Between them are loose interstitial spaces that form the building’s connective tissue and principal circulation zone. Each of these volumes is set at different levels and orientations, in response to the varying topography and views. Photograph: Iwan BaanĪlthough the building appears brazenly transparent for an institution charged with the collection and display of art, the principal exhibition spaces are three enclosed “gallery pavilions” – large rectangular stone-clad boxes, with carefully positioned openings for access, display and views. Only here, from this high interior plateau, does the building begin to reveal itself: a cascade of floors stepping down and away the white-boned crystalline lift cage the resinous pink bubble of the gallery shop the slender curving roofline that floats through the glazed boundary to the outside the imposing limestone-clad boxes of the exhibition halls and the views outwards to trees, harbour, and city beyond.īrazenly transparent … the gallery’s interior. However a little later, under the sudden onslaught of a Sydney cloudburst, the roof became a giant transparent umbrella, its undulations channelling great cataracts of rainwater into artfully positioned funnels set into the surrounding landscape.Ī low-ceilinged entry vestibule from the welcoming canopy gives out on to a generous arrival hall, glazed all around and covered by a subtly sloping, gridded ceiling supported here and there by slender white poles. Under the early summer sun, this space provided little protection from the heat and glare. After passing the monumental stone facade of the original gallery building, emblazoned with the names of immortals of European art, the new building is announced with a glistening lightweight canopy in corrugated glass. The light was shining when I visited the Sydney Modern. But in a forest, you have to create a clearing and allow the sunlight in Ryue Nishizawa This is a very different way to create an icon.” In an open site, a landmark can have a positive form and clear outline, like a rock. But the light in the forest doesn’t have a clear outline. You have to create a clearing and allow the sunlight in. But if you are in a forest with all its trees, this doesn’t work. If you are in an open site, a landmark can appear with a positive form and clear outline, like a rock. Nishizawa extends the thought: “There are two ways to create a landmark, which depends on the landscape. A cascade of floors … an aerial view of Sydney Modern.
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