Woronora Bridge Sydney
Grif?n believed, as Richard does, that concrete re?ects the mechanical means of its production coupled with unique plastic qualities, which allow for patterning.
The net effect is to pay homage to Grif?n while at the same time creating new work which speaks of the mystery of Canberra as a place.
Theme: Walter Burley Grif?n.
Site: These walls are situated adjacent to the Australian Institute of Sport.
Form: An abstracted and enlarged interpretation of one of Walter Burley Grif? n’s concrete tile designs.
Materials: Precast Concrete panels.
Scale: Panels ranging from 2mh to 4mh x 7m long.
Secondly, historical reference was made to the architect Walter Burley Grif? n’s Incinerator building, via the use of one of his tile designs. The Grif?n Incinerator Building is located adjacent to the Freeway. Goodwin sourced the tile from the now demolished Pyrmont Incinerator and developed new moulds.
The third arm of the art/architecture language was the inclusion of Aboriginal rock engravings chipped into the ribbed retaining walls. These locally sourced and recorded images were chosen for their bold whale and shark forms. In one case the engraving was drawn from records as it is now destroyed. The others were recorded onto plastic on site. Positioned as they are at the gateways to the road they reinforce the idea of a distinct body or place with entrances and exits.
Of primary importance is the notion of the walls being perceived as a uni? ed whole – a synthesis of wall architecture, and motifs.
The team included Conybeare Morrison and Associates, Context Landscape Architects and Richard Goodwin P/L Art and Architecture. During a six year design process the original road designs were changed to encompass a new pedestrian vision for this foreshore zone complete with sculptural installation by Richard Goodwin. The inclusion of such a permanent vision for a new “road architecture” was a first for the NSW Roads and Traffic Authority.
“I developed the sculptural component as a way of engaging the architecture of the freeway via prosthetic shapes attached to the forest of columns. The combination of aluminium wings, stone finished turrets and growing frames create a “pin-ball” machine of prosthetic devices which mediate between the pedestrian and the car to facilitate an increase in the permeability of the space.”