PROJECTS
Liberty Tower
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DETAILS
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Elenberg Fraser
(web)
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Designinc
(web)
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| Baracom Group | ||
| Apartment | ||
| 2003 | ||
| Melbourne | ||
| John Gollings (web) |
SEARCH
Featured in Skyscraper |
 Liberty Tower |
Lobbies are anti-space, the in-between areas that separate the interior activities of the network within, from the external elements. They are the chasm between the skin and the body, an area of introduction, where one is prepared for the physical and psychological differences between environment and activity.
Elenber'g Fraser, the architects for Liberty Tower, Melbourne Australia, conceived their lobby "as a field of spatial expansion", their aim was to "form a break between the life of the apartment (the building's interior function), and the street (the outside)."
The lobby interior is clad in mirror, offering infinite spatial experiences and blurring boundaries, by drawing in activity from the streets, and combining it with the movement of the inhabitants of the interior.
Melbourne based artist, Stephen Gram, paints abstracts based on the "modification of architectural situations". His representative, Anna Schwartz Gallery, and Elenberg Fraser, invited him to create an installation for the Liberty Tower lobby. His response came in the form of LIGHT, 620 COLLINS ST. 2001, FILM KUALA LUMPUR, 1998, 1:1, originally a 2D image now given an extra dimension. Suspended, extending, and cutting through the lobby its form, of white cold cathode (neon) lamps, take on a geometric situation of two to three point perspective, which, whilst embracing architectural language, is detached from the function of perspective to create other spaces, objects and images.
As a whole, art and architecture, is not just experienced through the interface of the design's physical structure, but through its ephemeral visuals as well. Here, the space and art within come to life through the interaction of reflections of the temporary beings transported through reflection in to the immediate surroundings, The artwork is not only complex in the immediate, but these complexities reach as far as Asia, as the paths of light trace a route through the same space traveled as the camera in the artist's film. Made in the Tamantun district of Kuala Lumpur in 1998, it literally projects the city's street scape of linking nodes into the lobby. Taking a 3D city, full of real mass structure, culture, history, varying mediums and placing them on to 2D film, then back in to 3D as an abstract form, the artist uses two media - one the lighting device a visual motif, and the other, the non tactile non gravitational, non sequential, non structural medium- that of light itself.
The lighting typology, cold cathode (neon), is globally recognized as the accepted lighting for the 'street', and that of street activity. The images of the opening event call upon memories of street cars, night time events captured by time lapse photography, where the artist has captured not a single moment, but the essence of time, space, activity, with multiple exposures blurring the moment to the illusory representation of motion. As tail lights streak to their destinations, frozen but not still.
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