The lift car, and a pair of stairs that lead to the auditorium, are suffused in a red so vibrant it makes my pulse quicken. Saturated colour explodes against this backdrop in tightly scripted bursts – in the green room, naturally, but also in bounded moments of vertical circulation. ![]() The sense of compression in the planning is heightened by the decision to stage the bathrooms as a veritable house of mirrors, throwing light and reflection against a palette of polished grey plaster and charcoal steel trims.īellying and draping into convex curves, the timber striations are designed to propagate sound. Bespoke fittings throw scalloped pools of light along the corridors, reminiscent of stage spotlights. Light is no longer diffuse, it is categoric. I enter into the “back of house” of the performance space – a taut suite of service rooms. ![]() JWA’s spatial porosity is a counterpoint to DBJ’s spatial succinctness. ![]() The equivocality of the brief has been translated into a wild abundance of spatial and material permutations for framing encounters with variable artistic elements. A final gem is secreted beneath the entry court – an elliptical room with a circular skylight and burnished black floor, where sculpture and concrete dance with the sun. The lower galleries are expansive, and each offers alternating planes of plaster and off-form concrete for the installation of larger-scale works. The presence of clay beneath my feet is an acoustic and textural hint of a metaphorical return to earth – to the two lowest gallery levels.
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