The 2014 Expanded Architecture exhibition: Temporal Formal at Seidler City was on 7th November 6-7pm at 9 Castlereagh St Sydney, 7-8pm Australia Square 264 George Street Sydney and 8-9pm Grosvenor Place 225 George Street Sydney. Go to our facebook album to see photos of the exhibition.





UNDER HARRY’S CIRCUMSTANCES – Ryuichi Fujimura and Kate Sherman

Ryuichi Fujimura and Kate Sherman created a 30 minute dance work that was performed in all venues of the Temporal Formal at Seidler City exhibition locations. They bring dance and architecture together based on the Bauhaus idea of creating a total work of art in which all arts, including architecture, would be eventually brought together. Performing the same choreography that incorporates set movement phrases and improvisation scores in each landscape, they are curious as to how the work is  informed and transformed by each different environment examining how time, space and place inform meaning. As part of their choreographic process for this work, Fujimura and Sherman researched the history of the three buildings. This involves collecting current and past images as well as literatures of and about the buildings, visits to the three locations to observe the people who inhabit the spaces and the sites themselves. This work references Oskar Schlemmer’s Das Triadische Ballett as an iconic dance work of the Bauhaus era. Ultimately this work investigates human relationships with surroundings and examine how it informs us and how it is informed by us. The performance in Castlereagh St includes original music by Grace Huie Robbins m.soundcloud.com/grace-huie-robbins.

Ryuichi Fujimura is a dance-artist and Kate Sherman is a performance maker. They have an investigative improvisation practice together and are interested in site specific performance and specifically how each physical landscape informs the meaning for an audience. They were commissioned in 2013 to create a site specific performance work by Performance Space for their event 30 Ways With Time and Space which commemorated the 30 years’ anniversary of Performance Space. Their work (‘Under the Different Circumstances’) involved 30 performances over three evenings in 30 different locations around CarriageWorks. They are currently collaborating on a new physical imigestic work entitled ‘Sehnsucht’ with other artists.




TAKE A SEAT – Bellemo & Cat

As the ideals of the Bauhaus could be seen to lead to the design and development of modular furniture, Bellemo & Cat honor this era of rationalist experimentation with a temporary sculpture made of modular mass produced chairs . Although once regarded as subordinate to Architecture, the design of furniture and especially that of chairs became a separate discipline when its manufacture was transferred from the domain of the craftsman to that of industrial process. The design of the chair saw the best combination of the art and architecture of the Bauhaus and later modernist movements. There was a flourishing experimentation in chair design and development concurrent with mechanization and the modernists supposed love of the machine era. Quite possibly mass production of chairs best epitomizes the modernist ideals of modularity, which although often explored in Architecture are yet to be fully realized.

Bellemo & Cat are an Artist Architect partnership that creates Public Art and Architecture that is design focused and climate sensitive at the same time. They have wide International and local recognition for projects that are adventurous and site responsive, that speak globally from a local understanding. The work of Bellemo & Cat is a wandering line of inquiry back and forth from the construction of a house to the twisting of a sculpture that enables them to carry the methods and results of experimentation in both the fields of architecture and sculpture back and forth like busy ants resulting in sculptural architectural work and pragmatic approaches to urban design.



Inspired by the geometry of the existing plinths at 9 Castlereagh Street, the artist extrudes their shape upwards and create three tall columns with string and crochet. Their rectilinear form and graphic black and white patterning borrow directly from modular formal art of the 1960’s and the striking tiled artwork within the lobby of the building by Lin Utzon. The work has also been particularly influenced by the minimalist, repetitive, graphic and architectural nature of the works by artist Sol Le Witt and the functional aesthetic of Harry Seidler. The ‘Sentries’ however present a more domesticated version of minimalism with their hand crafted style, slight irregularity and soft surfaces. Softness tends to be viewed as an undesirable character trait but in this work it becomes an interesting contrast to the architecture around it. The crochet itself becomes undomesticated, placed into the corporate environment,  bringing with it hints of home. It begs to be touched and hugged, demanding an emotional, human connection. Columns have feelings too.

As a trained architect and contemporary artist Tina’s work blends together ideas from architecture, art and craft to reinterpret and challenge our preconceptions of the built environment. The ‘Sentries’ stand silently and watch busy people marching in and out of the building. The plinths have gained a personality, what are they thinking? Are they benevolent, waiting for a hug or are they judging the fast paced world around them?


UNTITLED (TWO POWERS) – Eduardo Kairuz

In his book of 1923 Toward an Architecture, Le Corbusier famously proclaimed not once, but twice, that ‘the house is a machine for living in’. In light of the provocation set by this year’s edition of Expanded Architecture and the enormous influence that Le Corbusier had on Harry Seidler’s work, this project seeks to reclaim (and rework) the aforementioned french-swiss architect’s seminal quotation. Through the extraction, edition and animation of technical drawings of Australia Square and the MLC Centre, Untitled (Two Powers) — a title that paraphrases Phillip Drew’s text of 1980 about the two iconic buildings — presents these buildings as a clockwork mechanism. In the installation Seidler’s drawings come alive, as the radial and concentric drawings become rotating gears and pistons. The intersection between film and architecture is explored in the form of a two-channel HD video installation where two fundamental means for architecture (drawing and orthogonal projection) are subordinated to two fundamental means of film (time and movement). This is a project where cinema — a medium of modernity, where time, movement and space are collapsed into a complex unit — becomes an instrument to liberate architecture from one of its most notorious conditions: the incapacity to move. The result is an audiovisual architectural machine in perpetual movement, an abstract animated representation of architecture that challenges its static condition and permanence.

Eduardo Kairuz is an architect and artist based in Melbourne. His intentionally diffuse practice investigates notions of crisis, conflict and dislocation found in the built and visual environments. He has published and exhibited internationally, including articles for AD/Post-traumatic Urbanism (2010) and Trans/In Ordnung (2012). Recent group exhibitions include the Prague Quadrennial (2011) and the Gwangju Design Biennale (2011). He holds a Master of Fine Arts from SCA/University of Sydney and is a PhD candidate from RMIT University. Currently, he is a Lecturer at Monash Art Design & Architecture (MADA), where he teaches design studio and coordinates the Architecture Foundation program.




FLOOR PAINTING – Nina and Elena Tory-Henderson

Nina and Elena Tory-Henderson’s installation is a direct response to the geometry of Harry Seidler’s Australia Square. The work consists of a series of large coloured geometric forms on the ground of the external space of the building, radiating outwards from the building’s edge to the street. These large shapes are cut out of recycled commercial carpet, painted in vivid colours. The work is inspired by the Bauhaus philosophy which sought to bring all arts, including architecture, together into a modern synthesis, disregarding conventional distinctions between the fine and applied arts. The composition is subordinate to the architecture. Large geometric forms are dictated by the floor plan, literally tracing its geometry, resulting in coloured blocks painted within the lines of Siedler’s design. The use of commercial carpet, a typically architectural and standard everyday material, further blurs the distinctions between art and architecture, fine and applied art. Radiating out to the street, these shapes amplify the buildings plan beyond the interior, connecting internal space with the public domain.This is enhanced by the colours used, which take from the Sol Le Witt painting in the foyer, again creating a connection between the internal and external. This acknowledges the outdoor space provided by Siedler’s design, an integral part of Australia Square’s scheme, which gave 75% of the original site back to public open space.

Elena is an emerging Sydney based artist currently completing a Bachelor of Fine Arts with Honours at the National Art School. Her practice is focused on site-specific installation. Elena has exhibited in many group shows at Studio W, the Saatchi&Saatchi Sydney office, and at the National Art School. Last year she was awarded the Austria Hospiz Residency Award, and was selected for the John Olsen Drawing Prize. Nina graduated with a Bachelor of Design in Architecture from the University of Sydney in 2013. She is interested in the interdisciplinary potential of architecture and how it may form new ideas and methods for future practice. Nina currently works at a small collaborative practice, Aileen Sage Architects. She was recently awarded the MADE scholarship for multi – disciplinary design.



HAUS DER FRAU – Cottage Industries

Haus der Frau is a participatory project, situated in the foyer of Harry Seidler’s Australia Square, which seeks to reinscribe modernist architecture into the feminized realm of domestic handicraft. The commercial foyer space becomes a temporary craft workshop, as exhibition visitors are invited to engage in the production of a large- scale cross-stitch representation of the building. The structural and aesthetic unity of Seidler’s architecture, credited with bringing Bauhaus principles to Australia, is opened up to informal play, incompleteness and error. The title Haus der Frau is taken from the women’s pavilion at the 1914 Deutscher Werkbund exhibition – a model living space, which aimed to reconcile the domestic and professional needs of women. It also alludes to the women’s class of the Bauhaus, which steered female students away from “heavy craft” and architecture, towards textiles and weaving. Resisting these constraints – and a workshop master who vowed never to pick up a thread – the Bauhaus weaving students experimented with form, materials and process. Penelope Seidler’s rendering of Blues Point Tower, which transcribes the architectural elevation onto the orthogonal grid of cross-stitch, provides a precedent for the current project. In Haus der Frau, the distinctive geometry of Australia Square form the template for a collaborative cross-stitch. A set of tables  custom-built have their surfaces etched and perforated according to this template. During the exhibition, as visitors participate in sewing directly into the table-top, the image of Australia Square appears in irregular, hand-stitched, coloured thread. By inviting visitors to “pick up a thread”, Haus der Frau explores the contested space between the decorative and the functional, between the professionalized spheres of art and architecture and the domestic “pastime” of craft, and seeks to re-situate the role of women’s labour within the Bauhaus and its legacy.

Cottage Industries is a collaboration between Cristina Garduño Freeman, Antonia Fredman and Vicki Leibowitz. Their creative and theoretical projects explore intersections between architecture, design, heritage and art through critical spatial practice and forms of participatory culture. Past projects include The Lost Street, a site-specific work for Expanded Architecture in The Rocks, held as part of Sydney Architecture Festival 2013, and Towards a New Sandwich, a video guide to remaking a Modernist icon.


THE MATTER OF VOIDS – Ainslie Murray

The Matter of Voids is a floor based temporal installation that grows from a quiet obsession with the ceiling in the Australia Square foyer. The ceiling is understood as a repetitious pattern of solid and void. The installation questions the stark solid-­‐void duality and investigates the invisible or barely-­‐perceived physical matter that occupies the void spaces. The voids are reconsidered as positive volumes that have the capacity to cast a ‘shadow’ upon the floor. Fine particulate matter, a tangible physical component of air and a standard indicator of air quality, is captured and arranged on the floor plane in an intricate geometric pattern that places the floor in direct visual dialogue with the ceiling.  The installation is comprised of two parts separated by external glass wall – one part is inside the foyer, and the other part continues outside. Inside, the voids of the ceiling grid is referenced on the floor using areas of finely crushed glass arranged directly on the floor. The crushed glass is considered as particulate matter, a luminous representation of the invisible suspended matter of the air. Outside, the solids of the ceiling grid are hand cut out of water-­‐soluble embroidery film to form a geometric ‘web’, which is also placed directly on the floor. Every 30 minutes throughout the evening, a fine mist of water was sprayed on the film, to completely dissolve it. In this work, solid and void are inverted, reversed and imaginatively multiplied across the horizontal planes of the building.

Ainslie Murray is an interdisciplinary artist, architect and academic working principally in installation. Her work explores the augmentation of architectural space through subtle realisations of intangible, hidden, and forgotten spatial forces. The air of architectural space, the choreography of the body, and the repetitious rituals of the construction process each find a focus in Murray’s work. The two and three-­‐ dimensional works may be considered as active architectural spaces, where undulating surfaces draw attention to both artefact and process, and evidence sequences of conception, assembly and inhabitation.


YOU ARE HEAR – Lindsay Webb and Amanda Cole

You Are Hear is a work of aural architecture: it is indoor orienteering for the ears. The sonic environment of Australia Square’s tower lobby is microtonally rendered by detailed geometric analysis of the high curvilinear ceiling. 20 discreet, intersecting audio zones corresponding to Seidler/Nervi’s 20 ribbed, radial segments are composed with precise reference to the geometry of the soffit structure, and distributed around the outer edge of the ground-level circuit in a modular array of 20 tuned speakers. The spatial approach is a sensory enactment of subjectivity in architecture. As you move around the circular foyer, you are hearing your precise geolocation within resonating space; tones and rhythms  advance and retreat depending on your ambulation; each point sounds like no other spatial point within the foyer; you are here. As a formal experiment in sonic dispersion drawing a direct line from Kandinsky, Bartok, Schoenberg and Xenakis to Steve Reich and Max Neuhaus, You Are Hear works against traditional presentation of musical scores wherein patrons receive a work unfolded in time and anchored in singular space. This work is experienced by exploration. The entire cubic space is zinging and alive1. Each speaker’s unique cluster of tones is temporally variant, phasing to create an ever- evolving performance, and the mobile audience ‘play the gradient’. The piece has the potential for time-without-end, or more accurately time-with-building’s-end. On the cyclic harmonic–temporal– spatial map, you are hear.

Amanda Cole is a composer of microtonal instrumental and electronic New Music. She has been commissioned, performed and recorded by Kroumata (Sweden 2009), ISCM Festival (NYC 2010), Ensemble Offspring (Sydney Opera House 2011), Synergy Percussion (Casula Powerhouse 2012) and MCA (Sydney 2013). Amanda was a finalist in the 2010 Blake Prize for Twitter Hymn Book, and was recently awarded an Australia Council Creative Arts Fellowship.

Lindsay Webb is an architect and media artist with a special interest in aural phenomena in the built environment. His latest interdisciplinary collaborative work is Cathode Ray Trio (2014) for analogue electrical voltage and dancer.





Grosvenor Experiment filled Grosvenor Place foyer with a thick orange fog, using a combination of fog machines and orange lights to transform the foyer space into a “laboratory” of spatial perception. The work is about your experience of space and architecture, your embodied, tactile experience of being in space. The experiment produced a new architectural experience, a perceptual field of light and colour. This work seeks to reference the connection between Harry Seidler and his mentor Josef Albers, a playful exploration of spatial perception and experimentation central to Albers’ teachings and practice. Josef Albers systematically investigated the experience of spatial perception and colour through his art. These explorations fundamentally implied the viewer’s experience, rejecting a static conception of the object. Maintaining these central themes, this installation partially dematerialises the architecture and encourage a playful and tactile experience of space and colour. Drawing upon Albers’ square colour paintings, the fog appears opaque and flat from outside. However, upon entering the space the viewer is immersed in a temporal orange field, a painting in space. In this way, the multiple perceptions of the viewer allow a dialogue to emerge in the intersection of art and architecture.

Francis Kenna is a visual artist currently based in Canberra, Australia. Working primarily with installation and light-based media, Francis’ practice is an ongoing investigation of perception and our engagement with the world around us. His work often takes place as a series of experiments, centred on our temporal and often tactile relationship to space, objects and perceptual phenomena. Francis holds a Bachelor of Visual Arts (Honours First Class) and a Bachelor of Art, major in philosophy from the Australian National University, Canberra. He is currently undertaking a PhD at ANU, Canberra investigating the relationship between art and phenomenology.


COLLABORATIVE MAPPING – Kate Dunn and Phillip Gough

Collaborative Mapping is an interactive projection using the model of collaboration determined by Seidler and the relevant artists he worked with. The work is a record of Seidler’s collaborations and career using an interactive projection of a data visualization that documents his exchanges with these artists. The projection maps Seidler’s dominant influences on his design palette and the locations of his buildings. The collaborations are tracked and noted using dates and locations, the work becomes a map of inspiration and collaboration. The graphics were determined by the dominant motifs of some of the key collaborators as well as some of the forms repeatedly found in Seidler’s building.

Kate Dunn has a background in visual arts and design while Phillip’s background is in information visualisation. The project documents the process of collaboration between these two creative practitioners as a component of the installation. This is in the form of a diary documenting the successes, failures and hurdles of collaboration. Phil Gough is a designer, digital artist, and PhD candidate at The University of Sydney. While researching information visualisation for the non-expert user, he also teaches courses in design thinking, video production, human-computer interaction, information visualization and creative coding at The University of Sydney and UTS


INVESTIGATIVE SPATIAL PERFORMANCE – Campbell Drake, Karen Cummings and Elizabeth Drake

This project is an investigative spatial performance. Adopting piano and voice as a temporal and transient medium, the performance explores intersections between music, architecture and history, specifically that of the relationship between Grosvenor Place and the Bauhaus. The event features the performance of a selection of works by influential composers drawn from and inspired by the Bauhaus era. Drawing inspiration from the event ‘24 hours John Cage’ staged at the Bauhaus in 2012, this performance acts as a concert installation within the architecture of Harry Seidler. Elizabeth Drake performed Schoenberg’s Six little Piano Pieces Opus 19, offering a musical parallel to the modernist project of the Bauhaus in the form of twelve tone music. Following Six little Piano Pieces, Elizabeth Drake and Karen Cumming performed selections from Songs from Liquid Days by Phillip Glass. The songs were first performed in 1986, corresponding to the year in which construction commenced on Grosvenor Place. Composed for piano and voice, this piece offers an extension and counterpoint to Schoenberg’s twelve tone music in the form of minimalist music. The music is structured through repetitive blocks or modules, producing a playful monumentality via small shifts between blocks. The patterning and repetition employed within Songs from Liquid Days provides an aesthetic resemblance to the geometries and patterns adopted by Seidler within Grosvenor Place. According to Stephen Holden, Songs from Liquid Days are short, oracular reflections with imagery that explicitly evokes mystical connections between people and objects. Extending this connection between people and architecture; the audience, onlookers and residents are invited to sit, move around or pass through the performance. The unusual programming of performative spatial practice within a public foyer of a commercial tower, offers an opportunity to engage and reposition public perception via the re-appropriation of space. Through the musical rendition of Schoenberg and Glass, the project asks the audience to make connections between architecture, music and history. Experiencing the performance and the architectural environment simultaneously, this Bauhaus styled happening provides an immersive experience in which a heightened spatial awareness provokes the forging of new relationships between the immediate environment, performance and the social cultural and historical context of site and place.

Elizabeth Drake is actively involved in composing and performing music for theatre and film as well as live performance. She in interested in the theatrical performance of music, new music and inter-disciplinary performance. Elizabeth has won numerous awards for composition and performance including the AFI Award for Best Original Music Score for a Feature Film, the Film Critics Circle Award for Best Music Score and the APRA-AGSC Award for Best Feature Film Score. In 2012, she won the Green Room Award for theatre composition. Recent live performances include Steve Reichs Piano Phase at the Princess Theatre in 2014 and Canto Ostinato at WOMADelaide and at the Flinders Street Station ballroom in 2012.

Karen Cummings is the inaugural recipient of the Bushman Scholarship at the University of Newcastle for studies in voice. Since 2009 Karen has performed and been a vocal coach on Pecan Summer, Australia’s first indigenous opera company. (Adelaide (2014) Perth’s Festival centre (2012) and the Melbourne Arts centre (2011). Karen has regularly curated and broadcast programs for the ABC. Karen premièred new Australian works including Shadows and Dreams (Whitlam Institute, University of Western Sydney), Tales of Love (Festival of Sydney), Laquiem (Studio, Sydney Opera House) and The Audience and Other Psychopaths with Nigel Kellaway and Stephen Adams and the Opera Project (Performance Space).

Architect, artist and academic, Campbell Drake’s practice seeks to challenge conventional definitions of architecture through ideas-led practice and research. Campbell is a lecturer in Interior and Spatial Design at The University of Technology, Sydney, and is undertaking a PhD at RMIT University exploring socio-architectural spatial dynamics and architectural performativity. Often working with buildings of historical and cultural significance, Campbell’s recent investigative works include The Princess Theatre Inversion, 2014 and Contemporary Site Investigations at Flinders Street Station in 2012.