Narrative Spaces Lecture 06: Krijn de Koning [Turner Contemporary]

Two projects were discussed this morning that overlap. 1:The Turner Contemporary located in Margate, designed by David Chipperfield and 2. Krijn de Koning who exhibited at the Turner Contemporary and the Folkstone Triennial. 

Turner Contemporary: Townscape and beach are embedded through the gallery space [located on a site where the existing boat houses sat] known as the "Big shed of art by the sea". A cultural centre where things happen and people should come, It was designed with this intention in mind. The spaces take their quality form the production of art "Bringing art to the front door". The plan and elevation mirror that of a series of objects "Sea buildings" that become a sequence of spaces and a series of volumes.

The existing inside/outside relationship and landscape created brings the beach in and creates an openness with large windows and planes that give you views through and out onto framed views of the corresponding landscape. Windows and doors have been used to punctuate the space and create the perception of a larger space than that planned. Long perspectives are created and aided by the vats amounts of borrowed natural light. This again creates a dialogue between internal and external. 

Krijn de Koning: Installation at the Turner Contemporary deals with an existing place - his work in this way is deemed site specific. The installation exhibited at the Turner Contemporary was also repeated in a false cave "Victorian grotto". The same work located in two very different spaces. The series of architypical structures [thresholds/frames] consist of a subtle pastel like palette but is highly noticeable. His deconstruction of spaces and reinsertion makes the installation a "spatial intervention". This balance and play between art and architecture paying on the "dwelling/house" as a spatial experience takes influence in scale from the site in which it is situated within, yet also contracts and expands shifting the viewpoints. A sandwich of colour and texture mapped against the buildings own interior and facade that somehow finds itself becoming a labyrinth [part architecture and part sculpture] to connect inside and outside. 

The work installed into the victorian grotto was depicted by Kroning as "Interesting consequences" that one could take a piece of work designed on the principles of its on sites intentions and to place it into a non-relational site. 

I thought this mornings presentation had really opened up another layer to my project in considering the interventions I have created that are site specific but what would happen if I started to combine routes and place these into one another? how would that then shift the perspective and participation in the gallery in the ideas that these routes would ultimately lead you to walls and non existing points where the route perhaps penetrates through the walls.