ARCHIcafe 9: Deep Africa

The politics of civic space / civic architecture

The Museum of Apartheid by Noero Wolff Architects is better known as ‘the museum of the peoples struggle’ (Osborne and Sanders, 2008). It is a place that offers a deeper understanding and appreciation of the country, the darkest days, the struggles and the heroes. It depicts the rise and fall of the apartheid government: the racially prejudice “white” government that had turned 20 million people into second-class citizens. It is the story of decades of murder, violence, torture and terrorism that ended with the rising of the human spirit over adversity.

It is located in what is called ‘The Red Location’ in New Brighton, South Africa, which contains its own stories and history of defiance campaigns and armed struggle (Osborne and Sanders, 2008). The name of the location originates from the corrugated iron barracks that line the town, brought from a nearby concentration camp, now rusted and turned a deep red.

In this building the architects have attempted to investigate a way of making civic architecture in an emotionally charged post-apartheid situation. (Apartheid Museum, 2008). It is an approach to memorialising the past to offer a cultural experience to visitors. There is an immense importance in such a project, as it is an offering of some kind to the community of pride and dignity in the wake of such a past. It brings the white government into exposure, the past into the light and offers hope and a new beginning to the people. It offers this hope through displaying the culture of the black people as something relevant and to be treasured in the present.

The architects have used an industrial aesthetic to communicate to the people. It is not a typical imposing modern structure that a museum typically seems to be; often towering over visitors with importance, pillars and embellished concrete grandness. It is a typology that the people can engage with and understand; like the workplaces in the town the spaces and materials reflect this modesty. I like the honesty and intention of this gesture. The architect is not only thinking about building ‘context’ but also of the people that own, use and work in the town and the heroes of the apartheid struggle.

Although the museum is well received and offers opportunity for employment, a precinct for social and cultural interaction I feel there is a negative to the many positives the building offers. There is such a bold, raw energy that the memory boxes, the rooms, the exhibits and the performances display. People come from around the world to see brutality, murder and political controversies on display in this town. Is this what the people that live in the town asked for? Did they want their town (despite its troubled past) to be suspended in this memory of how not to play out history, of how not to treat each other as people? Despite the obvious revenue from tourism, trinkets and ’poverty style’ nick-knacks, were they asked to be on display in that town, was their choice? Or perhaps just the 3 million budget and an architect with honest aspirations…

References:

Apartheid Museum. (2008). A short history. Retrieved October 8, 2008, from http://www.apartheidmuseum.org/HTML_APM/shortstory.html

Osborne, L., Sanders, C. (2008). The Constitutional Court of South Africa. Retrieved October 8, 2008, from Queensland University of Tecnology, Blackboard Academic Site: http://blackboard.qut.edu.au/webapps/portal/frameset.jsp?tab=courses&url=/bin/common/course.pl?course_id=_35883_1

ARCHIcafe 8: Art + Architecture

1. “The Grand Arbour” by Denton Corker Marshall::

2. “Witnessing to silence” by Fiona Foley::
3. “Undulant” by Sebastian Di Mauro and Alice Hampson::
WEEK 9 QUESTIONS:

1. In calling the new program art + place how does this frame its promise / potential – discuss briefly today in class and evolve an agreed list of criteria for evaluating the quality/ outcomes of the integration of the work of artists and architects:

In naming the government funded program ‘art + place’ it suggests a public realm that incorporates art as part of place making in the city. The policy name focuses on the important contribution of art in public space. Incorporating the art into the building sector in Queensland has the potential to change the way we view, experience and associate ourselves with a building and I believe with the city.

CRITERIA FOR EVALUATING THE QUALITY/OUTCOMES OF THE INTEGRATED WORKS OF ARTISTS AND ARCHITECTS:

· There is an aesthetic value to the project
· The work is relevant to place and resonates with the community
· The community can openly engage and support the public work
· The work is successful in creating an awareness of public art in the community
· Architects and artists are able to engage in a multidisciplinary approach in the project that produces a dynamic and contextual outcome.
· There is evidence of jobs created and therefore economic benefits to Queensland
· There is an increased the professionalism of artists and the art practice
· There is an involvement of various cultures, indigenous culture and international artists in some projects that reflects the cultural diversity in Queensland
· Projects are sensitive to and can incorporate environmental and heritage issues

2. PERSONAL INVENTORY OF ART BUILT-IN OR ART + PLACE PROJECTS IN THE CITY/SUBURBS (3):

1. “The Grand Arbour”, by Denton Corker Marshall Architects::

The grand arbour in Brisbane is an architectural and horticultural attraction that incorporates shelter with pleasing aesthetics. 443 curled pylons of steel weave a one-kilometre path from one end of Southbank Parklands to the other. The pylons are interconnected with steel wires that house trains of bougainvillea plants. The juxtaposing steel posts curl in different configurations creating a diversity of spaces from tight to enclosed, wide to expansive.

The shelter is a physical and visual link that can be entered or exited from differing facilities through Southbank; the markets, the grasslands, the pool. It is an extravagant display of bright purple colour and curly form that matches the kitsch culture that we love to embrace in Brisbane. Its design offers a distinctive and memorable landmark to the city and comments on the free spirited diversity of Brisbane culture.

2. “Witnessing to silence”, Brisbane Magistrates Court, by Fiona Foley. (2005)::

The Brisbane Magistrates court currently contains the largest public collection of art in Queensland (Thomson and Moulis, 2005). Fiona Foley’s work is situated on the Roma Street forecourt portion of the building and is a series of cast bronze lotus lilies that seem to emerge from an ethereal mist. The lilies are placed in a white circle facing each other. In another circle, stainless steel columns rise that are laminated glass panels embedded with ash. Place names are etched into the granite pavers around the installation. The court itself is a building of authority and Fiona’s work represents a contemporary monument against this setting. It is a monument to the aboriginal people and a unique recording of past history.

It has been described as the “most important and potent contemporary art works situated in a public domain” (Urban Art Projects, 2008). The installation is striking and almost defiant, as the thin stalks stand tall against such an important building. At first the artwork seems insignificant and small, standing alone and in the shadow of the court. But it draws your attention and exudes its own independence and importance that is separate to the building. This reflects the importance of hearing the aboriginal voice and the importance of remembering the past. It represents the defiance against a generation of struggle and a rebirth of independence.

3. “Undulant”, Logan community health centre – by Sebastian Di Mauro and Alice Hampson::

Undulant is a public art installation for the entry foyer of the child and maternal health and welfare centre in Logan (Nobile, 2005). It was commissioned under the Queensland Government’s Art Built-in program, and aims to transform the “non place” (Nobile, 2005) of the waiting room to allow both children and adults to engage in an aesthetic experience. The folds of this oversized section of artificial grass curves to form a lush landscape. It is a representation of nature in the setting of a hospital interior and almost like an oversized animal being tamed and brought indoors. Its presence is unruly, disruptive and unexpected in such a non-place. It changes the social interactions that occur in a waiting room of solitude and silence and brings theatrics, play and a sense of fun as children bound over it and enjoy the tactility. Undulant compels the viewer to observe the present, live in the moment and be conscious of the immediate physical environment.

References::

Keniger, M. (2006). Art Built-in Policy Evaluation. Queensland Government Report. Retrieved October 6, 2008, from http://arts.qld.gov.au/funding/pub-art-funds.html

Nobile, L. (2005, March/April). Discomforting Delight. Architecture Australia. Retrieved October 6, 2008, from http://www.archmedia.com.au/resources/aa/2005

Thomson, S., Moulis, A. (2005, May/June). Brisbane Magistrates Court. Architecture Australia. Retrieved October 6, 2008, from http://www.archmedia.com.au/aa/aaissue.php?issueid=200505&article=8&typeon=2

Urban Art Projects. (2008). Witnessing to silence. Retrieved October 6, 2008, from http://www.uap.com.au/page/artprojects/civic/witnessingtosilence