Evoking Aisle
The land that White Bay Power Station sits on was inhibited by the Wangal and Gadigal people until the arrival of the First Fleet in 1788.
Evoking Aisle displays sculptures from the Artitja Fine Art Gallery, specialists in Australian Aboriginal art, to reveal the identity of the traditional owners of the land.
>design strategy
#active #immerse #absorb
[350m2-280pax]
form strategy
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Large organic form breaks down overall space into a series of more intimate spaces which physically connects people with a single form.
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Loose furniture fills the empty spaces between the large organic form. This allows individuals to pause, reflect, and interact with one another.
natural lighting
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Windows run along the entire front façade of the building, from ground to top floor. This allows natural light to illuminate the space during the day.
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artificial lighting
Recessed strip lighting along large organic form to highlight curves and serve as lighting for the exhibition pieces displayed above or below it.
inclusivity
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Exhibition displays quarterly rotation of artworks by artists from various communities.
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Evoking Aisle works in collaboration with Artitja Fine Art Gallery to display Aboriginal art from remote and regional desert communities.
>material board
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Existing brick wall
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Existing brick wall, whitewashed
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Reclaimed timber flooring, text etched
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Spotted gum panels on custom gallery joinery
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Orb ottoman by bespoke, white hemp fabric
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Custom table, recycled glass terrazzo top and cork base
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Custom arm chair, cork fabric and woven rattan shell
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LED panel light
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Sculptures from Artitja Fine Art Gallery
With sustainability in mind, the existing brick wall of the boiler house is retained. Three meters of the wall is whitewashed to display the horizontal space the gallery takes up while the rest of the brick wall is kept in its original condition. This bypasses the wasteful process of demolition and reconstruction. Reclaimed timber is used for the flooring. This option is eco-friendly since it recycles already used wood and avoids the need to cut down trees for new wood. Meanwhile, spotted gum, a readily available and highly regenerative timber, is used for the gallery display joinery. In addition, cork fabric, hemp fabric and rattan, all biodegradable and 100% natural, are used to upholster the bench seating joinery and ottomans. Lastly, the tables are made from cork and recycled glass, an eco-friendly material since it turns glass waste into a stunning table top.
>perspective
>details
sculpture signage
arm chair / shell material
etched text on floor
The gallery signage consists of an opaque panel that reveals the spotted gum material behind it. The text itself is raised off the panel and coloured in black to ensure its visibility and effectivity in communicating the identity of the sculptures.
[Sculpture Title]
[Artist]
The armchair is moveable to accommodate both passive and group interactions. The armchair provides more comfort over ottomans which encourages individuals to linger around Evoking Aisle for longer.
The shell material is of woven rattan. Weaving symbolizes the interconnection of individuals, culture, and identity that unity facilitates.
The reclaimed timber flooring is etched with clan names of the Aboriginal People of Coastal Sydney. This acknowledges not only the traditional owners of Bays West but also the communities whom the Wangal and Gadigal people developed a nuanced kinship with.
This showcases the relationship between Aboriginal communities and unity’s intention in redeveloping this relationship between all communities.
FLYN KUPERS
Z5206393