Chuck Close
Chuck Close in his studio at Yale University, 1964
CHUCK CLOSE (1940)
Seated Figure With Arms Raised, 1963
CHUCK CLOSE (1940)
Bob, 1969-70
Synthetic polymer paint on canvas
275 x 213.5cm
Source: http://30.media.tumblr.com/tumblr_krojcraxik1qzy0sro1_500.jpg
CHUCK CLOSE (1940)
Frank, 1969
Acrylic on canvas
274.3 x 213.4cm
CHUCK CLOSE (1940)
John, 1971-72
Acrylic on canvas
254 x 228.6cm
CHUCK CLOSE (1940)
Sandy B., 1974
Ink and pencil on paper
76.2 x 55.9cm
CHUCK CLOSE (1940)
Mark/Watercolour/Unfinished, 1978
Watercolour on paper
135.9 x 102.9cm
CHUCK CLOSE (1940)
Mark, 1978-79
Acrylic on canvas
274.3 x 213.4cm
CHUCK CLOSE (1940)
Jud/Collage, 1982
Pulp paper collage on canvas
243.8 x 182.9cm
CHUCK CLOSE (1940)
Mark/Progression, 1983
Oil-based ink on paper
76.2 x 203.2cm
CHUCK CLOSE (1940)
Janet, 1992
Oil on canvas
254 x 213.4cm
CHUCK CLOSE (1940)
Self-Portrait, 1997
Oil on canvas
259.1 x 213.4cm
N.B. All images are from the book Chuck Close by Robert Storr unless otherwise specified
Reference:
Storr, R. 1998, Chuck Close, The Museum of Modern Art, New York
Site Analysis
Site Address:
288 King Street
Newtown NSW 2042
From analyzing the amount of traffic on the surrounding areas of Site 2, I observed that the northern side of the site had the most traffic activity, whereas the southern side had comparatively less activity. This was similar for the pedestrian activity around the site. The high amount of traffic and pedestrian activity on the northern side of the site means that it would have a higher noise pollution than that of the south. Erskineville Road west of the site was surprisingly quiet and forms the space that transitions between the noise and busyness of King Street to the quiet one way street around the south of site 2.
When the surrounding spaces were noted, the other reason that Site 2 is much quieter on the southern side becomes evident. Around the south of Site 2, there is a residential area which is usually quiet, as opposed to the north of the site which is a commercial and public area. It is also important to note that public spaces surround Site 2; the cinema to the north, the post office across the road to the west, and the church to the east. Site 2 sitting at the center of these three public spaces means that this area could potentially be a place for people to meet and socialise apart from the selling and displaying of artworks.
Sun and shade Analysis
Summer Sun
Winter Sun
Sun for Site 2 on 12 May 2010, Wednesday 4:30pm
The photos below were taken at around 4:30pm on Wednesday. They show that around the afternoon, the building at Site 2 will only be exposed to the sun on the third floor (approx. 7 metres high).
Precedents
I had a look at some Art Galleries and Museums which were sculpturally designed in terms of its form. Some utilised the facade as a means of creating the sculptural form whereas others incorporated the structural elements of the building as apart of the sculptural form.
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PETER COOK + COLIN FOURNIER
Graz Art Museum, 2003
BIX Facade
BUCHAN GROUP
Christchurch Art Gallery, 2003
NORMAN FOSTER
London City Hall, 2002
SANTIAGO CALATRAVA VALLS
Palacio de las Artes
SANTIAGO CALATRAVA VALLS
Auditorio de Tenerife, 2004
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FRANK GEHRY
Art Gallery of Ontario, 2004
Transformation AGO
Galleria Italia
FRANK GEHRY
Art Gallery of Ontario, 2004
Transformation AGO
Narrative
Art Gallery + Shop + House
Chuck Close is an American artist who became well known through his photorealistic artworks. The subject matter of his portraits would become the photo rather than the person photographed. In that same way, the design of the art gallery would be sculptural where the subject matter of the architecture becomes the sculpture. Through the idea of the way photos frame certain views, frames are used sculpturally to define pockets of space. The undulating walls, ceiling, and floors created by these shifting frames means that the changing frames of space can be experienced visually as well as by movement and touch. It can also be felt by the contraction and expansion of the spaces.
Through these experiences, you are guilded from the large gallery to the smaller galleries upstairs which then lead you into the shop fronting King Street.
SITE PLAN
Scale 1:500
GROUND FLOOR PLAN
Scale 1:100
FIRST FLOOR PLAN
Scale 1:100
SECTION AA
Scale 1:100
SECTION BB
Scale 1:100
LARGE GALLERY PLAN
Scale 1:50
SECTION CC
Scale 1:50
N.B.Scales noted are only indicative of the scale used for the original drawing and therefore does not apply in terms of the electronic images of the original.
Model
