The Building
Won through an open international design competition by Johnson Pilton Walker in 2005, the 14,000m2 building provides exhibition space for approximately 500 portraits in a simple configuration of day-lit galleries.
The external form of the building responds to its site by using the building’s geometry to connect with key vistas and alignments around the precinct. A series of five bays, each more than 70 metres long, are arranged perpendicular to the Land Axis referring to Walter Burley Griffin’s early concepts for the National Capital.
Despite the apparent simplicity of the plan, the National Portrait Gallery is a rich sequence of carefully proportioned spaces leading from the Entrance Court defined by the two large cantilever concrete blades on the eastern side of the building through the foyer to the gallery spaces. Each gallery enjoys controlled natural light from translucent glazed clerestory windows and views to the outside, reconnecting the visitor to the landscape.
All aspects of the building are informed by the notion that the proportion of a building should correspond to that of a person. This is particularly relevant to a building for |portraiture]] and for the scale of the works in the collection.
Read more about this topic: National Portrait Gallery (Australia)
Famous quotes containing the word building:
“A building is akin to dogma; it is insolent, like dogma. Whether or no it is permanent, it claims permanence, like a dogma. People ask why we have no typical architecture of the modern world, like impressionism in painting. Surely it is obviously because we have not enough dogmas; we cannot bear to see anything in the sky that is solid and enduring, anything in the sky that does not change like the clouds of the sky.”
—Gilbert Keith Chesterton (1874–1936)
“Notice how he has numbered the blue veins
in my breast. Moreover there are ten freckles.
Now he goes left. Now he goes right.
He is building a city, a city of flesh.
He’s an industrialist.”
—Anne Sexton (1928–1974)