‘Veneer of Solidity’ explores the vertex of art and architecture. How do the surfaces of art meet architecture’s demand for solidity and spatiality? How can the requirements of an art pavilion transcend the temporal aesthetic typically achieved?
The proposal challenges the purported prioritising of ‘truth’ and ‘purity’ in architecture. In painting we manipulate one material (paint) to represent another (skin, cloth, wood…) and as a viewer we readily embrace this manipulation, suspending judgement for experiential effect. In architecture we scorn the manipulation of materials, demanding honesty and tactility - why? Let us embrace the pavilion for its experiential effect and empower the viewer to suspend their belief in architecture - let printed veneer become marble and let marble become veneer.
The predilection of marble, for its solidity, its touch, its pattern, its chill, has been manipulated and commodified to the point that its printed representation is applied to everything from phone cases to fabrics. This paradigm echoes the relationship between art, architecture and their materials - a desire for the ‘honesty’ of materials is in a perpetual conflict with the realities of the economy and its demands.
Marble, the epitome of solidity and quality, meets print, the reproducible representation of something else.
Honourable mention CHART 2016 (with Catherine Yarwood)