[ad_1]
when i sit down Opposite Ben Mitchell, co-founder and director of These Architects, he recounts one of his first experiences in the former Sherman Contemporary Art Foundation building in Paddington, Sydney. The space, an art gallery with an auction house in the back, is decorated with “a scattering of Ben Quilty pieces” and various other standouts being packaged and shipped out. This scene marks Goodhope’s enduring relationship with art. Mitchell, his co-founder and director Simon Addinall and the rest of the That team were tasked with reconfiguring the space to accommodate a new and diverse range of features, including See-Saw Films ’s film production studio and non-profit Papua New Guinea textile enterprise.
The project began before the coronavirus outbreak and its brief has evolved, recently bringing a familiar story to the architects. The result, however, is a calm, clever intervention and a strong graphic response. Materially, the building contains handcrafted elements that are conceptually integrated with the creative practice that now occupies it.
Creativity and critical thinking are integral to Goodhope’s architectural output. Although the building is not heritage listed, planning restrictions are still limited. The project consists of two buildings that were originally side by side, the facades of which remain separate and unchanged except for the replacement of windows, minor modifications to the entrances on each side, and an updated color scheme. Circulation flows around a large central courtyard connecting the two buildings. From the entrance, a curved wall provides glimpses and guides visitors towards the courtyard. The reception area and boardroom are separated by the same wall, which (like much of the building) is composed of handmade, custom-sized Kraus bricks. The bricks are finished in different shades of cream with matching angled mortar joints, bringing the qualities of the external garden into the interior spaces.
Curved walls guide visitors around the courtyard to a series of unique meeting spaces and ultimately to the backstage function area. Spatially, the architects took advantage of the existing sloping volume of the original gallery building, inserting rooms that resemble rectilinear objects whose walls and ceilings open to the wide space beyond. The overall effect is one of containment and expansion, with the interior extending into and encompassing the landscape.
Materially speaking, bricks are everywhere and are used in a range of walls, floors, steps and landscape features. The mortar seams would have something of a Roman look to them if they were not so neatly recessed. Its rough, handcrafted quality softens the “new-buildness” of the project, suggesting that Goodhope will improve, rather than weaken, over time; once the latter matures, the deep apricot tones of the carpets, joinery and furniture will Creates a nice contrast with the green of the landscape. Timber, perhaps (and often is) used to provide warmth and simplicity, is the implicit material in this composition, but it is used extensively: internal floors, doors and joinery dowels are all Victorian ash. Overall, the project has a residential tone, or at least a sense of comfort.
Although connected via a secondary circulation route, Papua New Guinea weaving business Between Equals occupies an ancillary street frontage with independent street access and a unique visual identity. Don Cameron, who handled the interior design, chose a bolder palette of blues, oranges and browns for the space, balancing the adjacent aesthetic with the bold tones of the woven textiles.
Prompted by the tenth anniversary of their practice, Mitchell and Adinar have been reflecting on the past decade and thinking about the next decade. Mitchell describes their practice as one where there is no style or preferred type of house; instead, the team aims to consider projects from first principles without assuming a unique aesthetic. If the practice does have a specific approach, it is process-driven, a quality evident in the work of renowned practices such as 6a Architects, Pezo von Ellrichshausen and Mary Duggan Architects, and generates a certain aesthetic of its own, albeit one that is often very subtle.
These architects are also a practice that works across a range of project types, often oscillating between cultural, commercial and residential. Mitchell and I discussed the role of architectural specialization and agreed that for those who practice across multiple types, it would be useful to understand each type. At the same time, architects are trained to solve problems creatively, finding new solutions in the face of complex constraints; anything outside this field risks being replaced by smart machines. Therefore, it can be said that the ability to approach unfamiliar project types from a first principles perspective is the future of creative practice. More pragmatically, architects who work in multiple disciplines may be better able to withstand economic, cultural and political fluctuations.
In this context, projects such as Goodhope demonstrate the potential of good design and innovative thinking. On the drawing board, the site might appear restricted; through diagrammatic planning and play with space, the result exudes a sense of openness. Despite its urban setting, the building feels private while borrowing views of distant trees and rooftops to remind the occupants of their surroundings. These strategies transcend typology and do not necessarily rely on the pursuit of stylistic design.
Although it may be difficult to determine the building’s previous use given the extent of its transformation, there are some clues in its form and structure. The original roof structure has been exposed – albeit painted white – which contributes to the play between solid and void, new and old. It would be interesting to revisit a place that has been a home for art for so many years ten years later and trace the creative output that took place within it.
Likewise, looking at the practices of these architects over the next 10 years, we can expect to see a range of different project types and approaches. Each may have an indeterminate house style, but is characterized by unique features: high-quality, well-crafted materials and thoughtful, efficient space planning in relationship to the site. These architects are equipped to deal with the uncertainties of future practice.
[ad_2]
Source link