PROJECT I:

Porosity: The revision of public space in the city using public art to test the functional boundaries of built form.

Dates: 2003-2005

Funding: Australian Research Council Discovery Grant

Artist: Richard Goodwin

Assistants: Tia Chim, Nadia Wagner, Sarah Jamison, Rob Besson,

Video: What a Building Desires

 

Richard Goodwin’s Porosity project tests the functional boundaries ascribed to the physical dimensions of public space in the city and envisions new possibilities for urban metamorphosis.

The Porosity Project conducted from 2003-2005, supported by an Australian Research Council Discovery Grant aimed to do this via the device of public art and a methodology of comprehensive mapping of both internal and external spaces in Sydney. A series of performative experiments were conducted on the urban fabric of corporate-private architecture in which porosity researchers entered foyers, lift-shafts and hallways, staying as long as possible without intruding on occupants and attempting to remain unnoticed by security. Goodwin named spaces of public possibility within the corporate-private skin chiastic spaces. Over a period of three years, the researchers documented their discoveries on chiastic spaces including information regarding population, movement and architectural materiality to produce a porosity index. The resulting index gave a figure, which could be used to compare the degree of ‘publicness’ within the traditionally private boundary of the exterior architectural skin.

Porosity Indexes, in conjunction with a tri-part series of chiastic models produced a series of evocative images and animations exploring the possibility of connection between internal zones of public potentiality. These projections constitute a sketch for an urban metamorphosis based on existing buildings and a philosophy of parasitic-prosthetic architectural interventions. The move undermines an existing fetish with the pedestal building as well as compromising the increasingly closed body of architecture in the age of terror. For Goodwin, however, to interconnect and adapt existing architectural bodies in a way that produces a porous urban architecture not only creates a richer social fabric but is also a direct and efficient intervention, sustainably allowing for existing cities to expand in symbiotic metamorphosis.

PROJECT II:

Porosity Games

Dates: 2006-2007

Videos: Snakes and Ladders, Hide and Seek, Jenga

Artist: Richard Goodwin

Assistants: Maria Capussela,Tia Chim, Louise Hoelzl, Nicole Leuning, Kris Bird

Visualisations: Robert Beson, Tia Chim, Jimmy Gunawan, Gabriele Ulacco

Players: Maria Capussela, Ada Fung, Catherine Hartung, Marion Hertford, Amie Hu, Sarah Jamieson, Karl Logge, Tessa Rappaport, Huong Tang, Nadia Wagner, Richard Wong

Camera: James Rickard

Editor: Samar Kauss

Sound: David Sims

Images:

 

Porosity Games

The Porosity Games refer to three art actions undertaken to interrogate the Porosity research conducted under an Australian Research Council Discovery Grant from 2003-2005. The games interrogate porosity findings as well as continue the lineage of a performative identification of the functional boundaries of public and private space. Goodwin decided early in his research for this project, that the mechanism of these interrogations should take the form of a series of games. Games are extremely refined structures, richly socially encoded and developed to produce results, or temporary solutions to a problem.

Porosity seeks the dissolution of architecture through a type of mapping which dissolves existing boundaries associated with the rights of access. This is primarily a simple manipulation of perception and time, which begs the question: ‘how long is ownership?’ It was Goodwin’s intention to build on a lineage of performative urban interrogation from the Dada-ist deambulation to the Situationist transurbances in order to affect our perceptions of the city, and further affect the actual fabric. To do this Goodwin invented three art actions in the form of common, culturally ingrained games: Snakes and Ladders, Hide and Seek and Jenga. Each game was played at an urban scale as a tool to interrogate both Porosity research and the city itself.

The outcomes of this body of work, test and prove the hypothesis of the original porosity thesis and its associated ‘Porosity Index’. The games also act as independent art projects. Public art is a powerful mechanism of architectural interrogation due to its innately symbiotic relationship with built form. Further, the marginality of public art makes it ideally suited to the task of commenting on or contradicting the main body of the text of a culture.


To whom it may concern at SMH,

I know that this is long but it is about time support letters for Madigan were printed about this important issue. Several of mine have been rebuffed recently.

Regards

Richard Goodwin
Continue reading “SMH LETTER TO THE EDITOR 2”

1/10/10

Madigan DNA

I have always admired David Marr’s work but fear that this time he is misinformed. Sadly, in my opinion, because one of our great architect’s Col Madigan, Australia’s Louis Kahn, is being maligned in his SMH article 1/10/10. My opinion is informed by being one of Col’s colleagues, and assistants in this battle for him to be heard properly over the last 8 or 9 years. Continue reading “SMH LETTER TO THE EDITOR”

PIGSKIN, WHEELS AND CEMENT: ABSTRACT

Professor Richard Goodwin ©

In the gallery, Goodwin works with sculpture, performance and installation. At this scale, Prosthesis is found through the Exoskeleton: a device for a body whose boundaries are no longer defined by conventional “skin”.   The Exoskeleton denotes a minimum architecture, which might be more temporal than the clothes we wear.

Continue reading “PIGSKIN, WHEELS AND CEMENT”