From memory to dream - design 3

from memory to dream design

from memory to dream elena staĹĄkutÄ—

Student Elena StaĹĄkutÄ— Mentor Rob Hootsmans Commission member Kamiel Klaasse Commission member Anastassia Smirnova

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CONTENT

A new heart 7 The collection 11 Lab city 15 5 interventions 17 Removing 19 Inserting 53 Adding 89 Recontextualising 115 Restructuring 149 All in all 197 Colophon 205 Sources & bibliography 207

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A NEW HEART

All transformation strategies share the same goal to give a new heart to the buildings involved. This is done by choosing interventions that help to reveal their best qualities.

Interventions could take the form of a eye catching reinvention of the function and appearance of the building or a small-scale alteration that sets off a chain reaction that transforms the building over time.

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THE COLLECTION

To regain their status as landmarks for Panevėžys, the concept on the scale of the city is to emphasize the connections between the buildings.

By presenting them as a collection they can strengthen the identity of the city: a unique collection that no other city has but that can be found in Panevėžys.

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LAB CITY

Transformation strategies that are successful in Panevėžys could serve as examples for other Soviet era modernist buildings in other cities.

The uniformity that characterizes most of these buildings could then be turned into an asset: a compact set of clear ideas could be used to reinvent a large number of buildings.

In that way the interventions could become prototypes and the city of Panevėžys a laboratory city: a place that is open to test ideas that, if successful, can be implemented on a larger scale elsewhere.

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removing removing removing adding

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adding adding re-contextualizing re-contextualizing removing re-contextualizing inserting adding inserting inserting re-structuring re-contextualizing re-structuring re-structuring

inserting

re-structuring

5 INTERVENTIONS

The aim of the design proposals is to illustrate how interventions could achieve functional improvements and change the way the buildings are perceived.

Out of the 11 analysed buildings I selected 5 to make conceptual designs for: • The Domestic Service Centre (Buitinio Gyventojų Aptarnavimo Kombinatas) • Hotel Panevėžys • The ¼ km Residential Building (Sasyska) • The Wedding Palace (Santuokų Rūmai) • Cinema Garsas

Each design proposal was created around a transformation strategy that uses a specific mechanic to improve the existing building: • removing • adding • re-contextualizing • re-structuring • inserting

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removing

APARTMENT BUILDING

Sasyska sits on a prominent location at the edge of the city centre. Its ‘S’ shape, the commercial plinth and its integration with the sloping site show that it’s a late modernist design made possible after revisions to the norms and regulations for this type of building.

Unfortunately the retail units in the plinth are only partially occupied. What was designed as a pedestrian promenade has been claimed for motorists by a long row of parking bays. The long, lifeless plinth, forms a barrier that closes off the city centre from the neighbourhood behind Sasyska.

Because of its unusual appearance and its placement along a busy street the building is well known amongst the residents. By reviving the plinth, and its connection to its direct surroundings, I believe the building can reinvent itself as an icon for the city.

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on the intersection of regional roads

in the middle of the city centre

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Location importance

city square

market

bus station

residential area

a border on anurban scale

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REMOVING

My proposal is to get rid of the retail programme that no longer functions and replace it by an open, outdoor space that is publicly accessible.

In that way the pedestrian route on the side of the city centre can be connected to the park that is currently shielded off by the plinth.

The result is a public space that continues underneath the full length of the building, eliminating the distinction between a frontside and a backside. By designing this space to be attractive to a diverse audience it aims to stimulate an active and lively city centre.

To achieve this a landscape divided in three zones is created: • An active zone with a skatepark to attract youth • A calm zone with a playground and a park for children and the elderly • A social zone with workshops and terraces to offer a place for the creative community

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A uniform form language is maintained across all zones. This is done by creating a composition made of a series of bumps and bowls. For each zone the use of these shapes can be reinterpreted to accommodate different activities.

The porous landscape created by the bowls and bumps can be traversed by a multitude of direct and indirect paths. This slows down passers-by and invites them to get involved with the activities in the zones.

The existing basement underneath the landscape is partially claimed to house new programme. The space underneath the bowls can be put to use as basins for rainwater collection.

The concept of replacing a plinth with an outdoor space could be reused in other projects where a dead plinth severs the connection between a building and its surroundings.

city

paths

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Concept

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Possible uses

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Existing structure

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Floor plan

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Longitudinal section

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Social zone

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Calm zone

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Active zone

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Landscape

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Housing entrance

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inserting

CINEMA

Garsas has a rich history as a film institution and is the last cinema still operating in the city centre.

It has two sisters in Klaipeda and Druskininkai but neither are in use as cinemas anymore.

Some renovations have been carried out over the years but those were mostly utilitarian and have not benefitted the architectural expression of the building.

Because it is struggling financially it is currently at the mercy of the goodwill of the municipality that funds its activities. A proposal has been floated to demolish the cinema building and replace it with a museum.

It remains up in the air if this proposal will be developed further. Equally unclear is whether Garsas will be able to continue its activities in a different form if the municipality follows through with this idea. It seems that a reinvention of Garsas is the last chance to preserve the building and its cinema function at this location.

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To articulate its direction for the near future the organisation behind Garsas has composed a 4 year strategic plan.

The plan presents a desire to broaden the activities of Garsas beyond screening (commercial) films and to foster film culture in the city.

Four main ambitions are mentioned: • Create a mature film culture in the city and beyond, involving local and national professional artists • Co-operate with foreign partners in organizing joint film programs and events • Develop educational programs about film for children and youth • Create conditions for the community, especially young people, to participate in cinema activities, to develop their creativity This would involve organizing film festivals, lectures, workshops, film-watching clubs, etc.

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Cinema since 1928

Klaipeda, Lithuania abandoned, previously in use as a 2nd hand furniture store

Druskininkai, Lithuania Transformed to a supermarket

Panevėžys, Lithuania Cinema

Typical project by Vykis Juršys

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600 seat hall in Garsas

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LantarenVenster Rotterdam

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PathĂŠ Schouwburgplein Rotterdam

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Other contemporary cinema box sizes

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INSERTING

I believe that Garsas’ current modernist home can be an inspiring environment for the proposed event and educational programmes. My proposal for reinventing Garsas is focussed on altering its main hall. It currently is too large and has too many seats to be exploited efficiently.

more expression to the exterior of the building.

Emergency staircases, ramps, and ‘light cannons’, formed by clear shapes with bold colours, pierce the skin of the existing façade: a sprinkle of Le Corbusier and Hejduk on top of a Lithuanian modernist classic.

By inserting new volumes inside the main hall, two more compact halls for screening films can be created inside. The remaining space around the new volumes can then become a new public space to house the extended programme. The existing tribune of the current main hall can be altered to become a space for organising lectures.

The top of one the new volumes can be used to give workshops while the sides offer alternative surfaces to project film.

Many standard type cinema buildings, constructed during the same time period, feature a similar oversized main hall. By inserting multiple compact halls those theatres could improve their flexibility in a similar way: offering a better suited capacity per hall and expanding the possibilities to screen multiple films simultaneously. In that way they can continue operating as cinemas. If a change of function is called for the same solution can be used to house alternative programmes.

The additions of new halls and a new programme for the main hall comes with new requirements for escape routes and daylight. I’ve used the necessity of these new elements as an opportunity to add

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156 seats 600 seat 120 seats

1+1 = 3

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Lower hall

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Tribune

Upper hall

Skylights

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Ground floor

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1st floor

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2nd floor

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Workshop balcony

Longitudinal section

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Cross section

access & skylights: steel halls: acoustic textile

tribunes: mahogany wood

Materialisation of new elements

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East Elevation

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East elevation

1:200

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West elevation

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adding

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DOMESTIC SERVICE CENTRE

The domestic service centre is in a poor state. The open plan once occupied by service providers is now divided into separate retail units and offices.

Ownership of the building is splintered across multiple parties. There are seemingly no substantial funds available for maintenance.

Occupants use their parts of the building without any noticeable coordination with their neighbours.

Partitions between units are placed chaotically and no obvious efforts have been made to coordinate external signage so that a unified image is presented to passers-by.

It seems that the owners are unable or unwilling to come together to discuss a vision for the future exploitation of the building.

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Situation

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Rødovre City Hall 1956 Arne Jacobsen

DSC FRONT

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Domestic services building in Panevėžys

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ADDING

My suggestion for an intervention is to introduce a common cause for the owners to unite around and start working together, like the service providers of the Soviet era that preceded them.

This could be realized by adding a new publicly accessible programme that each owner can buy into. The revenue it generates is then to be reinvested in maintenance for the building.

In my concept for this building a pavilion with a large terrace is placed on the roof; the only space still available for extra programme. It’s made with a lightweight structure so it doesn’t weigh down on the foundation of the existing building too much and can be easily removed if needed. It has a temporary character and is made with inexpensive materials so that the barrier to invest into the project is kept low.

The pavilion can be used as a restaurant or as a venue for cultural events. As a nod to the history of the building communal elements are also present.

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The kitchen is open to the public for cooking classes and the edges of the terrace are to become an urban rooftop farm. Here vegetables and herbs can be grown for personal use and for use in the restaurant and the cooking classes.

Two accents signal to the public that there is a new programme to be discovered on the rooftop. A long slender staircase provides direct access to the terrace from the street level. A large illuminated sphere functions as a beacon that can be observed from multiple angles around the building and from far away.

The rooftop pavilion is a concept tailored to this specific building but the core idea of organizing a common cause to rally owners behind could be considered in other buildings where split ownership is a roadblock to successful co-operation.

Open plan structure

Chaotic interior division

15 owners

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Space for collaboration

Co-operation

Concept

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beacon

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base

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recontextualising

WEDDING PALACE

The wedding palace in PanevÄ—Ĺžys is an expressive building with a strong character. Making it an instantly recognizable landmark for the city. Its two largest issues are caused by external forces that it needs to overcome.

The first issue is caused by the placement of the building on the plot. The surroundings are bland and featureless. There is no noticeable structure to the placement of the buildings on the block. The result is a disjointed mess where everything feels slapped together. This is made even worse by a recently constructed bank building that is placed far too close to the wedding palace.

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The second issue is caused by the poor popularity of wedding palaces in Lithuania in general.

As relics of the Soviet system they come with associations of religious oppression. The modernist architectural style is likely an acquired taste that most of the couples that might consider getting married here do not possess.

Trying to solve these issues by making changes to the building itself proved difficult. I realised that the building needs to be placed in a new context so that it can reinvent itself. To achieve this, I formulated a three step strategy.

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RECONTEXTUALIZING

The first step is to improve the relationship the building has with its surroundings. I found that the best way to get this to work is to physically move the entire building sideways and rotate it by 34 degrees.

This frees up enough space around the building to implement the second step of the strategy: introducing a new landscaping design that anchors it to the site.

Additionally, relocating the building creates new sightlines that reveal the symmetry of the design and puts its sculptural façade on display. This significantly strengthens the building’s role as a landmark.

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to change the context

relocate the building

Relocating concept

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RELOCATING

Moving the entire building might seem technically implausible at first but some research into this matter shows that far larger (and older) buildings have been moved in the past over relatively large distances.

In the United States specialist companies exist that have made a business out of jacking up buildings, with hydraulic systems, after which they can be slowly moved by remote controlled dollies and transplanted to a new foundation on another site. The limiting factor here often isn’t the building being moved but the obstacles (like power lines, overpasses and other buildings) that might block the route the building needs to travel to reach its destination.

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A striking example of a similar operation in Europe is that of the relocation of the Lubomirski Palace in Warsaw. In 1970 the 8.000 tonne palace was rotated 74 degrees to make place for urban developments and to align it better to a historical axis running through the city.

The Polish engineers pulled this off by placing a structure of beams and tracks underneath the building after it was separated from its foundations and annexes. The building was then slowly rotated at a rate of 1,5 degrees a day, over a period of almost two months, to reach its new orientation.

2009 Odd Fellows Building in Salt Lake City, USA

1970 Lubomirski Palace in Warsaw, Poland

1987 Apartment Building in Alba Iulia, Romania

2014 Harriet F. Rees House in Chicago, USA

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Lubomirski Palace in Warsaw rotated to new orientation in 1970

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Existing situation

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21st CENTURY WEDDING

The third step of the strategy is to change the public’s opinion on wedding palaces as an institution.

I find it an interesting thought that the changing position of marriage in our society might open the door for wedding palaces to become relevant again.

Even tough society in Lithuania leans more conservative than other European countries also here new generations view the significance of marriage differently than their parents and grandparents. In addition, the free movement of people within the European Union, and immigration from outside of it, is slowly making Lithuanian society more diverse. On one hand because more expats are settling in the Baltics on the other because of young emigrants returning

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home after their experiences abroad.

Wedding palaces can play into this new diversity by offering an attractive alternative for those that are not seeking, or are unable to comply with the catholic tradition.

By rethinking and modernizing their services a wedding palace could become a ceremonial place aimed at inclusion. In that way a type that was created to force secularization would become a place where anyone could get married; regardless of religion, cultural background or in the future possibly gender.

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RELOCATING

DESIGNING NEW LANDSCAPE

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EXPANDING THE PROGRAM

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restructuring

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‘The tallest and the most elegant - for the guests!’

PAVB

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HOTEL

At the time of its construction the hotel’s monolithic loadbearing structure was an impressive feature that set it apart from similar hotels. Now that a large hotel is no longer feasible at this location it has become part of what is holding back the buildings redevelopment.

The low floor height and short span between the loadbearing walls makes it difficult to adapt the building to a new function without altering the loadbearing structure.

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In my concept I wanted to explore what is possible by selectively removing floors and opening up walls so that new connections can be made between spaces. I’ve tried to push the boundaries of what the building can accommodate by choosing a hybrid programme of possible new functions. These include an art gallery, a boutique hotel, apartments, offices and retail spaces.

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Typical original floorplan

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Structure

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RESTRUCTERING

Like a game of tetris units with different programmes are stacked on top of each other like blocks, branching out in multiple directions and filling the gaps between neighbouring units.

The design of each unit became a small study into the creation of diverse spaces within the tower’s repetitive grid of walls and floors. The result is an eclectic mix of functions that is intertwined on all floors of the former hotel’s high-rise section.

The original façade is maintained and a second façade is placed behind it. The distance between the two layers varies, creating balconies and plant basins where appropriate. The appearance of the inner façade panels is determined by the programme behind it. This reveals the complex division of new functions inside the building in a subtle way without losing the character of the long bands of the original façade.

A hybrid building with multiple new functions can offer a solution to similar vacant buildings that are too large to be filled with a single function.

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Diverse programme concept

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New program & typologies

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all in all

ALL IN ALL

What I’ve learned from my research of the modernist buildings of Panevėžys is that all of them have a story that is worth knowing. By seeing them not as individual buildings but as a collection, it becomes clear how much they contribute to the image of the city and why their preservation is important. Without them a large part of Panevėžys’ identity would be lost.

Because of how the history of the Soviet Union has shaped architecture and urban planning in its former republics, many similar stories can be discovered across eastern Europe. They give us a glimpse of what society was like in that period of time; how the socialist ideals concerning culture, entertainment, domestic life, religion and marriage were represented through architecture.

It was interesting to learn the ways architects fought to retain creative control over their designs in the face of draconian regulations and norms. Even though they were limited by modest means and choice of materials the influence of western architectural movements can be seen in their designs. Because of limited travel

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options contemporary architecture publications were prized possessions that often circulated as photocopies. By knowing these stories the hidden souls of the buildings involved can be discovered.

Most modernist buildings require a different way of preservation than we are used to. For badly aged buildings their looks are usually not they key to improving their attraction. The activities that take place inside are most valuable.

Rather then restoring the buildings to their original state the focus should be on highlighting the features that make them worth preserving. In my design proposals I approached each building as a canvas unto which a carefully chosen intervention could be applied.

The concept of a lab city could expand the network tied to Panevėžys’ modernist buildings even further. Creating international connections, offering inspiration for similar projects and contributing to a debate on what is possible when adapting buildings from the Soviet era.

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CINEMA ‘GARSAS’ 1968

A new heart Intervention

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The collection Network

LAB city Prototype

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COLOPHON

I am very thankful for all the people that made this project possible!

Committee Rob Hootsmans Anastassia Smirnova Kamile Klaasse Experts & Local contacts Marija Drėmaitė Elvyra Klimavičienė Andrius Sviderskas Irma Gritėnienė Genė Pučinskienė Juozas Ragelis Loreta Dundulienė Loreta Guokė Mindaugas Ščevinskas Leonas Blėdis Nerijus Jakštonis Staff of Muzikos mokykla Vaiva Venclovaitė All the participants of the questionnaire Family, Friends & Colleagues Bart Bol Emilija Staškutė Romualda Staškuvienė Algimantas Staškus Inga Staškė Paulius Staškus Marijona Raišelienė Julija Musteikytė Patrick Meijers Jeroen Schipper Julija Osipenko Paulina Kurowska

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http://darbs.lt/2016/06/11/ikurtuviumoderniuose-butuose-dar-teks-palaukti/

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https://sosnowiec.wyborcza.pl/ sosnowiec/7,93867,23149778,dawnypalac-slubow-w-sosnowcu-z-szansami-namakabryle-2017.html?disableRedirects=true https://sosnowiec.wyborcza.pl/ sosnowiec/1,93867,19798167,618-tys-zl-tonajwyzsza-oferta-za-dawny-palac-slubow-wsosnowcu.html http://www.autc.lt/lt/architekturosobjektai/1995 http://www.autc.lt/lt/architekturos-objektai/198 3?rt=3&type=2&ss=panevezys http://www.autc.lt/lt/architekturos-objektai/202 ?uk=&ss=garsas&type=2&rt=3 http://www.autc.lt/lt/architekturos-objektai/198 0?uk=&ss=garsas&type=2&rt=3 https://www.salebiznesowe.pl/walbrzych/hotel-

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Š 2020 from memory to dream