Queensland Gallery of Modern Art Goma Kerry and Lindsay Clare Architectus
In 2001, so Architectus Design Directors Kerry Clare, Lindsay Clare and James Jones won an Architect Pick Competition to design the new Gallery of Modernistic Art (GOMA) in Brisbane. Construction began in 2002 and was completed in 2006, congruent with the launch of the 'The 5th Asia Pacific Triennial of Gimmicky Art'.
GOMA speedily became a darling of the people, a much-discussed landmark, and a cultural hub for Brisbane and Queensland. The building, divers by a dual black box/white box system, is perchance almost memorable to visitors for its lightfilled, lucid spaces. But this clarity and apparent ease underlies a complex and technically avant-garde organisation of flexible spaces that can adapt and re-form for the most varied needs of gimmicky art.
In 2007, Architectus was awarded both the National and State (Queensland) RAIA Awards for Public Architecture, and in 2010 the Clares both received the prestigious RAIA Gilt Medal. Here, Lindsay and Kerry reflect on the early days of pattern and how they now answer to GOMA.
TEN YEARS ON, WHAT Practise YOU See AND HOW DO YOU FEEL WHEN YOU VISIT GOMA?
Kerry Clare | Nosotros have ever actually enjoyed going there considering [GOMA] was built equally a framework for art, so every time nosotros visit, it has a new interior. It's just delightful to see how many different interpretations at that place are, and how artists and curators answer to information technology.
Lindsay Clare | The enjoyment we get out of it is in the fact that so many people, young and old, and from different walks of life, just seem to be enjoying information technology. That's the best upshot an architect tin can have with any building — that it'south useful and much-loved. And the building still has unexplored potential, which we are currently discussing.
GOMA IS OFTEN CITED AS A Crusade FOR A CULTURAL SHIFT OF SORTS IN BRISBANE AND QUEENSLAND. Practice YOU Concur THAT THE Building HAS BEEN PART OF THE Change HERE?
Kerry Clare | The shift was aligned with the APT [Asia Pacific Triennial], which was already so successful, simply then with GOMA it really became world-renowned. In 2010 GOMA became the eighteenth nearly-visited gallery in the world and the most-visited gallery in Australia.
Lindsay Clare | Looking around Australia, GOMA has helped Brisbane with its credibility in the cultural arena. The exhibitions it tin house can't be shown in most other states. Soon afterward GOMA, MONA came along equally a private venture — it's great the ii are so different, with MONA being night and esoteric, and of course it houses a personal collection. MONA has washed a bang-up deal of proficient for Tasmania, and it'southward role of a recognition that architecture which deals with a specific function and relates to a specific context tin can exist of great benefit both economically and culturally. Nosotros always idea that if people could wander into GOMA on the spur of the moment, perhaps wearing shorts, and feel comfy, so that is great.
GOMA HAS BEEN Role OF A HUGE REVOLUTION IN CHILDREN'S Fine art EDUCATION AND PARTICIPATION — WAS THAT PART OF THE INITIAL BRIEF?
Kerry Clare | Doug Hall AM [erstwhile QAG Director], building coordinator William Fleming and architect Michael Barnett [former QAG staff] all contributed to writing an excellent cursory. They made it very articulate that children are the time to come appreciation group and to get them to engage was really important.
DO You RECALL SOME FAVOURITE 'ART MOMENTS ' ?
Kerry Clare | At that place is an astonishing German language artist, Katharina Grosse, who was deputed to respond to a space of her choosing and selected the Long Gallery. She covered the walls and floors with bright colours and shapes using a spray gun. I thought, 'Wow, she really understands the architecture of this space. She just got it!' [Katharina Grosse, 'Moving-picture show Park', 15 Jul 2007 – 28 October 2007]
THE BUILDING IS Easy TO WANDER THROUGH, MAKING Information technology Autonomous AND ACCESSIBLE. WOULD YOU SAY THIS IS ASSISTED BY THE CLARITY IN THE PLAN AND YOUR Arrangement OF THE Edifice'S AXES?
Kerry Clare | Yes, part of [architect] James Jones's contribution was to twist it and marshal with the city grid on the other side of the river and the historic vista upward to the windmill [on Wickham Terrace], rather than making it parallel to Grayness Street.
Lindsay Clare | That centrality has been preserved by the QEII Law Courts, which could have sprawled all over the site. We worked with John Hockings [former Architectus Pattern Director] on that, to conserve the open space next to the Police force Courts and condense the building so that the axis from GOMA to Wickham Terrace was preserved.
GOMA IS IMBUED WITH ELEGANCE AND At-home. HOW DID YOU ESTABLISH THIS?
Lindsay Clare | Our general mental attitude towards buildings is to look for calm. We expect for a simplicity that still has a richness, and the power for the occupants to engage rather than trying to overly-impress or overpower. It as well allowed the edifice to address the outdoor north-east space forth the river — that was a key strategic move. In Queensland we understand the north-east corner as the almost favourable place to be in summer and winter. The outdoor room on the river is a pleasant gathering space — it's really just using mutual sense ecology noesis and how you make people get together.
DO YOU Accept SOME FAVOURITE GALLERIES ELSEWHERE?
Kerry Clare | After we documented GOMA and it was under structure, we did a tour of galleries around the world. It was the first break nosotros'd had in years! Nosotros noticed that when we experienced galleries what nosotros enjoyed nigh later immersing ourselves in the art within, was that re-engagement with the context, the town, and with the daylight and surrounds. We recognised that aspect appealed to the states subconsciously in a number of galleries.
Lindsay Clare | One we really liked was in Davos in Switzerland, the Kirchner Museum, where you go in so come back out and run across the mountains — it connects you to the art and to the place. The materiality of that gallery is exceptional. Gigon/Guyer Architects set up each room around a theme or time menstruum in Kirchner's life — they are all beautifully choreographed in natural light, timber floors and white walls, and the circulation spaces are in raw concrete, so you feel like y'all're in a semiexternal space.
Kerry Clare | Nosotros believe our gallery does that too — every time yous step out of the space you lot re-appoint with the urban center, or the river, the trees or the street. A difference is that GOMA has to allow for a huge diversity of shows rather than a fixed exhibition like the Kirchner.
HOW DOES GOMA'S DESIGN CONTRIBUTE TO A STRONG SENSE OF Comfort?
Lindsay Clare | It is and then of import that the edges were sheltered — a big part of the strategy to brand people appoint with the building, considering it provides what you lot demand in the Queensland climate and [allows visitors to] occupy the edges in different ways. GOMA is near connection, connecting people with art, fine art with the city, the people with the context, and the edifice to the city. It'south merely about connection.
GOMA. A place where people come together to be inspired and imaginations spark. A place where ideas meet. This summertime will be packed with even more excitement as GOMA turns x. So come along and assist u.s.a. celebrate from three Dec 2016.
In July 2002, Sydney-based visitor Architectus was deputed following an Architect Selection Competition to design the Gallery's 2d site, the Gallery of Mod Art (GOMA).
On ane December 2006 GOMA opens. The bold pavilion-style pattern, expansive galleries and cinémathèque provides a identify for people, fine art and ideas to converge. The building offers an architectural interpretation of what it is to exist in a contemporary public infinite, in a subtropical climate.
Source: https://blog.qagoma.qld.gov.au/goma-a-place-where-people-come-together/
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