The Shackleton Museum

THE SHACKLETON MUSEUM

01 Amy Shackleton, the artist and inspiration for the Shackleton museum is a 27 year old Toronto based artist with a unique way of painting. The intent of the Shackleton painting techniques through the facade and permanent exhibition spaces. Shackleton does not use paint brushes in her work but instead uses squeeze bottles using gravity to guide paint drips along her Canvas. Gravity was an important part in the buildings facade . Using a combination of masonry, cantilevers and glass, the over the ground. Cables hanging from the

drip paint technique. Shackleton is not only well known for her style of painting but also the message she sends through her paintings. Shackleton explores the relationship between the urban environment and nature hoping to make the public more aware of sustainable building in cities around the world.

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SITE ANALYSIS/SITE PLAN

Parliament Street History

SCALE 1:500

Parliament St was named after the legislative buildings burned to the ground by the invading American forces. Upper Canada changed its capital to York (present day Toronto) in 1793. Two Georgian style buildings, known as the “Palaces of Government� were constructed in order to house the new government. Located just east of Berkley First Parliament buildings built in 1979 had a short lifespan. In 1813 the buildings were burned then rebuilt in 1820 only to be burned again in 1824. The parliament buildings were relocated although the name of the street stayed the same.

Parliament street turned into a Victorian main street serving the surrounding neighborhoods.

During the mid-twentieth century major change was brought to parliament street with the development of regent park, moss park and St. James town wiping out much of the low-rise Victorian buildings in favor of high-rises.

New life has been brought to parliament street with new businesses, carefully thought out restorations and the revitalization project of regent park returning the street to its historical routes focusing on the intersecting residential and commercial areas.

CORK TOWN DISTILLERY DISTRICT St. LAWRENCE NEIGHBOURHOOD WEST DON LANDS TOWN OF YORK

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10 GALLERY SPACE 13 WORKSHOP SPACE 14 MULTIPURPOSE ROOM 15 LIBRARY/MULTIMEDIA SPACE

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1 LOBBY

7 COATS

2 RESTAURANT

8 TICKETS/RECEPTION

3 KITCHEN

9 ELEVATORS/MAIN STAIRS

4 ART STORAGE/ GENERAL STORAGE

10 GALLERY SPACE

5 DELIVERY

11 ADMINISTRATIVE OFFICES

6 GIFT SHOP

12 MEETING ROOM

CONCEPTUAL DRAWING

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LOBBY

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PROGRAM ANALYSIS AND EXHIBIT SPACE

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PROGRAM ANALYSIS AND EXHIBIT SPACE The Shackleton Museum Exhibit spaces are designed around views and natural light. With the Distillery District to the East, Parliament Square Park to the South and Downtown Toronto to the West, users can enjoy the surrounding environment while moving through the gallery spaces.

Natural light is taken advantage of through the atrium space and central courtyard. The second

COATS

WASHROOMS

TICKETS

MULTIM LIBRARY

RECEPTION

EDUCATION

LOBBY

istration, teaching and library space. The central courtyard not only serves the function of natural light and aesthetic value but also helps with circulation through gallery spaces. As users enter

RESTAURANT

GIFT SHOP

DINING

and are brought back to the main stairs where they can continue to the next exhibit. Temporary Gallery

ELEVATORS/MAIN STAIRS

KITCHEN

allowing for a variety of exhibits.

EXHIBIT SPACE A EXHIBIT SPACE B

The gallery space dedicated to Amy Shack-

ADMINSTRATION OFFICES

light to pass through into darker parts of the building. A rooftop garden located on the West Side of the building frames a view of the city similar to how Shackleton uses Nature and Cityscapes together in her paintings.

MEETING ROOM TEMPORARY EXHIBIT SPACE

NATURAL LIGHT AND CIRCULATION

GALLERY SPACE, GARDEN SPACE, CIRCULATION SPACE

VIEWS

ENVELOPE

13 The building envelope taken from the parapet connection, parapet to cantilever/roof overhang connection and wall to roof detail. The roof overhang is constructed using treated steel instead of concrete due to its weight cladding is applied underneath the cantilevered roof as it is durable and rust resistant. A green roof is used for drainage purposes and insulation, increasing the roofs lifetime roof. Triple pane windows are used to save on energy costs and reduce outside noise from Parliament Street.

ENVELOPE

Growing Medium/ Filter Fabric

Drainage Layer

Retention Trim/Filter Fleece/ Gravel

Underlayer/ Cap Sheet

Insulation/ Vapour Retarder Reinforcing Strip

Flashing Wide Flange Beam/Connection to Concrete

Stainless Steel Cladding

Rod Connection

Triple Pane Window

Concrete Sill Flashing Mineral Wool Insulation Steel Studs Gaco Wall Foam Brick Veneer Recessed Pot lights

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Student Name, Student Name, Student Name, Student Name, Student Name, Student Name, Student Name, Student Name, Student Name, Student Name, Student Name, Student Name, Student Name, Student Name, Student Name, Student Name, Student Name, Student Name, Student Name, Student Name, Student Name, Student Name, This template follows the content, layout and structure of Radford, Antony, Selen B. Morkoc and Amit Srivastava. The Elements of Modern Architecture: Understanding Contemporary Buildings. London: Thames & Hudson, 2014. The compilation of your research and analysis is a pedagogical exercise that is based on their work.

Section 4 and 7

ASC 301 Design Studio II

Assignment 2: Analysis of a precedent

Fall 2014 Section 4 & Section 7

Contents

01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29

Museum of Modern Western Art | 1959 | Ueno Park, Tokyo Neue Nationalgalerie | 1968 | Berlin, Germany Kimbell Art Museum | 1972 | Fort Worth, Texas Museum of Anthropology at UBC | 1978 | Vancouver, Canada Canadian Centre for Architecture | 1989 | Montreal, Canada Vitra Design Museum | 1989| Weil am Rhein Davis Museum and Cultural Center | 1993 | Wellesley, Massachusetts Museum for Sculpture | 1995 | São Paulo, Brazil Arken Museum of Modern Art | 1996 | Copenhagen Beyler Foundation | 1997 | Basel Kunsthaus | 1997 | Bregenz, Austria The Daylight Museum | 1998 | Gamo-gun, Shiga Museum Liner Appenzell | 1999 | Appenzell, Switzerland Kunstmuseum Liechtenstein (Museum of Art) | 2000 | Vaduz, Liechtenstein Castellón Museum of Fine Arts | 2000 | Castellón de la Plana Castellón, Spain American Folk Art Museum | 2001 | New York, USA Canadian War Museum | 2004 | Ottawa, Canada Phaeno Science Center | 2005 | Wolfsburg. Germany Musee du Quai Branly | 2006 | Paris, France Museum for the Iberê Camargo Foundation | 2008 | Porto Alegre, Brazil Museu Paula Rego, Casa das Histórias | 2008 | Cascais, Portugal Ningbo History Museum | 2008 | Ningbo, China Centre Pompidou-Metz | 2010 | Metz, France MAS Museum Aan de Stroom | 2010 | Antwerp, Belgium Kaap Skil, Maritime and Beachcombers Museum | 2011 | Texel, the Netherlands Xinjin Zhi Museum | 2011 | Xinjin, Chengdu China Turner Contemporary | 2011 | Margate, Kent, United Kingdom Bajo Martin County | 2011 | Teruel, Spain Louvre Lens | 2012 | Lens, France

Le Corbusier Mies van der Rohe Louis Khan Arthur Erickson Peter Rose with Phyllis Lambert Frank O. Gehry Rafael Moneo Paulo Mendes da Rocha Søren Robert Lund Renzo Piano Peter Zumthor Tadao Ando Gigon and Guyer Meinrad Morger, Heinrich Degelo and Christian Mansilla+Tuñón Tod Williams Billie Tsien Architects Zaha Hadid Ateliers Jean Nouvel Alvaro Siza Eduardo Souto de Moura Wang Shu Shigeru Ban and Jean de Gastines Neutelings Riedijk Architecten Mecanoo Architecten Kengo Kuma and associates Magen Arquitectos SANAA

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Copenhagen, Denmark

Copenhagen, Denmark

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Arken Museum of Modern Art | 1996 Soren Robert Lund Copenhagen, Denmark

North Elevation

Soren Robert Lund

Arken Museum of Modern Art | 1996

By; Douglas Peterson-Hui

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Arken Museum of Modern Art | 1996 Soren Robert Lund Copenhagen, Denmark

The Arken Museum of Modern Art, located in Copenhagen, Denmark was designed by architect Soren Robert Lund at the age of 25 and completed in 1996. It is an exceptional example of deconstructive architecture in which basic forms are broken down into a variety of odd angles and shapes. When designing

Art Axis Section

being versatile space. Lund wanted to make sure that the building would allow for different exhibits and art instillations to take place inside. Secondly Lund wanted to make sure the building respected

Floor Plan 1996

its proximity to the ocean. The building itself sits on a plot of land surrounded on all sides with water overlooking Koge Bay. In response to these conditions the architects intent for the design was to create a form that resembled a sailing ship. Its long bow acts as the main art axis and compliments the shore as it sits parallel to the coastline. Lund wanted to avoid traditional museum principles and break free from the bland “static schema� making the building itself a work of art that could be enjoyed just as much the art instillations inside

Floor Plan 2008

Site Plan

Peterson-Hui

Peterson-Hui

Scale 1:2000

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Arken Museum of Modern Art | 1996 Soren Robert Lund Copenhagen, Denmark

Arken Museum of Modern Art | 1996 Soren Robert Lund Copenhagen, Denmark

Response to context and place Like a sailing vessel the Arken Museum of Modern art sits shipwrecked along the shores or Kojen bay. The intent of the architect was for the extruded art axis in the shape of a 150 meter ship hull. The roofs and their irregularly placed extrusions mimic those of the small sailing ships scattered along the bay. Lund paid attention to detail using metal railings similar to those used on a cruise ship. Lund even went as far as assembling the Arken in the same way as a boat, using bolt and nut connections in much of the steel structure. The buildings three extruded sails embrace the coastline. The buildings also focuses on contrast between outdoor and indoor space creating a narrow main entrance that opens up onto the expansive landscape.

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Response to people sensing space When approaching the Arken Museum of Modern art, users are given two options as to how they can enter the building. Once funneled into the building the user can either walk towards the main art axis or enter through the lobby which houses the museum shop. Once in the art axis (which resembles the nave of a church) one is introduced to a colossal 12 meter tall concrete wall stretching 150 meters and a string of skylights creating a striking space, allowing for grand scale pieces of art to be displayed. Galleries sit on different levels inside creating interest and mystery for visitors exploring using the many staircases provided. The red axis which circulates people from the foyer to the main art axis is one of the most interesting transition spaces in the building. The ruby red

Skylit walls and high ceilings in the art axis allow for large exihibits to come to life

Tall exterior walls funnel users into the entrance which is indicated through the contrast between concrete and glazing

and shape making it intimate and mysterious. Lund put a strong focus on contrast making spaces of transition from tight and dark to light and open for dramatic effect.

The museums cafe hangs like a lifeboat off the side of the building

The Arken Museum in relation to the water with the art axis sitting perpendiuclar to the North and South directions Tight spaces open up onto large galleries for dramatic effect.

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Retrieved From: Place source here

Peterson-Hui

Peterson-Hui

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Arken Museum of Modern Art | 1996 Soren Robert Lund Copenhagen, Denmark

Arken Museum of Modern Art | 1996 Soren Robert Lund Copenhagen, Denmark

Response to technology and lighting On the North side of the Arken, Galleries

Research process What made the Arken Building an interesting precedent study was learning about its relationship to water and the surrounding landscape.

Discovering how the architect chose materials, shape and lighting based on these conditions made the overall design intent very clear. The most interesting information I found was not about the building itself but the age at which Lund got the commission for the building. Still a student at the time, he won the

of the space. The skylights have a height to width ratio of 3:1. The buildings light source consists is constructed using a curtain wall system that indicates the entrance into the building and lets in plenty of light.

project at age 25.

A majority of the materials used in the building are concrete and steel. Corrugated steel ceilings are used in the main Art Axis. Steel is also commonly used for the roof structure, stairs and railings while concrete is used for the walls. The concrete is a light color and the texture is supposed stairs and beams resemble a ship deck. Exposed piping and dark spaces are also reminiscent of a ships orlop deck.

Although there was a fair amount of information on this building, much of it was repeated in numerous websites and books. Visual information consisted mainly of exterior photography and lacked much needed sections, elevations and plans making it harder to anaylze the buildings circulation

Sun entering the main foyer during the w

Skylights are the main source of natural light in the Arken

Summer sun Vs Winter sun in the main foyer

lacking line weights and were of low quality. Analysis had to be done through photographs and descriptions in order to understand the interior spaces and how they worked.

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Critical analysis Soren Robert Lund’s energy seems to be focused mainly on his buildings context. He has taken the idea of the ocean and its relation to land creating a maritime themed building focusing on everything down to the very last detail such as the connections and railings. Lund would much rather have users focus on both the building and the exhibitions rather then adhering to the bland museum standard of white walls and brightly lit space which is seen in many museums around the world. With these intentions however the building is quite busy in its exterior appearance with its different roof heights and shapes.

Its solid concrete windowless walls that loom over the landscape can be overwhelming however they do serve the purpose of allowing for more exhibit wall space. The building is overall successful in its layout creating interest through different interior elevations and hierarchy of space from narrow areas of transition to vast expanses of gallery. From the water, the Arken building is appropriate in its setting but up close, the landscape and building seem to contrast not having much relationship to one another. The Arken building is an architectural piece that is more likely to be enjoyed from the interior rather then the exterior.

Bibliography ”ARKENs arkitektur - Arken.” Arken. http://www.arken.dk/om-arkitekturen/ (accessed September 30, 2014). ”Arken fra 1996 til nu - Arken.” Arken. http://www.arken.dk/arken-fra-1996-til-nu/ (accessed September 30, 2014).

“Arken Museum of Modern Art.” OpenBuildings. http://openbuildings.com/buildings/arken-museum-

Bolted connections, corrugated metal ceilings and minimalist railings where inspired from ship design

”Copenhagen’s Arken.” Art Weekenders. http://www.artweekenders.com/copenhagen/arkencopenhagen/ (accessed September 25, 2014).

The buildings sits heavy on the land with its thick concrete walls, box like extrusions and small windows overpowering the landscape

”SRL Architects.” SRL Architects. http://www.srlarkitekter.dk/ (accessed September 30, 2014).

In the interior, structural elements are exposed creating interest for those walking through the space

Support columns used for the museums raised platform walkways and cafe

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Peterson-Hui

Peterson-Hui

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