Friday, October 31, 2008
Thursday, October 30, 2008
pdf2:
Research: Semi-underground museums
"Adding on or creating new museums in well-established areas that either culturally or environmentally do not lend themselves to expansion of existing structures or would lead to the destruction of a natural landscape invites burying them. An example of the former is Steven Holl’s additions to the Nelson-Atkins Museum in Kansas City, Missouri. The original building, sitting in a park, presented many problems. By designing a series of pavilions mainly underground, Holl has preserved the park and given the museum the additional space it needs. A similar solution has been planned by Tadao Ando for the second major addition to the Clark Institute in Williamstown, Massachusetts. Its original white marble neo-classical structure was added on to by Pietro Belluschi with a strong dark, stone, modernist structure. Ando has proposed an addition that will mostly be underground. By far the most impressive “underground museum” is not in America but in Japan, where I.M. Pei has built the Miho Museum on a mountain top in the Shiga Range east of Kyoto on private land in the middle of a national forest preserve. He was required by environmental regulations to put 90 percent of the museum underground; that he succeeded so well is a testament to his design and engineering brilliance.
In my lectures I always end with my choice for the best “non museum.” It is in the Scheveningen seaside resort of The Hague in Holland. A wealthy couple, with an immense sculpture collection, decided to give it to the state. A small neo-classical structure sat on one of the great sweeping sand dunes that characterize the Dutch North Sea coast. The bulk of the museum was built under the dunes preserving the sea view of the coast, yet permitting the light and space needed for displaying the sculpture. The essence of Dutch modern design is wed to nature in a fashion which perhaps only a nation that has rescued itself from the sea and has refined a widely admired modern architecture could have achieved. Instead of being a physical monument as in the past, perhaps the future of the museum should be to reconnect with the physical world. "
Stead, N. (2000). Fried, theatricality and the spectacular in contemporary museum architecture. In: A. McNamara and R. Butler Art Association Annual Conference, Brisbane, 7 -10 Dec 2000.
In my lectures I always end with my choice for the best “non museum.” It is in the Scheveningen seaside resort of The Hague in Holland. A wealthy couple, with an immense sculpture collection, decided to give it to the state. A small neo-classical structure sat on one of the great sweeping sand dunes that characterize the Dutch North Sea coast. The bulk of the museum was built under the dunes preserving the sea view of the coast, yet permitting the light and space needed for displaying the sculpture. The essence of Dutch modern design is wed to nature in a fashion which perhaps only a nation that has rescued itself from the sea and has refined a widely admired modern architecture could have achieved. Instead of being a physical monument as in the past, perhaps the future of the museum should be to reconnect with the physical world. "
Stead, N. (2000). Fried, theatricality and the spectacular in contemporary museum architecture. In: A. McNamara and R. Butler Art Association Annual Conference, Brisbane, 7 -10 Dec 2000.
Inital model stages
10 descriptive words relating to redesign:
light
surface/texture
movement
circulation
sound
gravity
interactive
spatial recognition
transparency
digital medium
surface/texture
movement
circulation
sound
gravity
interactive
spatial recognition
transparency
digital medium
Research on Contemporary Arts Museums
The spaces in modernist museums were not conducive to the type of 'transparent', 'inclusive' or 'visitor-centred' experiences that contemporary museums and galleries demand. Today the need for collaborative and transparent exhibition spaces to be created and maintained revolve around a range of technological devices for encouraging visitor interaction and subtle shifts in the way in which artefacts are sequenced or framed. Modernist architecture appears to be largely based on its overabundance of natural light which may not be adequate for preservation of video and high technology art forms; also limited flexibility due to space and services such as inadequate seating play a significant role in contemporary art museums.
Also in my reading i have come across the traditional ides that the role of museum architecture is producing iconic spaces as opposed to useful and flexible exhibition spaces. Architects who have worked as part of a team and have produced communal multipurpose spaces which are more versatile and usable in contemporary museum architecture, while the modernist architects produce grand, dramatic public spaces which draw visitors through their iconic presence. Some writings have rejected the often spectacular one-off iconic buildings in favour of more sensitive approaches to creating architecture which expresses the social and communal intention of the museum. The fact that contemporary iconic buildings also have flexible space requirements is noted, but through my research there is an implied criticism of the larger institutions as populist and commercially driven all evoke particular emotional responses which attune visitors to the nature of the exhibitions they are about to attend.
Also in my reading i have come across the traditional ides that the role of museum architecture is producing iconic spaces as opposed to useful and flexible exhibition spaces. Architects who have worked as part of a team and have produced communal multipurpose spaces which are more versatile and usable in contemporary museum architecture, while the modernist architects produce grand, dramatic public spaces which draw visitors through their iconic presence. Some writings have rejected the often spectacular one-off iconic buildings in favour of more sensitive approaches to creating architecture which expresses the social and communal intention of the museum. The fact that contemporary iconic buildings also have flexible space requirements is noted, but through my research there is an implied criticism of the larger institutions as populist and commercially driven all evoke particular emotional responses which attune visitors to the nature of the exhibitions they are about to attend.
Other points being considered
*Context is another aspect i would like to alter i believe by placing this building in a rural environment this could create a sense of contrast and hence accentuate the experience and create a greater sense of appreciation towards the buildings unique modern design.
*Although the structure and design of the museum is quite complex, i believe incorporating materiality, colour and texture internally may intensify the viewers experience of the museum without deferring from but rather complimenting the artworks displayed.
*A fine arts museum I believe is created for the purpose of showcasing works and inspiring the viewer by provoking the artistic gene; also being in a day and age of digital medium i believe the implementation of a touch screen sensitive graffiti wall upon entrance could promote viewer interaction and would be a significant contribution to the redesign of this building.
*I have noticed that a few other students have judged the ramp in jorn utzons design of the silkeborg to be a significant protrusion which is protruding and deviating from the structure of the building by occupying a large volume of the building and preventing the sense of flowing circulation that Jorn seemed to soo strongly promote in his description of his design. i believe if this ramps materiality was altered with the use of transparency and increased width this aspect will be improved or illiminated.
*Also to a degree the Silkeborg design looks like a scattered building due to the random arrangement of spaces in an attempt to manipulate light into the building. However if i was the impliment the addition of a transparent roof this may enable the convergence of the buildings elements while still maintaining the passive entrance of light throughout the structure and the appreciation of each element independantly and as a whole.
*Although the structure and design of the museum is quite complex, i believe incorporating materiality, colour and texture internally may intensify the viewers experience of the museum without deferring from but rather complimenting the artworks displayed.
*A fine arts museum I believe is created for the purpose of showcasing works and inspiring the viewer by provoking the artistic gene; also being in a day and age of digital medium i believe the implementation of a touch screen sensitive graffiti wall upon entrance could promote viewer interaction and would be a significant contribution to the redesign of this building.
*I have noticed that a few other students have judged the ramp in jorn utzons design of the silkeborg to be a significant protrusion which is protruding and deviating from the structure of the building by occupying a large volume of the building and preventing the sense of flowing circulation that Jorn seemed to soo strongly promote in his description of his design. i believe if this ramps materiality was altered with the use of transparency and increased width this aspect will be improved or illiminated.
*Also to a degree the Silkeborg design looks like a scattered building due to the random arrangement of spaces in an attempt to manipulate light into the building. However if i was the impliment the addition of a transparent roof this may enable the convergence of the buildings elements while still maintaining the passive entrance of light throughout the structure and the appreciation of each element independantly and as a whole.
Tuesday, October 28, 2008
250 words
original points being considered
* The positive implications of being semi below ground
* Preserving the circulation, and movement in original design
* Materiality, colour, textural influence
* Ramp- transparency increased surface area ( retain ramp no stairs and corridors)
* Addition of a transparent roof to unify all buildings elements
* Addition of mirrors on ceilings to create greater spatial recognition by viewer
* Increased circulation my transparency, or possibly tubular walls
* Interactive graffiti walls
* Context: rural environment
Upon reading through texts and information on this unbuilt project i was inspired and fascinated by the unique arrangement of spaces and elements combined to form a strange yet effective piece of architecture; and provoked me to research further on the concepts implemented and objectives behind the architect Jorn Utzon’s design. Although not much information is supplied on his thought process I was able to note that his primary intentions were to constantly provoke in the visitor a sense of surprise and maintain the desire to continue to penetrate effortlessly through the 3 levels of the museum. This sense of effortless travel I believe is a significant contribution to a viewers experience in all forms of museums and is something I wish to retain in my representation of the Silkeborge museum. I also further researched the requirements of a contemporary arts museum and architecturally what it is required to house as a guide to aid me in representing the Silkeborg museum. I was able to note that today as being a part of the contemporary era museums have gone beyond just painting and sculptural art forms they have to cater for a much broader medium with light and sound shows, interactive technologies, large projections, live imagery and computer generated designs which have gone beyond abstraction and needs to be catered for my our architectural design with larger exhibition spaces. So by creating a more spacious exhibition area i believe these art forms will have greater appreciation and room for expression which is something i may implement in my redesign. Also materiality was another aspect which wasn’t addressed quite well in Jorns design of the Silkeborg museum i believe that increased circulation could have been applied through wider use of transparency and addition of reflective material such as mirrors on ceilings to create a greater spatial recognition by the viewer.
* The positive implications of being semi below ground
* Preserving the circulation, and movement in original design
* Materiality, colour, textural influence
* Ramp- transparency increased surface area ( retain ramp no stairs and corridors)
* Addition of a transparent roof to unify all buildings elements
* Addition of mirrors on ceilings to create greater spatial recognition by viewer
* Increased circulation my transparency, or possibly tubular walls
* Interactive graffiti walls
* Context: rural environment
Upon reading through texts and information on this unbuilt project i was inspired and fascinated by the unique arrangement of spaces and elements combined to form a strange yet effective piece of architecture; and provoked me to research further on the concepts implemented and objectives behind the architect Jorn Utzon’s design. Although not much information is supplied on his thought process I was able to note that his primary intentions were to constantly provoke in the visitor a sense of surprise and maintain the desire to continue to penetrate effortlessly through the 3 levels of the museum. This sense of effortless travel I believe is a significant contribution to a viewers experience in all forms of museums and is something I wish to retain in my representation of the Silkeborge museum. I also further researched the requirements of a contemporary arts museum and architecturally what it is required to house as a guide to aid me in representing the Silkeborg museum. I was able to note that today as being a part of the contemporary era museums have gone beyond just painting and sculptural art forms they have to cater for a much broader medium with light and sound shows, interactive technologies, large projections, live imagery and computer generated designs which have gone beyond abstraction and needs to be catered for my our architectural design with larger exhibition spaces. So by creating a more spacious exhibition area i believe these art forms will have greater appreciation and room for expression which is something i may implement in my redesign. Also materiality was another aspect which wasn’t addressed quite well in Jorns design of the Silkeborg museum i believe that increased circulation could have been applied through wider use of transparency and addition of reflective material such as mirrors on ceilings to create a greater spatial recognition by the viewer.
sketches and images
"On the road from the first idea - the first sketch - to the final building, a host of possibilities arise for the architect and the team of engineers, contractors and artisans. Only when the foundation for the choice between the various solutions derives from the awareness that the building must provide the people who are to live in it with delight and inspiration do the correct solutions to the problems fall like ripe fruits." Jørn Utzon
http://architecture.about.com/library/blutzon-silkeberg.htm
http://architecture.about.com/library/blutzon-silkeberg.htm
Tuesday, September 23, 2008
Silkeborg Museum by John Utzon
http://www.arcspace.com/architects/utzon/silkeborg.htm
“The world of the curved form can give something that cannot ever be achieved by means of rectangular architecture. The hulls of ships, caves and sculpture demonstrate this.”Jørn Utzon
Utzon rejected Jorn’s idea of rising the building to capture a view, instead he proposed burying most of the extension three stories underground.As in his own house in Hellebæk, the approach would face a long, single-storey blank wall, which links the building to the main museum and breaks to form a staff entrance.The foyer, reception, cafe and terrace look out over the existing lawn through a stepped and staggered glass screen, made of V-shaped pre-cast concrete columns which support a grid of shallow, barrel-vaulted rooflights; these run over all the ground floor circulation areas and extend to form a generous entrance canopy.
“It will be with a sense of surprise and a desire to penetrate down into the building that the visitor for the first time sees the three-storey building open beneath him. Unconcerned - by stairs and corridors, which normally disturb - the viewer will glide almost effortlessly down into the museum via the ramp, taking him through the space.Strict geometry will form the basis for a simple constructional shape. The vible curved external surfaces are to be clad with ceramics in strong colors so that the parts of the building emerge like shining ceramic sculptures, and inside the museum will be kept white.” Jørn Utzon
Source:UTZONInspiration - Vision - ArchitectureBy: Richard WestonPublished by Edition Bløndal
“The world of the curved form can give something that cannot ever be achieved by means of rectangular architecture. The hulls of ships, caves and sculpture demonstrate this.”Jørn Utzon
Utzon rejected Jorn’s idea of rising the building to capture a view, instead he proposed burying most of the extension three stories underground.As in his own house in Hellebæk, the approach would face a long, single-storey blank wall, which links the building to the main museum and breaks to form a staff entrance.The foyer, reception, cafe and terrace look out over the existing lawn through a stepped and staggered glass screen, made of V-shaped pre-cast concrete columns which support a grid of shallow, barrel-vaulted rooflights; these run over all the ground floor circulation areas and extend to form a generous entrance canopy.
“It will be with a sense of surprise and a desire to penetrate down into the building that the visitor for the first time sees the three-storey building open beneath him. Unconcerned - by stairs and corridors, which normally disturb - the viewer will glide almost effortlessly down into the museum via the ramp, taking him through the space.Strict geometry will form the basis for a simple constructional shape. The vible curved external surfaces are to be clad with ceramics in strong colors so that the parts of the building emerge like shining ceramic sculptures, and inside the museum will be kept white.” Jørn Utzon
Source:UTZONInspiration - Vision - ArchitectureBy: Richard WestonPublished by Edition Bløndal
Tuesday, September 16, 2008
website link
This is the layout of my original website but after uploading issues i deciced to redesign the layout of my website for a greater effect and to succesfully represent my chosen building.Original website link:
Monday, September 1, 2008
Further research
Rendered images :
Section
Elevation
Plan
Interesting facts on marina city :
Marina City Commentary
'"Marina City, in 1959, is a thirty-six-million- dollar project built on only three acres of land in the heart of Chicago's Loop. A dramatic landmark in the Chicago skyline, it culminated thirty years of thought and development for Goldberg. Each of the twin, sixty-story towers had four hundred and fifty apartments in its upper two-thirds, with the lower third a continuous parking ramp that spirals upwards, accommodating four hundred and fifty automobiles. Since the residential level starts at the twenty-first story, magnificent views of the city are enjoyed from every apartment.
"For many years Goldberg had felt there were advantages in the use of circular forms: the aerodynamic properties in a cylindrical high-rise structure; the structural equidistance from the center, and therefore uniform function of all parts; the absence of special corner conditions; and the creation of centrifugal or 'kinetic' spaces resulting from non-parallel walls. The towers derive much of their rigidity from the 35-foot-diameter cylindrical core that houses each building's services and utilities like a vertical street. Service spaces in apartments were grouped toward this core, giving living areas the light and view. The construction of the core preceded that of the floors, providing a rising foundation for the erection crane, thereby saving many working days. The project is all-electric, with heat and hot water individually produced in each apartment.'
References :
Werner Hofmann. Modern Architecture in Color. New York: The Viking Press, 1969. NA 642.H6413. LC 72-125823. drawing of garage floor plan, p457. drawing of apartment floor plan, p457. drawing of ground floor plan, p457.
Johnson Architectural Images. Copyrighted slides in the Artifice Collection, AJ1119, AJ1120, AJ1121, AJ1122.
Sylvia Hart Wright. Sourcebook of Contemporary North American Architecture: From Postwar to Postmodern. New York: Van Nostrand Reinhold, 1989. ISBN 0-422-29190-6. LC 89-5320. NA703.W75 1989. discussion.
Kevin Matthews. The Great Buildings Collection on CD-ROM. Artifice, 2001. 4-5.
Jay Pridmore; George A. Larson (2005). Chicago Architecture and Design : Revised and expanded. New York: Harry N. Abrams, Inc.
Antonino Terranova (2003). Skyscrapers. White Star Publishers.
Three interesting buildings
I chose to represent The Marina City as i found the structure of this building quite fascintating. Although built in the 1960's it still has a unique design which can be represented to a modern day client with a few alterations such as the subsitution of the concrete material with steel or glass and change of choice of colour.
CRYSTAL CATHEDRAL:
http://www.seeing-stars.com/
http://www.metroriderla.com/
MARINA CITY:
http://www.upload.wikimedia.org/
CRYSTAL CATHEDRAL:
http://www.seeing-stars.com/
THE THEME BUILDING:
http://www.metroriderla.com/
MARINA CITY:
http://www.upload.wikimedia.org/
Wednesday, August 20, 2008
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