zero-degree machine

[2016] Competition | Kunstsilo


The second half of the 20th Century was dominated by the ‘White cube’ gallery space, the beginning of the 21st century has been dominated by the proliferation of post-industrial art complexes like the Tate Modern. The white cube was invented to display modernist work, the white cube is a timeless, suspended space that disconnects the spectator and the work from the external world. The modernist art experience is about the eye and the mind. Newer art forms like installation or performance art require the interaction of the spectator, the post-industrial art complex provides a scenography for these forms of art to react against creating new and unexpected physical and intellectual relationships between the spectator, the work, and the space. This project seeks to provide both environments. The white cube and the post-industrial art complex collide in a dramatic juxtaposition.

Energy Plant
We propose the silo and the crane are retained as objects of art production and education. The silo will be restored to the formal perfection of original 1935 design. This will be the conceptual power plant, a highly charged space of creativity and activity. The silo will house the cultural school and some highly unique exhibition space. The crane will be repurposed to house the dance studio, a glass boxed pod that retains the sense of movement on the docks.

In stark juxtaposition, the central exhibition is housed in a series of neutral spaces that forms a new perimeter consisting of a flat roof and a double skin glass facade. This additional structure will contain two new types of gallery space. The temporary exhibition space which will be an open plan double height space allowing for maximum flexibility, This space will have louvered top lighting and a milky white double skin glass faced creating a subtle connection with the exterior environment.

The Tangen collection will be housed in a new version of the white cube, we call white-out. The space is designed with special lighting and curved walls. The room imitates the intentions of modernist art in its disruption of the renaissance perspectival picture plane. The Whiteout space disrupts perspectival space. Corners, edges, and shadows are reduced - even eliminated. This absolute white space sharply connects with the Silo, introducing a dramatic juxtaposition of historical gallery experiences - creating a radical new way of producing and experiencing art.