metres (13 feet) high, with the loads brought to the ground on columns at either end of the beams. For its opening exhibition, the Turrell retrospective, it has been divided into a series of cellular spaces whose limits and shapes are called into question by Turrell’s lightworks. In one, a deep-blue light seems to be a screen, but trying to touch it reveals that it is actually a space. Others play with the notion of the actual limits and shapes of spaces. These effects obviously require the windows to be blanked out. Though this configuration shows one aspect of the window detailing, which includes blinds for filtering or blanking out daylight as well as artificial lighting, the possibility of being entirely open and daylit appeals to Dance as it shows off the architectural concept more clearly. The institute’s remit, he explains, includes performances and film showings as well as exhibitions, implying a sense of interaction. Central to this aim is a long, thin café, carved out of what was an irregular and derelict courtyard between the building and the site perimeter. A long, subtle curve conceals the irregularities and a store alongside the boundary, giving the illusion of space, while the ultra-clear glass gives the impression of being outside. The full-height openings in the original facade could potentially give views into the gallery. Even with such views blocked out, the café is a congenial space, and by breaking through the building’s surface provides a restful and slightly detached area which recognises that looking at art can be physically and mentally demanding, but may also benefit from the possibility of refreshment and social contact. The offices are concealed behind the southern service wall on the first and second floors, with a meeting room below them on the ground floor. In diagrammatic terms the design concept is simple, but it demands a high degree of technical skill to achieve such effects with deceptive ease. What is really impressive, though, is not the technology, but the concept, which shows a sensitivity to the area’s history and future possibilities and to the experience of looking at art. In this sense, architecture and art are very close: the concept treats the building as a found object, but one that has inherent qualities that can speak to us precisely for its apparent ordinariness. What the design does is to find them, make them manifest, and use them as a subtle background to whatever display or event may take place within them. It will be interesting to see what happens as the institute’s programme unfolds. 4 Text © 2007 John Wiley & Sons Ltd. Images: pp 120, 122(b) & 125 © Hélène Binet; pp 121, 122(t), 123 & 124 © 2006 Borgos Dance 125+
Practice Profile The Tailored Home Housebrand Loraine Fowlow describes how in Calgary, Alberta, Canada’s fifth biggest city, John Brown has established Housebrand, a practice that is notable both for its innovative approach to residential design and for its adeptness in understanding its client base and the particular context of the Calgary housing market. The company has masterfully matched its own skills and services to customer demand in a way that is almost unprecedented within the architectural profession. 126+
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ISBN-13 9780470034798 ISBN-10 04700
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Alison and Peter Smithson, Upper La
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Introduction Site/Non-Site Extendin
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The most dramatic case of the expan
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Dixon and Jones Architects, Exhibit
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From Mound to Sponge How Peter Cook
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The Oslo Patch investigates a new w
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The Frenzy of Theorising In our tim
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Giovanni Bellini, The Madonna of th
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landscape architects, not only one
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Recombinant Landscapes in the Ameri
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West 8 and du Toit Allsopp Hillier
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Cooper, Robertson & Partners, Coast
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Cooper Carry, Mizner Park, Boca Rat
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Brian McGrath and Victoria Marshall
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forest in terms of human carbon pro
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Urban American Landscape
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Patricia Johanson, Fair Park Lagoon
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flights up extending for 22 city bl
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City, a new mixed-used neighbourhoo
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Ken Smith, Mary Miss, Enrique Norte
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Running the entire length of the sc
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Operationalising Patch Dynamics Vic
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urban-interface, Megalopolis Now, B
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Recent Works by Bernard Lassus At t
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Bernard Lassus, motorway landscapes
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Deep Explorations into Site/Non-Sit
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