A BRICOLAGE OF INFRASTRUCTURAL TURNED MUSEUM ... - imgix

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A B R I C O L AG E O F I N F R A ST R U CT U R A L T U R N E D M U S E U M T Y P O LO G I E S

The Future of Museums

<<Overview

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Cultural Infrastructure Mapping

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Precedent Study03

Analysis of Domain Car Park

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Design Strategy05

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The Museum is Not Enough - CCA

Nicholas Bourriaud's Post-Production

Spaces of Experience - Charlotte Klonk

The White Cube - Brian O'Doherty

Cultural Infrastructure Map NSW

Transitional Landscapes - The Domain

Site Analysis - Urban Synchronic Map

Bricolage of Infrastructural Renewal

Projects

Precedent Studies - Tschumi and Duggan

Structural Analysis of Domain Car Park

Car Space Typology

Programmatic Diagram

Structural Strategy

Site Photos

Axonometric Diagram

Plans - Ground, 1st Floor, 2nd Floor

Perspectives

Sections

Flexible Gallery Modules - Movement Area

Schedule

Facade Details

Smart Drawing

Model Photos

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Nicholas BourriaudCharlotte KlonkCCABrian O'Doherty

T H E F U T U R E MUSEUM

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[ 1 ] I n t h e C a n a d i a n C e n t r e f o r A r c h i t e c t u re' s w o rd s :

I n o u r w o r l d a m u s e u m i s n o t e n o u g h .

T h e m u s e u m a c t s a s a f r a m e t o m a k e s e n s e o f , a n t i c i p a t e a n d p r o j e c t o n t h e w o r l d . A r c h i t e c t u r e r e s p o n d s t o t h e w a y s w e l i v e , b u t a l s o s h a p e s t h e m . I t i s a c u l t u r a l p r a c t i c e o f i m a g i n i n g n e w p o s s i b i l i t i e s . I t c a n a b s o l u t e l y r e m a i n u n b u i l t . T h i s p u b l i c a t i o n i s c o n c e i v e d a s t h e f i r s t v o l u m e o f a y e a r l y m a g a z i n e , w i t h w h i c h t h e C C A w i l l e x p l o r e u r g e n t q u e s t i o n s d e f i n i n g i t s c u r a t o r i a l a c t i v i t y. To p i c s a d d r e s s e d i n t h i s v o l u m e i n c l u d e t h e i n s t i t u t i o n ’ s e n g a g e m e n t w i t h t h e p r e s e n t , t h e s i g n i f i c a n c e o f t h e a r c h i v e a s a s i t e f o r t h e p r o d u c t i o n o f n e w i d e a s , d i s p l a y s t r a t e g i e s i n a r c h i t e c t u r e ex h i b i t i o n s , t h e n e e d fo r m e d i a t i o n i n a r t , a n d t h e i m p a c t o f t h e d i g i t a l i n c u r r e n t m u s e u m p ra c t i c e s .

I n h i s w o r k s , O ' D o h e r t y i d e n t i f i e s t h e i m p o r t a n t r o l e o f t h e g a l l e r y s p a c e t h r o u g h t h e h i s t o r y o f m o d e r n i s m w h e r e t h e k e y f o r c e i s h i s v i s i o n f o r t h e " w h i t e c u b e " a s a m o d e l f o r d i s p l a y i n g 2 0 t h c e n t u r y a r t . S i m i l a r t o s a c r e d a r c h i t e c t u r e , t h e w h i t e c u b e r e m o v e s t h e d i s p l a y o b j e c t w i t h i n f r o m a n y a e s t h e t i c o f h i s t o r i c a l c o n t e x t a n d r e c o n t e x t u a l i s e s i t a s a s a c r e d w o r k o f a r t . T h i s c o n t e x t b e c o m e s a k e y c o m p o n e n t o f g a l l e r y l o g i c i n t h e l a t e m o d e r n i s t p e r i o d .

A n i m a g e c o m e s t o m i n d o f a w h i t e , i d e a l s p a c e t h a t , m o re t h a n a n y s i n g l e p i c t u re , m a y b e t h e a r c h e t y p a l i m a g e o f 2 0 t h c e n t u r y a r t . O ' D o h e r t y a r g u e s t h a t " t h e w a l l b e c a m e t h e l o c u s o f c o n t e n d i n g i d e o l o g i e s a n d e v e r y n e w d e v e l o p m e n t h a d t o c o m e e q u i p p e d w i t h a n a t t i t u d e t o w a rd i t " .

T H E R O L E O F A M U S E U MN i c o l a s B o u r r i a u d d e f i n e s p o s t - p r o d u c t i o n a s a f u n d a m e n t a l l y t r a n s f o r m e d i d e a o f w h a t c o n s t i t u t e s m a t e r i a l . H e n o l o n g e r n e c e s s a r i l y r e f e r s t o r a w m a t e r i a l o r c o n s t r u c t i o n m a t e r i a l b u t u n d e r s t a n d s a l l e x i s t i n g o b j e c t s a s a m a t e r i a l r e s o u r c e t h a n c a n b e re c y c l e d a n d t ra n s fo r m e d a d i n f i n i t u m . 4

B o u r r i a u d w r i t e s o f t h e r e - u s e a n d " D J - i n g " o f p r e - e x i s t i n g a r t t h a t h a s e m e r g e d s i n c e t h e e a r l y 9 0 s w h e r e t h e c u r a t o r i a l e n t i t y h a s b e c o m e l e s s re l e v a n t i n c u l t u ra l p ro d u c t i o n .T h i s i s w h e r e d i s c i p l i n e s o f a r t a n d a r c h i t e c t u r e s h o u l d r e i n f o r c e t h e i r r o l e s o f r e p r e s e n t a t i o n a n d t h e r e b y a u t h o r i s i n g t h e r e - o r d e r i n g o f t h i n g s u n d e r n e w s y s t e m s o f v a l u a t i o n . I n a s e n s e t h e a rc h i t e c t i s a c u ra t o r o f s p a c e

I n l i e u o f i n d u s t r i a l i s a t i o n , t h i s p r o j e c t w o u l d c o n s i s t i n t h e i m a g i n a t i v e t r a n s f o r m a t i o n o f o b s o l e t e s t r u c t u r e s . T h e e s s e n t i a l m u t a b i l i t y o f c o n c e p t s a n d m a t e r i a l s i m p l i c i t t o b r i c o l a g e w h e n i n d u s t r i a l m a t e r i a l m o v e s a c r o s s g e o g r a p h i c b o u n d a r i e s , a q u a s i - m a t e r i a l t r a n s f o r m a t i o n a p p e a r s t o t a k e e f f e c t i n w h i c h t h e v a l u e i s d e t e r m i n e d b y c o n t e x t . S y m b o l i c g o o d s i n a r t , l i k e m a t e r i a l s a n d s p a c e i n a r c h i t e c t u r e a r e a t w o - f a c e d r e a l i t y, a c o m m o d i t y a n d a s y m b o l i c o b j e c t . T h e i r s p e c i f i c a l l y c u l t u r a l v a l u e a n d t h e i r c o m m e r c i a l v a l u e r e m a i n r e l a t i v e l y i n d e p e n d e n t . H e r e t h e a e s t h e t i c i m a g i n a t i o n o f d e s i g n a c t i v i t i e s p l a y s a s i g n i f i c a n t r o l e t h a t s u p p o r t s u c h t ra n s fo r m a t i o n .

T h i s s c h e m e w i l l e n t a i l t h e e l a b o r a t i o n o f a n o r g a n i s a t i o n f r a m e w o r k t h a t e n a b l e s a n y i m a g i n a b l e t r a n s f o r m a t i o n t h r o u g h a p r o c e s s o f c h o i c e . T h i s i n f r a s t r u c t u r e s h o u l d b e a s u n c o n s t r a i n i n g a s p o s s i b l e i n w h i c h a l l m a t e r i a l a n d i m m a t e r i a l d e c i s i o n s s h o u l d b e t a k e n b y t h e o c c u p a n t . A s B o u r r i a u d w r i t e s , i t i s n o l o n g e r a b o u t c r e a t i n g s o m e t h i n g n e w b u t r a t h e r " h o w c a n w e m a ke d o w i t h w h a t w e h a v e? "

W r i t e r s a n d t h e o r i s t s h a v e a n a l y s e d m u s e u m a r c h i t e c t u r e f r o m a m u l t i t u d e o f p e r s p e c t i v e s , t h r o u g h p e r c e i v i n g t h e f l u x a n d f u n c t i o n s w i t h i n , t h e o u t e r f o r m a n d a e s t h e t i c s a n d t h e a c t i v i t i e s w i t h i n t h e i n n e r s p a c e .

T h e c o n t e m p o r a r y g a l l e r y, o r m u s e u m , d r a w s a t t e n t i o n a s i t h a s a l w a y s b e e n h a s b e c o m e a n i n c re a s i n g l y a n ex p e r i m e n t a l f i e l d fo r a r c h i t e c t s . I n S p a c e s o f E x p e r i e n c e , C h a r l o t t e K l o n k i l l u s t r a t e s a n e v o l v i n g s e t o f v a l u e s b r o u g h t a b o u t t h r o u g h m o d e r n i s a t i o n . 1 P a r a l l e l s a r e d r a w n b e t w e e n a r t o n d i s p l a y a n d t h e d e v e l o p m e n t o f a s h o p p i n g m a l l i n w h i c h a r t h a s b e c o m e a v i s u a l c o m m o d i t y a n d a n i n d u l g e n t s p e c t a c l e .

F o r B r i a n O ’ D o h e r t y ( 1 9 8 6 ) , t h e m o d e r n m u s e u m g a l l e r y s u b t r a c t e d f r o m t h e w o r k a l l c u e s t h a t i n t e r f e r e d w i t h t h e f a c t t h a t w a s “ a r t ” . 2 T h i s c a n b e c o m m o n l y r e f e r r e d t o a s t h e ' w h i t e b ox c o n d i t i o n i n w h i c h t h e w o r k w a s i s o l a t e d f ro m e v e r y t h i n g t h a t w o u l d l e' s s e n i t s o w n v a l u e .

H o w e v e r m o r e r e c e n t m o v e m e n t s h a v e b e g u n t o r e s i s t t h e i n s t i t u t i o n a l i s a t i o n a n d e x c l u s i v i t y o f a r t w o r k s b y p o s i t i o n i n g t h e a r t w o r k w i t h i n t h e p u b l i c d o m a i n , a n d r e s i s t n o t i o n s o f a r t o w n e r s h i p b y a u t o n o m i s i n g a r t o u t s i d e o f t h e m u s e u m /g a l l e r y s p a c e .

T h e c o n t e m p o ra r y a r t a n d a rc h i t e c t u ra l f i e l d i s a s p a c e o f ra d i c a l u n c e r t a i n t y. M o n t a n e r ( 2 0 0 3 ) s p e a k s o f a n a t t e m p t t o o r g a n i s e m u s e u m s i n t o a c o l l a g e o f f r a g m e n t s w h e r e a r t a n d a r c h i t e c t u r e a r e f i e l d s o f e x p e r i m e n t a t i o n a n d a m o v e m e n t t h a t i s n o n s t a t i s t o t h e p o i n t w h e r e i t i s u n d e f i n e a b l e . 3 E x p o s i t i o n s p a c e s s h o u l d i n v o l v e a p r o c e s s w h e r e w o r k s o f a r t a r e e n t a n g l e d w i t h a r c h i t e c t u r e , m a k i n g i t d i f f i c u l t t o d e f i n e w h e r e a r c h i t e c t u r e e n d s a n d a r t b e g i n s ; w h e r e a l s o t h e l a n d s c a p e i s p u r p o s e l y i n v a d i n g a r t a n d a rc h i t e c t u re t o a p o i n t o f i n d i s c e r n i b i l i t y.

1. Charlotte Klonk, Spaces of Experience. Art Gally Interiors from 1800 to 2000, London, Yale University Press, 20092. Brian. O’Doherty. Inside the White Cube: The Ideology of the Gallery Space.The Lapis Press, Santa Monica, 1986 3. JM Montaner. Museums for the 21rst Century. Barcelona: Gustavo Gili, 2003.4. Nicolas Bourriad. Postproduction, New York, Lukas & Sternberg, 2002

The Museum Is Not Enough (CCA/Sternberg Press, 2019), cover.

1. Charlotte Klonk, Spaces of Experience. Art Gally Interiors from 1800 to 2000, London, Yale University Press, 2009

Brian. O’Doherty. Inside the White Cube: The Ideology of the Gallery Space.The Lapis Press, Santa Monica, 1986

01 _ T H E O R Y

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" . . . the wal l became the locus of contending ideologies and every new development had to come equipped with an attitude toward it"

“In our world a museum is not enough” (CCA 2019). The contemporary art and architectural field is a space of radical uncertainty undergoing constant trans-formation. The museum merely acts as a frame to make sense of, anticipate and project on the world. In creating architecture that will maintain an institution that is constantly adapting to its needs, how can we design permanent ele-ments of friction? Drawing upon the industrial relic of the Domain Car Park, the key force here is the balance of intensifying a tectonic presence to the fading memories of the parking garage while embracing the inevitability of change and reoccurring architectural obsolescence through a flexible approach to museum infrastructure and design of its display systems. The complex is transformed into an urban ensemble infil led with artistic and architectural ac-tivity with adaptable typological characteristics harnessed by a superstructure framework forming their common matrix.

Project Abstract

01 _ T H E O R Y

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T H E M U S E U M A S C U L T U R A L INFRASTRUCTURE

N S W C u l t u r a l Infrastructure Plan 2025

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17 regional conser-vatoriums

Fro m t h e 2 0 2 5 C u l t u ra l I n f ra s t r u c t u re P l a n , c u l t u ra l i n f r a s t r u c t u re d e f i n e s a l l b u i l d i n g s a n d s p a c e s t h a t a c c o m m o d a t e o r s u p p o r t c u l t u re . T h i s i n c l u d e s p h y s i c a l a n d d i g i t a l m e a n s t h a t e n a b l e p a r t i c i p a t i n g a n d i n t e ra c -t i o n b e t w e e n a l l a u d i e n c e s . Tra d i t i o n a l m u s e -u m s , g a l l e r i e s a n d t h e a t re s a l o n g s i d e o n l i n e p l a t fo r m s a n d o u t d o o r a m p i t h e a t re s a l l l i e w i t h i n t h i s c a t e g o r y.

Preliminary Mapping has identified over 5500 cultural infrastructure sites across metropolitan and regional New South Wales. 1

760+ museums

500+ libraries

400+ community cen-

tres and venues

680+ galleries

1100+ licenced ven-

ues

1500+ arts and screen studio facilities

02 _ C U LT U R A L I N F R A ST R U CT U R E

Cultural Infrastructure Map of New South Wales 2

C U L T U R A L I N F R A S T R U C T U R E I N N S W

1. SGS Economics and Planning. 2017. Cultural infrastructure database. Prepared for NSW Department of Planning and Environment

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T R A N S I T I O N A L LANDSCAPES

The Domain Car Park

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S I T E

1 :1 0 0 0

M A I N A R T E R I E S

AC C E S S P O I N T S

WO R KS H O P S

G A L L E R I E S

O B S O L E T E C A R PA R KS

L A N D M A R KS

03 _ S I T E A N A LYS I S

Affordability(e.g. suitable spaces are available but market rates are not affordable)

(e.g. available spaces need upgrading or are in disrepair)

(e.g. spaces are avail-able and affordable but not suitable)

(e.g. spaces are not convenient to get to/too far)

(e.g. spaces exist but are not available at the right time)

Significance of Cultural Infrastructure related challenges facing the creative community 3

Condition Functionality Accessibility Availability

86% 79% 79% 74% 69%

T H E D O M A I N C A R P A R K - U R B A N S Y N C H R O N I C M A P

3. Cultural Sector survey undertaken for Cultural Infrastructure Plan 2025+

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G R E E N S PAC E

B U I L D I N G S + R A I LWAY

D O M A I N C A R PA R K A S U R B A N P E R I P H E R Y

At a c o n t ex t u a l s c a l e , t h e s i t e a c t s a s a h i n g e b e t w e e n t h e t w o s p a c e s - t h e i n d u s t r i a l p a r k l a n d s t o t h e n o r t h w e s t a n d t h e g r i d d e d l o c a l i t y o f Wo o l l o o m o o l o o t o t h e s o u t h e a s t . T h e c a r p a r k i n h a b i t s t h e e d g e , t h e s e a m t h a t s e p a ra t e s t h e m . T h i s s i t e g e n e r a t e s t h e p o t e n t i a l fo r h o r i zo n t a l re l a t i o n s h i p s b e t w e e n s p a c e w i t h i n t h e d i f f e re n c e i n v e r t i c a l l e v e l s o f c o n n e c t i o n .

I t i s n a t u r a l t o s e e t h e D o m a i n C a r p a r k s i t e a s a t ra n s i t i o n a l l a n d s c a p e - i t s d e f i n i t i o n d e n o t i n g l a n d s c a p e s o f t h e u r b a n p e r i p h e r y t h a t a r e n o r m a l l y ex p e r i e n c e d u n d e r t h e c o n d i t i o n o f s p e e d . T h e y a r e s p a c e s / i n t e r f a c e s b e t w e e n t h e c i t y a n d c o u n t r y s i d e t h a t a r e c o m m o n l y ex p e r i e n c e d o n t h e m o v e a n d p e rc e i v e d a s o b s o l e t e . H o w e v e r t h e s e l a n d s c a p e s s u g g e s t a n e w t y p o l o g y a n d a s p a t i a l p ro d u c t o f m o b i l i t y a s a c o n d i t i o n o f m o d e r n i t y. H e r e i n s t e a d o f e m p l o y i n g t h e t e r m t e r ra i n v a g u e t o d e s c r i b e t h e p o t e n t i a l o f re p u r p o s i n g t h e s i t e , w e c a n d e l i n e a t e o u r p e r c e p t i o n t o s e e t h i s l a n d s c a p e a s a t e r r i t o r y o f h i d d e n p o e t i c s a n d a p o t e n t i a l n e w p u b l i c s p a c e . T h e c a r p a r k a r e a i s c u r re n t l y s e e n a s d e t a c h e d , e l u s i v e , d i s o r i e n t i n g , i n t e r w o v e n w i t h p re c o n c e p t i o n s re l a t e d t o t h e i n -b e t w e e n o r o b s o l e t e s p a c e . H e re l o g i s t i c s , f u n c t i o n a l i t y a n d u t i l i t y w e r e f a c t o r s t h a t d e t e r m i n e d t h e p ro d u c t i o n p ro c e s s o f t h i s c a r p a r k w h e r e i t i s p u re l y a p a s s a g e o n t h e w a y t o a n o t h e r d e s t i n a t i o n .

T h e p r o p o s a l s u g g e s t s a l a n d s c a p e a p p ro a c h t h a t o v e r l o o k s t h e u n p r o d u c t i v e a s p e c t o f t h i s o b s o l e t e j o u r n e y s i n f a v o u r o f a n e w s e n s a t i o n o r ex p e r i e n c e o f s p a c e . R a t h e r t h a n s u b s t i t u t i n g t h e o b s o l e t e f o r t h e p r o d u c t i v e , t h e s c h e m e c o u l d g e n e ra t e a p u b l i c s p a c e t h a t ex i s t s i n t i m e a n d t h ro u g h m o t i o n a n d w h i c h , w i t h t h e a i d o f s u b t l e i n t e r v e n t i o n s , e n g a g e s p e o p l e w i t h t h e l a n d s c a p e s c r o s s e d .

4. Krystallia Kamvasinou (2006) Reclaiming the Obsolete in TransitionalLandscapes: Perception, Motion, Engagement, Journal of Landscape Architecture, 1:2, 16-27, DOI:10.1080/18626033.2006.9723369


“ Pro d u c e d f ro m a p ro c e s s o f u r b a n g row t h , tra n s i t i o n a l l a n d s c a p e s h ave c o m e to b e l o a t h e d p o st - p ro d u c t i o n by t h e p e o p l e wh o m o st ly u s e t h e m – t h e eve r yd ay p a s s e n ge r s . “ 4

Transitional Landscapes

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M o d e r n m e t r o p o l i s e s o f t h e 2 1 s t c e n t u r y f a c e a re o c c u r i n g c o n d i t i o n : d e n s e u r b a n c e n t re s s u r ro u n d e d b y d i f f u s e p e r i p h e ra l s i t e s . W i t h i n t h e C i t y o f S y d n e y, t h e D o m a i n C a r P a r k s i t e c h a ra c t e r i s e s t h i s n a t u re o f t r a n s i t i o n a l l a n d s c a p e a s a re s u l t o f o b s o l e t e i n f ra s t r u c t u re o f m o b i l i t y. W i t h t h e c o i n i n g o f t h e t e r m Te r ra i n Va g u e i n 1 9 9 5 , I g n a s i d e S o l à -M o ra l e s i s i n t e r e s t e d i n t h i s fo r m o f a b s e n c e i n t h e c o n t e m p o ra r y m e t ro p o l i s . H e a p p l i e s t h i s Fre n c h t e r m w i t h a fo c u s o n a b a n d o n e d a re a s i n t h e c i t y ; o n o b s o l e t e a n d u n p ro d u c t i v e s p a c e s a n d b u i l d i n g s , o f t e n u n d e f i n e d a n d w i t h o u t s p e c i f i c l i m i t s .

R e g a r d i n g t h e g e n e r a l i s e d t e n d e n c y t o “ re i n c o r p o ra t e” t h e s e p l a c e s t o t h e p r o d u c t i v e l o g i c o f t h e c i t y b y t ra n s fo r m i n g t h e m i n t o re c o n s t r u c t e d s p a c e s , S o l à - M o ra l e s i n s i s t s o n t h e v a l u e o f t h e i r s t a t e o f r u i n a n d l a c k o f p ro d u c t i v i t y. O n l y i n t h i s w a y c a n t h e s e s t ra n g e u r b a n s p a c e s m a n i f e s t t h e m s e l v e s a s s p a c e s o f f re e d o m t h a t a re a n a l t e r n a t i v e t o t h e l u c r a t i v e re a l i t y p re v a i l i n g i n t h e l a t e c a p i t a l i s t c i t y.

“ T h e y r e p re s e n t a n a n o n y m o u s re a l i t y. ” 5

H o w e v e r i n a l i g n i n g t o t h i s i d e a , t h e ro l e o f a n a rc h i t e c t s t a n d s i n o p p o s i t i o n o f u n s t r u c t u re d c o n f i g u ra t i o n o f s p a c e . T h i s i n n a t e ro l e o f t ra n s f o r m i n g s p a c e i n t o o rd e r c h a l l e n g e s t h e e m p l o y m e n t o f d e s i g n a g e n c y w i t h i n t h e s e s t r u c t u re s . A s d e S o l a M o ra l e s m e n t i o n s : “A rc h i t e c t u r e’s d e s t i n y h a s a l w a y s b e e n t h e i m p o s i n g o f l i m i t s , o rd e r, a n d fo r m , t h e i n t r o d u c t i o n i n t o s t ra n g e s p a c e o f t h e e l e m e n t s o f i d e n t i t y n e c e s s a r y t o m a ke i t re c o g n i z a b l e , i d e n t i c a l , u n i v e r s a l . ” 6

H o w c a n a r c h i t e c t u r e a c t i n t h e t e r ra i n v a g u e w i t h o u t b e c o m i n g a n a g g re s s i v e i n s t r u m e n t o f p o w e r a n d a b s t ra c t re a s o n ?

5. SOLÀ-MORALES RUBIÓ, Ignasi de. Presente y futuros. La arquitectura en las ciudades. In AA. VV., Presente y futuros. Arquitectura en las grandes ciudades, Barcelona: Collegi Oficial d’Arquitectes de Catalunya / Centre de Cultura Contemporània, 1996, 10-23.6. ibid

Tower of David - Venezuela Slum

A self sufficient city after 750 families inhabiting an abaondoned office tower following the Venezeulan banking crisis. An example of obsolete structures acting as infrastructure - a skeleton framework for inhabitants to develop and express ownership.

Img 1. Tower of David Facade Images

DeMilked. “Abandoned Office Tower...” https://www.demilked.com/tower-of-da-vid-abandoned-skyscraper-caracas-iwan-baan/ (accessed August 26th, 2019)


T E R R A I N VA G U E - T H E F U T U R E O F U N P R O D U C T I V E C A R P A R K S

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Kulturspeicher in Würzburg by Brückner & Brück-ner

Saint-Nazaire, France by LIN Architects

“The rough-hewn stones of the façade are still visible, as are the old steel fittings and the weathered lettering of the former user. The structure of the warehouse, with its three gables between which storage levels are spanned, has been adopted by the architects for the building's new function. The difference is that now the white gallery rooms are set in free-standing concrete cubes like shrines. On the side facing the river, a sweeping system of walkways and stairs stretches the entire length of the building, providing not only circulation to the museum

but also fascinating views through, into and out of the volume. For the new head ends of the building, the architects designed a glass façade with a natural stone blind. The solid, tilted slats allow an unclear view into the interior of the building. The seemingly dematerialised glass, which clads the container type additions accommodating the restaurant, visitors terrace and administrative offices on the side facing the river, appears strangely solid and almost impermeable. through, into and out of the building.” i

“Its transformation into a contempo-rary cultural centre � part of an urban plan to regenerate the waterfront - was based on a series of minimal in-terventions that reorganised three of the former cells into distinct elements connected by an interior streetThe base is split into 14 submarine cells (alvéoles), of which eight were designed as dry docks and six as wa-ter basins. The basins are 11 metres high and 117 metres long, while the tanks inside measure 17 metres by 90 metres.

The cells are connected inside through an intersecting “street”

equipped with tracks. They were used originally for the transportation of machine parts.

Project “Alvéole 14“This project seizes the site’s intrinsic qualities. The raw, impressive struc-ture is transformed through minimal interference, enhancing the enigmat-ic atmosphere of the bunker cells. The cells are accessible from the outside through just a few entrances and the roof has also been made accessible. The capillary nature of these trans-formations contrasts starkly with the monolithic character of the existing space. The bunker becomes a site suitable and appealing for new uses.” ii

i. Fundació Mies van der Rohe. Art Depot, https://www.mie-sarch.com/work/180, Accessed 15th August, 2019

ii. Richters, Christian, Fundació Mies van der Rohe, “Alvéole 14 Transformation of a Sub-marine Base” https://eumiesaward.com/work/137, Accessed 15th August, 2019

Former Power Station turned Art Depot

LocationWürzburg, Germany

Year completed2002

Former submarine base

LocationWürzburg, Germany

Year completed2002

Halles 6 by LIN Architects Arsenale, Venice

“As this historical postcard shows, the production building was the vibrantsetting for many activities: manufacturing workshops on the ground floor andabove them, the design studios which gave rise to the projects. The architec-tureis highly conducive to ongoing creativity; it stimulates conception and inven-tion. The building has been adapted to future uses The plan for the "Pôle Interdisciplinaire dédié aux Cultures Numériques" orInterdisciplinary Digital Cluster taking place in Halle 6 involves a flexiblestructure to support the ongoing process of transformation.” iii

“The Arsenale was the largest production center in Venice during the pre-in-dustrial era and in full-time periods it had up to 2,000 workers a day. It was a huge complex of construction sites where the Serenissima fleets were built and, therefore, a symbol of the economic, political and military power of the city. Since 1980 the Arsenale has become an exhibition site of La Biennale on the occasion of the 1st International Architecture Exhibition.”iv

iii. LIN Architects, Halles 6, https://www.lin-a.com/gallery/andi-competition-finn-geipel-france-lin-project-nantes-wettbewerb/halle-6 , Accessed 15th August, 2019

iv. Rosenfield. “Venice Biennale 2012: Ruta del Peregrino responds to “Common Ground”” 25 Aug 2012. ArchDaily. Accessed 6 Sep 2019. <https://www.archdaily.com/266818/venice-bien-nale-2012-ruta-del-peregrino-responds-to-common-ground/> ISSN 0719-8884

Former Manufacturing Site turned production building

LocationNantes. France

Year completed2015

Former Production Yard turned architecture museum

LocationVenice, Italy

Year completed1560

04 _ P R E C E D E N T ST U DY

A B R I C O L A G E O F I N F R A S T R U C T U R A L T U R N E D M U S E U M T Y P O L O G I E S

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Le Fresnoy Art Centre by Bernard Tschumi

A PLACE OF SPECTACLE

Bernard Tschumi argues that the reality of architecture lies in the aspects of bodliy and social movement that are conventionally re-moved from the definition of architecture. He insists that there is no architecture without movement. without events, without the activ-ities that take place inside buildings. Tschumi constantly turned to other disciplines and domains to examine modes of representation outside of the static presentation of architecture. This leisure complex used to be a fairground-like labyrinth. Tschumi’s scheme responds to the need for the physical and theoretical renewal of the site in which Le Fresnoy is a direct con-frontation between his spatial theory (movement, fluidity, and the symptom of banality of the existing building. The existing extraor-dinarily large spaces provided a canvas for the combinations of programmatic overlay.

The programme involves a theatre, exhibition space, film studio, multimedia centre, cinemas and accommodation. This all targets towards research into all the art disciplines and their capacity to stimulate dialogue.

Tschumi, Bernard, “Le Fresnoy Art Centre”, www.tschumi.com/projects/14/#, Accessed 18th August 2019

Figure 2. Elevated Walkway junctionFigure 1. Conceptual Sketch of Le Fresnoy volumes Figure 3. Interior of multi-level staircase connecting vertical planes

Leisure Complex turned National Studio for Contemporary Arts

LocationTourcoing, North France

Year completed1997

MEDIATHEQUE

PERFORMANCES

CINEMA

The scheme aims to ac-celerate chance events by combining diverse elements. This is achieved through juxtaposing the overarch-ing roof with the containers where an intertwining walk-way allows the viewer to see the processes as a place of spectacle.

ACTIVITY ZONE

TERRACE

AUDIO-VISUAL AREA

BAR/RESTAURANT

SECTION PHOTO

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This project seeks to in-vestigate the creative act and the relationship with the viewer in space where the work and the process is exhibited. This walkway occupies the space in between the new modernist box and the existing buildings. This interstitial space becomes a place of experimentation and fluidity.


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Levy, Natasha, “Mary Duggan completes...” Dezeen, https://www.dezeen.com/2019/05/17/mary-dug-gan-science-museum-events-space-interior-design-london/, Accessed 18th August 2019

Each floor is now split into a "served" zone that accommo-dates visitors and a "service" zone that contains ancillary functions, which are hidden behind pale partition walls. They are connected via a new, all-white staircase with a metal handrail.

Grey resin flooring in the visitors' area is printed with huge overlapping circles, intended to emulate the geometric colour experimentations that American-German artist Jo-sef Albers produced in his 1963 book Interaction of Colour.

The patterns on the floors also serve as visual markers for how seating can be arranged during events. "Each room converts into a sequence of spaces to serve multiple oc-cupation typologies, some yet to be discovered"

Former History of Medicine Gallery turned versatile event space

LocationSouth Kensington, West London

Year completed2019

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This operable curtain rail allows for maximum flexibility in terms of dyanmic event spaces. “Each room converts into a sequence of spaces to serve multiple oc-cupation typologies, some yet to be discovered.”

Space Frame Structure

The patterns on the floors also serve as visual markers for how seating can be arranged during events.


London Science Museum by Mary Duggan

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P O S T - P R O D U C I N G O B S O L E T E A U T O M O B I L E I N F R A S T R U C T U R E

D r a w i n g u p o n t h e i n d u s t r i a l re l i c o f t h e D o m a i n C a r Pa r k , t h e n e w b u i l d i n g s e e k s t o i n t e n s i f y i t s i n t r i n s i c q u a l i t i e s , g i v i n g t e c t o n i c p r e s e n c e t o t h e f a d i n g m e m o r i e s o f t h e p a r k i n g g a ra g e .

M u s e u m s p a c e s w i l l i n v o l v e a p r o c e s s w h e r e w o r k s o f a r t a re e n t a n g l e d w i t h a rc h i t e c t u re , m a k i n g i t d i f f i c u l t t o d e f i n e w h e r e a r c h i t e c t u re e n d s a n d a r t b e g i n s ; w h e r e a l s o t h e l a n d s c a p e i s p u r p o s e l y i n v a d i n g a r t a n d a r c h i t e c t u re t o a p o i n t o f i n d i s c e r n i b i l i t y.

Hyper art thomasson is a Japanese conceptual art term character-ising useless relics or structures that have been preserved as part of the built environment that have become artistic pieces themselves.Shown below are photographs taken of anachronistic urban frag-ments from the Domain carpark. These useless relics of obsolete carparking elements will be preserved and post-produced to give new meaning to indicators of obsolete car-parking.

Breeze Block Splayed Columns

Mesh Gateway

[ 2 ][ 1 ] [ 3 ]

Bollard

Glass Brick

Waffle Slab Arch Columns

[ 4 ]

[ 5 ] [ 6 ] [ 7 ]

Photographic collage of Useless Car Parking Relics

0 5 _ D E S I G N ST R AT E GY

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[ Flexible Superstructure ]

The main network super-structure creating a frame-work across the site for shel-ter, for hanging artworks and distributing partitions, lighting and data.

[ Circulation Stair ]

Using the existing glass brick feature with a renewed stair-case, this element will connect to the larger walkway and al-low vertical access between 3 levels.

[ Studio and Workshop Modules ]

Utilising new flexible polycarbon-ate partitions and existing ramp and column structure dividers to create divisions of ownership and space.

[ Model Archive Ramp ]

An archive of architectural model display lines the edge of the site with viewers walk-ing along the existing ramp at the northern edge of the site.

[ Main Gallery ]

The main curated space is cre-ated through carving a void in the centre of the site, allowing 1:1 site display and viewing plat-form. The curtain surrounding the platform to acts as a flexible partition.

[ Public Ampitheatre ]

The public ampitheatre is con-nected to the north west of the site in order to connect the public domain with the interior of the gallery. Furniture can also be ar-ranged in the space for an atrium workspace.


Post - Producing the Industrial Car Park Relic Hyper Thomasson

A Hybridisation of Post-Produced Elements and New Gallery Interventions

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Retain Structure Retained Structure

Demolish Structure New Structure

North end of carpark is the darkest section of the struc-ture. It has no natural light with only direct sunlight through southern facade.

Domain TravellatorThis mechanical footway connecting people from Hyde Park to the carpark is an un-usual anachronistic pocket of space and time. It embodies remnants of a future city of maximum effi-ciency that never came to be. Urban planning in the 1960s involved expressways, under-ground carparks and highrises where this element marked a beginning of an extensive underground network. The practicality of the walkway has ensured its survival over the years and remains a reminder of retro-futuristic novelty.

Green grassland as extension of the park over the roof en-capsulating playing fields

New Structure - Series of Steel Trussed Portal Frames spanning between the existing archive ramp and facade ramp

Spotights will be fixed to truss structure at designated in-tervals

New Structure - Concrete Sla Walkway on Level 1 and 2 for Mezzanine and Rooftop

New Entrance - concrete stairs and paving

STRUCTURE:

Columns are on a 9100 x 9100 mm structural grid with column capitals at the slab soffit

The carpark suspended floors are a waffle slab construction with 300mm ribbed thickness.

The roof has been designed to carry 800mm of soil.

Rigid splayed column and waf-fle slab module that is repeat-ed throughout the length and width of the building

Typical columns are 835 x 380 mm with typical 1600mm x 1140 pad footings bearing on rock.

General clearance of 2285mm from floor to floor

Vehicular access to the car-park

Pedestrian Walkway from East of the Domain towards St Mary’s College

Small side entrances leading to site


Structural Analysis & Strategy Structural & Lighting Strategy

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P R O G R A M M A T I C S T U D Y

Flexible Studios

Art and Architecture

Workshop

Collaborative Space

Outdoor display space

Viewing Platform

Assembly Space

Event Space CuratedSpace


Alternative to the impenetrable facade of institutional buildings, the formal setting and behaviour is chal-lenged through implementing a granular approach. Cultural production will occur at different scales and cycles through many processes. New typologes are able to be achieved through large and small scale in-terventions.

In this scheme, architecture and movement are presented as synonymous. Like Bernard Tschumi believes, there is no architecture without events and activities that take place inside the built object.

Here social interaction and movement is activated in a context of In responding to the post-production of the site. In presenting the processes on display below, a system of overhead pedestrian linkages allow for passerbys to interact with and view the activities within.

The scheme aims to create a heterogeneous space of production, through the dismantling and hybrid programming of art and architectural activities. Through weaving of 2 programs housing the creative disciplines of art and architecture, a workshop and gallery typology allows for a site of production through multiplicity of meanings.

A network of superstructure + framework across the site for shelter, for hanging artworks and distributing partitions, lighting and data. This structure addresses the renewal strategy for the site in which it is a low cost and efficient response to the shape of the site.

This infrastructure will be designed to provide maximum utility without prescribing use or assigned activities inside the spaces. With this superstructure an infrastructural kit of parts sit within and amongst the governing superstructure and boxes: movable, adaptable, connectable and freely available to reconfigure.

The Architecture Museum - Institutional vs Granular

A suite of ephemeral interventions proposed for the hilly site of the Domain Car Park. The conceptual strategy envisages an instantaneous transformation of the landscape with simultaneous occupation of the obsolete carpark.

The array of forgotten carspaces will be fused with artistic and architectural activity through events that showcase the latent possibilities of creative workshop typologies. These spaces will become instruments through which to devise alternative solutions for the urban recomposition of such a frayed urban peripheral fabric. Installations, projections, light art, landscape interventions, ephemeral constructions are some of the ways the space will be transformed.

This project will explore interfaces between architecture, the visual arts, public lighting and the cityscape. Drawing upon the industrial relic of the Domain carpark, the new building seeks to complete the revival of this lost artefact, giving tectonic presence to the fading memories of the parking garage.

The project seeks to mediate between the autonomous vessels (transposed rooms) and the built object that forms a container to house them in. Positioning the user of space as a curator of space allows them to exercise the architects role to exercise a degree of sequence control. This proposes a method of design dealing with multiples, collections and transpositions challenging the modernist idea about the original and autonomous.

viewing platform where passer bys can experience temporary art and architecture installations from the inside and outside

creative production through infilling modular workshop spaces utilising the typology of a car space

large scale flexible gallery spaces taking advantage of the large site area

DYNAMIC EVENT SPACE COMMUNITY BASED WORKSPACE ARCHITECTURE ON DISPLAY

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A c o m b i n a t i o n o f t h e ex i s t i n g w a f f l e s l a b s t r u c t u ra l ro o f i s c o n t ra s t e d w i t h a l i g h t w e i g h t p o l y c a r b o n a t e t ra n s l u c e n t ro o f t o a l l o w l i g h t t h ro u g h t h e b u i l d i n g w i t h o u t d i re c t s u n l i g h t .

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N E W ST E E L T R U S S F R A M E ST R U CT U R E

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M U LT I - L E V E L P E D E ST R I A N L I N K AG E

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F L E X I B L E G A L L E R Y I N S E R T I O N S

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PA R K I N G M O D U L E WO R KS H O P S

T h i s s e r i e s o f p o r t a l f ra m e t r u s s e s s p a n t h e l e n g t h b e t w e e n t h e ex i s t i n g ra m p s t r u c t u re s a t t h e n o r t h a n d s o u t h o f t h e b u i l d i n g . T h i s p ro v i d e s s t r u c t u ra l s u p p o r t fo r t h e f l ex i b l e ra i l s y s t e m a s w e l l a s t h e ro o f.

F l ex i b l e C u r t a i n R a i l f i xe d t o t h e ro o f t r u s s s t r u c t u re fo r a s e r i e s o f s l i d i n g , ro t a t i n g a n d p i v o t i n g t ra n s l u c e n t p a r t i t i o n s d i v i d i n g t h e l a rg e h a l l i n t o i m p ro m p t u g a l l e r y s p a c e s .

1 . E n t r y D o o r S e q u e n c e2 . S l i d i n g G a l l e r y M o d u l e s3 . F l ex i b l e P i v o t i n g G a l l e r y M o d u l e4 . M a i n H y b r i d G a l l e r y5 . S l i d i n g S u p e r s t r u c t u re6 . R o t a t i n g C i r c u l a r G a l l e r y

T h e ro o f t o p w a l k w a y a c t s a s a n ex t e n s i o n o f t h e p e d e s t r i a n p a t h w a y s t h ro u g h t h e D o m a i n t h a t b r i n g p e o p l e i n t o t h e b u i l d i n g . A s a p a r t o f t h e u r b a n s t ra t e g y, t h e s e i n c re a s e d p e d e s t r i a n c o n n e c t i o n s f ro m t h e Pa r k t o Wo o l l o o m o o l o o a l s o p ro v i d e v i s u a l a c c e s s t o b u i l d i n g a c t i v i t y i n s i d e . A ro o f t o p b a r a n d s c u l p t u re g a rd e n o c c u p y t h e l a rg e ro o f t o p m ez z a n i n e s .

3 l e v e l s o f f l ex i b l e w o r k s h o p s u s i n g ex i s t i n g p a r k i n g s p a c e s a s a s p a t i a l l o g i c fo r re o rg a n i s i n g c u s t o m i s e d w o r k s h o p a n d s t u d i o s p a c e . T h e f l ex i b l e ra i l a c c o m m o d a t e s fo r a n i m m e d i a t e re c o f n i g u ra t i o n o f s p a c e d e p e n d e n t o n u s e r re q u i re m e n t s .

Exploded Axonometric

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N E W M A T E R I A L P A L E T T E

E X I S T I N G M A T E R I A L P A L E T T E

Structural SteelOff Form Concrete

Off Form Concrete Concrete Waffle Slab Glass Brick Breezeblocks

Polycarbonate Roof and Cladding

Fibreglass Mesh Cladding

Painted Steel FrameGlass Brick

Translucent Fabric Curtains

Glass Balustrades


Existing and New Material Strategies

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Ground Floor Plan

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Level 1 Plan

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Level 2 Plan

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Roof Plan

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1:100 Detail Section

M a i n E n t r a n c e - A c c e s s f r o m t h e p a r k o f f S t M a r y ' s S t r e e t

1.

3.

2.

5.8.

7.

11.

10.

9.

12.. 6.

4.

1. 200x 200 SHS fixed to lateral beam2. PTFE Coated Fibreglass Mesh attached to cable fixed to SHS3. 200 x 200 SHS Fixed to existing concrete rampe edge4. Ramp Walkway PTFE Coated Fibreglass Mesh5. PTFE Coated Fibreglass Mesh roof6. Flexible Gallery Module Stainless Steel track with polycarbonate partition fixed to rotating auminium tube7. Polycarbonate caldding fixed to SHS top and bottom8. Gutter System fixed to steel beam and SHS9. Glass Balustrade fixed to existing slab10. Stainless Steel Truss Structure11. Polycarbonate translucent roof material12. Restaurant Seating

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Building Access Points Building Circulation

01

0 1

Pa r k

G ro u n d

Pa r k

L 1

L 1

L 2

L 2

Pa r k

M a i n E n t r a n c e - A c c e s s f r o m t h e p a r k o f f S t M a r y ' s S t r e e t

D i a g r a m s h o w i n g r o o f t o p w a l k w a y r o u t e b e g i n n i n g f r o m p a r k l e v e l b r i n g i n g v i s i t o r s d o w n t o L e v e l 1 a n d t h e n g r o u n d

02

0 2

P a r k E n t r a n c e 1 - C o n t i n u a t i o n o f f ex i s t i n g p a t h w a y t o R o o f t o p B a r w i t h a c c e s s i b l e l i f t c o n n e c t i o n t o l o w e r l e v e l s a n d g r o u n d

03

0 3

P a r k E n t r a n c e 2 - E n t r y t o O u t d o o r S c u l p t u r e Te r r a c e w i t h a c c e s s i b l e l i f t c o n n e c t i o n t o l o w e r l e v e l s a n d g r o u n d

040 4

0 5

0 6

S t r e e t E n t r y 1 - O r i g i n a l E n t r a n c e t o C a r p a r k r e n e w e d

05

06

S t r e e t E n t r y 2 - O r i g i n a l E n t r a n c e t o C a r p a r k r e n e w e d

L o a d i n g D o c k E n t r a n c e - R o t a t i n g D o o r s f o r L a r g e A r t w o r k a n d M o d e l S c u l p t u r e L o a d i n g

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Flexible Gallery Module Typologies

T H E M U S E U M DISPLAY SYSTEM

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S L I D I N G G A L L E R Y

Archive Display Ramp - Conversion of Existing Waffle Slab language into a vertical series of shelves displaying models and archived goods

Simple sliding curtain partitions to divide the large display space into several, with flexible permeations. Space is suitable for large 1:1 models and sculptures.

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Sliding Gallery - Main Rational Display Area able to be partitioned into several rooms by sliding curtains for Large 1:1 Models or Sculptures

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Combination of rotational wall partitions and sliding walls hinged on a hybrid rail to allow for room configurations

Elevation

Oblique Plan

0 5 _ D E S I G N ST R AT E GY0 5 _ D E S I G N ST R AT E GY

H Y B R I D G A L L E R Y

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0 5 _ D E S I G N ST R AT E GYHybrid Gallery Combination of rotational wall partitions and sliding walls hinged on a hybrid rail to allow for room configurations

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Multilayered sectional rotational movement to allow for circulation between partition to create layers of transparency

S U P E R ST R U CT U R E G A L L E R Y

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The modular gallery typology involves rotational circu-lar movement to allow for a permeable facade. Gallery module partitions may act as a weather barrier against from external conditions as well as posing as a display system.

M O D U L E G A L L E R Y


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Multilayered sectional rotational movement to allow for circulation between partition to create layers of transparency

C I R C L E G A L L E R Y


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Simple sliding movement to create breaks and openings depending on workshop access and spatial needs

W O R K S H O P S S P A T I A L C O N F I G U R A T I O N O F C A R S P A C E W O R K S H O P T Y P O L O G Y P O S S I B I L I T I E S

Flexible Car space Module

2.8m

Flexible Column-Module

Arch Column-Module

Flexible Double Column Module

8.4m 2.8m 8.4m

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Main Entry Sliding Gallery Hybrid Gallery Circle Gallery Loading DockMezzanine WalkwayMezzanine Walkway

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1.

2. 3.

1. Museum Bookstore and Library2. Rooftop Sculpture Terrace and Bar3. Exterior Perspective of Museum


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Smart Drawing - Conceptualisation of movement diagrams in building to visualise an architectural museum in constant flux

Program Function Area Lobby/Gathering Space FOH 348m2 Primary Exhibition Space – Sliding Gallery FOH 739m2 Tertiary Exhibition Space – Flexible Gallery Modules

FOH 1218m2

Primary Exhibition Space – Hybrid Gallery FOH 1476 m2

Secondary Exhibition Space – Superstructure Gallery

FOH 792m2

Primary Exhibition Space – Circle Gallery FOH 1063 m2

Artist/architect studio FOH 3522 m2 Design Bookstore and Library FOH 604m2 Restaurant / Cafe FOH 354 m2

Gift Shop FOH 153m2 Courtyard/outdoor function area FOH 900m2 Staff rooms/kitchen FOH 134m2 Toilets. Accessible toilets, staff toilets FOH 456 m2 Ticket Counter/Reception FOH 108 m2 Bagging area, cloakroom FOH 108 m2 AV Operation/server room/security room BOH 57m2 Loading dock (covered) / goods lift BOH 1358m2 Collection stores BOH/FOH 966 m2 Storage BOH/FOH 966 m2 Offices / Meeting Rooms BOH/FOH 258m2 Total 15 580 m2

Area Schedule


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1.

SECTIONALM O D E L

1:200 Sectional Model

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3. 4.

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5.

6.

1. Top View2. Overall Perspective3. Side Perspective4. Hybrid Gallery5. Superstructure Gallery6. Facade Ramp Walkway7. Front Elevation Perspective

7.

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1:400 Sectional Model

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A BRICOLAGE OF INFRASTRUCTURAL TURNED MUSEUM ... - imgix

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Transcript of A BRICOLAGE OF INFRASTRUCTURAL TURNED MUSEUM ... - imgix