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canadian
clay and glass gallery |
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patkau
architects |
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The
tectonics of the gallery suggest an industrial quality. Materials such
as concrete, wood, and exposed steel were used. The result is a palette
that is "appropriate for work that originates not in the
sanctity of a studio but from the actions of fire on elements of the earth
engineered through a series of distinctly industrial processes."
(carter, 64) |
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 entrance
facade: :http://www.patkau.ca/index2.html |
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 natural
light in galleries: :http://www.patkau.ca/index2.html |
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This
national museum was designed to celebrate the arts and crafts related to
clay and glass. One of the original driving ideas was 'from earth and fire
to clay and glass', so in the beginning it was necessary to have a building
strongly rooted in its site. As well there was importance placed on in the
'act of making'. The galleries were to demonstrate the integration of process
and product with an emphasis on the 'craft of making' The details expose
the construction in an effort to reveal the layers of construction as well
as the material's interaction with each other. |
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convergence of materials: :http://www.patkau.ca/index2.html |
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Due
to the nature of the artifacts on display it was possible for the architects
to bring natural light into the gallery space. A series of large windows
and rooflights are used. However, in his critique of the gallery, Brian
Carter suggests that there was lost potential when it came to how to bring
natural light into the gallery."the potential of glass as a
material that can filter light and achieve degrees of translucency
might, rather appropriately, have been explored by the designers."
(Carter 64) The diverse nature of glass could have been used as well to
carefully direct the views out of the gallery. |
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bibliography
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Carter,
Brian. “Concrete and Clay” Architectural Review. Aug 1995 v.198
n1182 p 60-64. |
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Owen,
Graham. “Tectonic Craftsmanship” Canadian Architect. April 1995
v.40 n.4 p 26-33. |
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http://www.patkau.ca/index2.html |
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inspiration |
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back |
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