An understanding that learning to draw is more than just turning up to a class and replicating a still life or landscape, The Mark creates deep experiences for its users by following the concept that learning to draw (and ultimately developing it as a skill) is an iterative process. This is realised with the precast concrete work surfaces being fed with canvas to essentially create a continuous scroll. Gallery users of the node and of the wider parkland can activate the recorded drawings by simply turning the handles on the exterior wall surfaces, whilst students within the folly have the option of backtracking to where they last left off, or continuing on someone else’s work – similar to the Exquisite Corpse game of the Surrealists. This provides users with a deeper learning experience than regular classes where participants take their work home - by exposing them to different interpretations of media use and subject matter, users are encouraged to return to the node. Whilst subject matter can be the surrounding landscape, a brought object, or simply the user’s introspection, to produce a polished drawing is put aside in favour of experimental line work, interpretation, and the like. Accordingly, the space doubles as a gallery to passersby (both on land and water). Ergonomically, drawing utensils are locked up under each seat, which can then be slid under the work surface on a track to allow for ease of passage through the space.
Design-wise, cardboard tubing features heavily as a nod to the substrates commonly used for drawing. In response to the site, the rolls are coated in polyurethane to minimize expansion and contraction and as a weatherproofer and flame retardant, whilst the heavy triangulation in section gives a nod to the Story Bridge, and the roofing to the neighbouring sheds. In plan, The Mark closes up to the riverfront to act as a wind block, but still allows for framed views through the rippling canvasses, whilst simultaneously opening up to the parkland.
The Mark represents a paradigm shift for Brisbane in its design for an art space dedicated to teaching how to draw and contributing to the local art scene. Users will undoubtedly leave their mark.
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I initially wanted a fully sustainable design (both in regards to materiality and socially) and I feel the use of the prefab concrete was a big punch in the face to that. However, after evaluating the options for the workspace, it was easier to use that material than to labour over creating wooden desks. Although concrete is good in terms of longevity and therefore doesn't need constant repairs (also good for the site in terms of flooding - it can be easily cleaned), the fleetingness of the node kind of negates this element. However, I feel the other elements definitely affirm the sustainable element, material-wise and also in the fact that it is very much a community-based interaction node.
Visually, I could have diagrammed a lot more (especially how the canvas works internally, as this wasn't clear due to the pixellation). I had meant to do that over the section but time got the better of me. I used Barnett Newman's Untitled as a background and Carolee Schneemann's Up To And Including Her Limits as an example of markmaking. For the sails, I collaged works by Unica Zurn, Devendra Banhart, and Franz Ackermann.
All in all, this project was really challenging because I prefer designing large and complex spaces, but feel like this proposal works well as a learning/teaching node with deep experiences, engages the site both visually and in terms of the wider parkland's users, and also satisfies the requirements for prefab. I think Shegiru Ban's works really pushed my design along, and the use of cardboard tubing is something I'd really like to continue to explore.
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