The archetypal art gallery, with expanses of white, square set walls may often feel somewhat institutional, rather than inclusive and cultural. This was precisely the type of experience that renowned gallery owner James Makin wanted to avoid when he opened his new exhibition space in Islington Street in Collingwood, Melbourne. Source: Timberbiz, images Michael Pham
The brief to architect Tristan Wong was for a space that challenged the seriousness and sterility of the gallery stereotype. Makin wanted to provide customers with the chance to explore and discover art in an environment which was both inviting and intriguing.
Wong’s design is a counterpoint to art gallery conventions, using blackened and curved timber to create a space that is dramatic, textural and tactile.
Entering through a sliding, black stained hardwood door, visitors are guided past a 4.5-metre-high curved timber wall that narrows at its end providing a glimpse of the artwork beyond. Coves and recesses that house some works facilitate a gradual discovery of the main space towards the back of the gallery.
The timber selected for the project is thermally modified American ash (CAMBIA), stained black and wire-brushed to emphasise the distinctive grain. CAMBIA was chosen for its stability, aesthetic qualities, and strong sustainability profile.
As Wong explains, “James’ brother Hugh is an established furniture designer and maker who had personal experience of thermally modified timbers. Following a discussion with him, we selected CAMBIA. We wanted something with a strong grain, that aligned with our sustainability objectives for the project and, importantly that would be dimensionally stable over time”
The stability of CAMBIA was an important consideration, as artworks will occasionally be hung directly on the timber wall. To facilitate this without damaging the wood, the boards have been installed with purposeful 4mm shadow gaps. This allows screws to be inserted between the boards without damage.
“This way the screw goes into the backing piece and there are no visible holes. It also provides a purposeful staggered aesthetic of 3 different board widths with the shadow line between,” notes Wong.
Another key factor in material selection was the biophilic qualities of the timber. Wong states, “Timber was a material we used to soften the experience aesthetically – there is that unconscious response to natural materials including timber that is relaxing”. The warmth and character of the wire-brushed thermally modified American ash, even when stained black, provides a sensory richness in contrast to standard white gallery walls. The amplified timber grain is almost topographical in effect.
Sustainability was also front of mind, with Wong seeking to retain and reuse elements of the existing warehouse where possible. The old translucent corrugated roof was relined internally to let in diffused natural light, meaning almost no artificial lighting is required during the day. Low energy LEDs provide supplementary lighting when needed.
In addition to astute material choices, Wong restructured the typical gallery layout to enhance the social aspects of viewing art. The oversized reception desk morphs into a bar area, while a concealed viewing room, accessed through an enormous pivoting door, creates a space for quiet contemplation.
As Wong explains, “There are often aspects to a gallery that are left to the end and shoved in a corner… bathrooms, reception, bar, prep area, viewing room, storage. We wanted to rethink that and actually brought a lot of it to the front. It’s all wrapped up in that main towering blackened timber wall, challenging not just the visual experience but also the programmatic arrangement.”
The result is a gallery that feels welcoming and inclusive, enticing visitors to engage with art in a multi-sensory way.
“We wanted to structure the spaces so that they are permanent and interesting even when not occupied,” says Wong.
The curved CAMBIA wall and integrated joinery elements create a dynamic spatial experience compels visitors to explore the crafted, textural spaces and discover art in a personal and unhurried manner.
The James Makin Gallery provides an intriguing model for reimagining the art gallery experience. Through unconventional use of materials such as the thermally modified American ash and a reconfiguration of the typical gallery layout, Wong has created a space that challenges conventions and invites engagement.
