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18 FEATURES JUL/AUG 2024 FDM ASIA | www.fdmasia.com

that narrows at its end providing a glimpse of the artwork
beyond. Coves and recesses that house some works facilitate
a gradual discovery of the main space towards the back of
the gallery.

The timber selected for the project is thermally-modified
American ash (CAMBIA), stained black and wire-brushed to
emphasise the distinctive grain. CAMBIA was chosen for its
stability, aesthetic qualities, and strong sustainability profile.
As Wong explains, "James’ brother Hugh is an established
furniture designer and maker who had personal experience
of thermally-modified timbers. Following a discussion with
him, we selected CAMBIA. We wanted something with a
strong grain, that aligned with our sustainability objectives

for the project and, importantly that would be dimensionally
stable over time”
The stability of CAMBIA was an important consideration,
as artworks will occasionally be hung directly on the timber
wall. To facilitate this without damaging the wood, the boards
have been installed with purposeful four mm shadow gaps.
Art Reframed This allows screws to be inserted between the boards

Tristan Wong's use of timber creates an inclusive art experience without damage. "This way the screw goes into the backing
in James Makin's Collingwood gallery piece and there are no visible holes. It also provides a
The archetypal art gallery, with expanses of white, square purposeful staggered aesthetic of three different board widths
set walls may often feel somewhat institutional, rather than with the shadow line between," notes Wong.
inclusive and cultural. This was precisely the type of experience Another key factor in material selection was the biophilic
that renowned gallery owner James Makin wanted to avoid qualities of the timber. Wong states, "Timber was a material
when he opened his new exhibition space in Islington Street we used to soften the experience aesthetically – there is
in Collingwood, Melbourne. that unconscious response to natural materials including
The brief to architect Tristan Wong was for a space timber that is relaxing”. The warmth and character of the

that challenged the seriousness and sterility of the gallery wire-brushed thermally-modified American ash, even when
stereotype. Makin wanted to provide customers with the stained black, provides a sensory richness in contrast to
chance to explore and discover art in an environment which standard white gallery walls. The amplified timber grain is
was both inviting and intriguing. almost topographical in effect.
Wong's design is a counterpoint to art gallery conventions, Sustainability was also front of mind, with Wong seeking
using blackened and curved timber to create a space that to retain and reuse elements of the existing warehouse where
is dramatic, textural and tactile. possible. The old translucent corrugated roof was relined

Entering through a sliding, black stained hardwood door, internally to let in diffused natural light, meaning almost no
visitors are guided past a 4.5-metre high curved timber wall artificial lighting is required during the day. Low energy LEDs