Spencer Xinyu Mu

Blank space envisions a different mode of art viewing. The gallery, situated in the Smith Gertrude intersection, is designed to contextualise artwork by inviting natural/urban elements into the traditional white cube. The introduction of yarning circle, operable façade, indoor native garden creates a friendly environment to the First Nation people and connect arts to country. Two paintings were created as part of the design process-PAINTING AS ARCHITECTURE- fittingly embodies the contemporary architecture’s dichotomy between 2D representation and 3D manifestation.

Commendation: The Peter Elliott Architecture + Urban Design prize for Drawing Architecture

Most accomplished drawings of architecture, from traditional through to new frontiers. This prize is about the love of drawing as a means of communicating ideas in any medium. Endowed by Peter Elliott Architecture + Urban Design.

Blank Space - Exterior

The gallery form is derived from the painting elements. Responding to Fitzroy’s street scape, the tower adopted four formal profiles. The ribbon wraps around the vertical elements to induce an elusiveness to each character while maintains façade’s wholeness. As the building touches the ground, its material and formal complexities increased to accommodate the human scale and the visual cohesion between neighbouring buildings.

Composition-Fitzroy, Oil on Canvas

The first painting is an in depth analysis of the Fitzroy landscape, an introspective on my unique experience of the site and an artistic interpretation of the brief. The painting is simultaneously in the past, present and the future. From the existing elements of the built environment represented as shapes, to their composition expressing my present interpretation, the painting projects into the physical third dimension. The painting provides endless opportunities as a massing exercise and design inspiration.

Blank Space, Oil on Canvas

Painting as architecture, the second composition complete the cyclical process of the architectural process. The painting is both the gallery’s ‘drawing set and it’s physical manifestation. Borrowing the flattened representation from OMA’ Zoe Zenghelis, the painting iterates a spatial story of layering, balancing and conflict. It also transcends the flat surface, capturing the eyes and encourages an emotional response from the viewer as would what a physical space does.

Blank Space- Perspective Section

The gallery’s white cube typology is being disrupted by the multiple vertical insertion and subtraction.

Blank Space-Navigating the Floor Plans

Each floor of the gallery is unique and provokes a sense of disorientation. However, behind each floor layout the overarching organisation is based on weaving nature into the viewing experience. Regardless of the starting point, the viewer will have to transverse through multiple opportunities to reflect accompanied by natural light, air or even rain water.

Blank Space- Detailed Section

The indoor garden on the ground floor determines the theme of this gallery. As the very first experience entering the space, it loudly imposes the outdoor on to the vacuum of art exhibitions.

Commendation: The Peter Elliott Architecture + Urban Design prize for Drawing Architecture

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