This tactic uses geometry to question our spatial reality. Through a careful manipulation of geometry (part of the basis of architectural design practice) and our expectations, including placement, context and
use, we can effect a questioning of our spatial reality. Architectural composition as practiced in colonial architecture was part of a varied rule book which paralleled the ideology of the dominant political system. Displacing geometry can question these rules and the attendant ideology. This happens with object/context displacement, scale and other geometrical viewer expectations and relationships. Displacing geometries is a condition that can defy and displace the hierarchy of the colonial system, interrogating and re-imagining new relationships with the built environment. This can help make connections between histories and help indigenise our built environment for a more inclusive future.

‘Pure geometry’ can be refigured to engage the visitor in a game of interpretation, whether it be circle, moon, sun or arch (which have been stripped, cut and displaced). These refigured and recontextualised geometries allow for diverse readings and experiences.

Inside the gallery, the ‘white cube’ gallery walls are cut half-moons revealing the 1861 brick walls behind. The building spaces connect with the sculpture garden through geometrical subtractions to reveal history in a new way. The polycarbonate moon (and sun) wall faces the garden, lighting up within the garden at dusk like a big full moon or sun, connecting the gallery with the garden and providing an image that resonates with all cultures.

nervegna-reed.com.au/projects/cgag