The Beginning of an Art Revolution
Merchant city is now becoming an art centre for Glasgow, where the few last years a lot of artist studios, galleries, many events and festivals about art were developed. On the other hand, merchant city needs a centre where the public will learn the secrets of the arts and the Centre of Creative Arts will be responsible for that. People from Glasgow school of Art and the Royal Conservatoire of Scotland will teach the public all of their secrets. The primary aim of the building is to represent and express the art culture of the area to the public.
The building will be the base for discussion, debate and a forum for public exchange on contemporary art issues. Furthermore, artist around the world will be able to rent a studio and live there as long as they need to be in able to finish their project and be presented in the galleries spaces in the building.
Some of the process work and the final pieces finished by the artist will be kept in the special archive within the building. Furthermore, the building will host and exhibit all the work and form of data from the archive such as: process work, final work, interviews, photos, articles, books and sketchbooks. Moreover, the building will host plenty of events such as lectures, performances, talks and festivals that will educate and celebrate the creative arts to the public.
The concept of the proposal came after a research on Eduardo Chilida and his solid and void paintings and the sculptures he create. Furthermore, I imagined the building as a monolithic sculpture, a castle and a cave so, the idea of carving was introduced.
What is the significance of the first image ‘art revolution’?
The images propose the existing building (the Briggait) as a place where the art revolution could possibly start. In order to express this idea I use few fragments from the painting “The Tennis Court Oath” by Jacques-Louis David that shows the titular Tennis Court Oath at Versailles which is one of the fundamental events of the French Revolution. Moreover, both the existing and the new building can be used as a place for assembly, where the public can discourse and debate and where social events take place.
What defined the use of silhouettes as those of Hockney amongst others? What is your take on the proliferation of these within contemporary architecture images?
The use of silhouettes from painters like Hockney, Rousseau, Hopper, Vettriano and Storch generate a painterly quality to the visualisations. In addition, the technique of collage used by a lot of architects to express an idea and gives to the viewers the space to imagine or dream. Nowadays more and more architects avoid using photorealistic images to avoid express the wrong outcome of their proposals to the clients and the time waste for changes.
How significative were the models and void vs solid diagrams for the development of the project?
Models and diagrams are fundamentalmediums for the study of the comprehension and the composition of a project. In this project the solid and void diagrams shows an early attempt to the process of the design while the models allow us to test the spatial possibilities of a certain idea in relation with the context. Artists such as Eduarto Chillida, Jorge De Oteiza and Ben Nicholson influenced those diagrams and models. In addition, the representation of the models influenced by the architects work Aires Mateus, Duggan and Morris and Mansilla and Tunon. For example, the cases that organise the models got inspired from the idea of Gaston Bachelardthat we keep our memories and daydreams in chest, wardrobes, cases and in any other storage spaces within the house.
How important was it to reveal the space both from an interior and exterior?
As the project connected with the historic Briggait which located next to the proposal, it was important to work with visualisations on both interior and exterior in order to capture the atmosphere within and the relationship of both buildings. Some visualisations proposed to show the project in relation to the context and some others to show the activities internally.
What is your take on the contemporary art institution?
The contemporary art institutions can benefit the inhabitant of a city by entertained them with different art events, by teaching them the craftsmanship of installations and sculptures and by showing them the secrets of painting, singing and acting. Therefore, it could be a place to proposed new ideas and a place to discuss about art.
How does the museum negotiate between being a museum and an archive?
The museum should serve the city directly by exposed the archive into the public. In addition the public should get the knowledge daily by passing from the museum spots within the city, while they are going for shopping or to their jobs, to the school or by just walking around the city on Sunday morning.
Where and how do you see the museum of the future?
I imagine the museum of the future as various open spaces that will be spread and carefully placed within the city. Those open spaces would work as public activity venues where thevisitor’s experience will vary by the parameters which they will be set up individually. A city as a museum.
Currently studying at the Mackintosh school of Architecture in Glasgow where he finish the first year of his postgraduates studies in order to gain the R.I.B.A part 2. Kleovoulos next year will start an exchange program at ETSAB in Barcelona for the first semester. He worked at the Architectural office DO:GMA and simultaneously he worked as a tutor at Atelier Di Pittura in Cyprus.