ARKA Luke Azzopardi Kim Marie Bonello Katrina Grech Mallia Judith Hunter Valentina Vella Falzon
S C O P E
O F
T H E
P R O J E C T
The scope of the project is to propose an alternative use within the roofed courtyard, hallway and adjacent rooms of the Mdina Cathedral Museum, which is accessible from both the main entrance of the Museum on St. Paul’s street as well as from Mesquita Street in Mdina. The roofed courtyard is currently undergoing renovation works, whilst the corridor and adjacent room are closed off to the public and used for storage purposes. The aim is to design a self supporting structure for the exhibition of contemporary art, without impeding on the existing structure. The spaces will therefore offer the opportunity to view an art type which contrasts the traditional nature of exhibitions found in the historical city.
T A B L E
O F
Scope of Project Background Information Existing Space SWOT Analysis Existing Drawings Case Studies Concept Proposed Drawings Visuals Marketing Assembly Detail Drawings Bill of Quantities
C O N T E N T S
B A C K G R O U N D I N F O R M AT I O N
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B A C K G R O U N D
I N F O R M AT I O N
The chosen exhibition space forms part of the Mdina Metropolitan Cathedral Museum, which is located within the building on the right-hand side of the cathedral. Its first stone was laid back in 1733, with the intention of serving as the seminary for the diocese of Malta. The baroque building boasts elaborate stonework, and is often referred to as a testament of Malta’s rich religious heritage and cultural history. It was built surrounding a central courtyard, allowing the flow of natural light and ventilation to all the rooms and halls throughout the year. The entrance leading to the chosen site is located directly opposite the entrance to the courtyard. It consists of a corridor with two rooms perpendicular to it, which then leads to the space which was once the backyard of the building. One of the main highlights of the museum are the engravings of Durer, which can be found as a complete collection. This is said to be one of the largest Durer collections outside of Germany. Apart from this collection, the museum also houses a fine picture gallery, ecclesiatical and household silver as well as furniture typically found in Maltese households amongst others. Recently, the museum has been given a new dimension with the intention to no longer solely exhibit valuable artefacts but also begin to offer an educative platform as well as the opportunity for artists to exhibit their work. The aim is to increase the accessibility of the museum to all crowds including children of young ages as well as people with disabilities. This context proved to offer a strong platform for the project to intervene within this particular space. One of the chosen spaces was once the backyard of the museum and also includes a staircase which leads to the underground vaults and thus has its own history. The aim of this project will be therefore to retain the historical significance of the spaces and their relationship with the rest of the museum whilst manifesting the curator’s vision for the museum to branch out to a wider number of uses and typology of crowds. All this with close attention to the architectural features, natural light and ventilation, which would not only create an exhibition space for the artwork but also for the solid form itself.
E X I S T I N G S P A C E r o o f e d c o u r t y a r d
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c o u r t y a r d
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a d j a s c e n t
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S W O T A N A L Y S I S
S T R E N G T H S
O P P O R T U N I T I E S
W E A K N E S S E S
T H R E A T S
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E X I S T I N G P L A N S A N D S E C T I O N S
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500
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C A S E
S T U D I E S
F r a n c o
A l b i n i
Gallerie Comunali di Palazzo Bianco, Genova 1948-1952 Disegni Contemporanei pinacoteca di Brera - 1941 (bottom right) Palazzo dell arte milano 1934 (bottom left)
This exhibition was the first design exercise in which it allowed him to express the characteristics of his own spatial language. The layout is made up of a large-mesh metal grids resting on a white wood frame on which writings and large photographic panels are applied. Albini, in the exhibition designed for the ‘Scipione’, creates three types of supports: backdrops of white or hazel colored fabric with detached frames for the paintings, double glass plates for the designs. Above the lattice of the tie rods, Albini visually unites the four rooms of the exhibition and diffuses the light of the reflectors throughout the room, while long sheets of upholstery paper are lined up like vertical wings along the walls
F r a n c o
A l b i n i
Gallerie Comunali di Palazzo Bianco, Genova 1948-1952
The aim of the project was to create a peaceful space in which the artworks were able not only to witness the artistic history of the city but also to reappropriate their individuality, stifled in the previous set-ups by the excess of exposed material. The outcome of this intention translated into a noticeable reduction of the artworks displayed, which are distanced and placed in the most correct position to be observed. Albini recognizes pedagogical value to each object, stating that each painting must be assigned its own volume of air: "almost an area of influence of its pictorial space". Following these principles they came to the solution of eliminating all the non-original frames to bring the paintings back to their original clarity. The paintings are hung on iron rods that run inside guides, fixed to the turn of the vaults, or are supported by tubular pedestal, always in iron, stuck on rocchi or ancient columns. In this way the paintings never deform the walls, allowing the visitor of the museum a parallel reading of the architecture of the building, exhibited in its purity.
C a r l o S c a r p a C a s t e l v e c c h i o , Ve r o n a , 1 9 5 7
“He opposed the destruction of ‘every thick wall, hence every closed volume’; he opposed modern ‘libertarian anarchy,’ which in its flight from the formal rules of the Renaissance had become slave to building regulations; he also opposed purism, which had created ‘nothingness around objects,’ reducing space to bare stereometrics and simplicity to banality of form.”13 Through his excavation, Scarpa tried to save as much as he could of the important previous structures, while adding a new layer of his architecture, which worked on top of the old. Scarpa was primarily interested in the space and viewing experience of the artworks, which was reason why he pulled the artwork from the walls and brought in natural lighting. Carlo Scarpa successfully used the strategies of demolition, change and modification to intervene with the buildings of Castelvecchio. An essential part of his architecture was using memory during the process in order to create a dialogue between the old and new. Scarpa highlighted the richness of the past and all the historical moments that occurred at Castelvecchio through his organization and detail of the spaces, which culminated in the placement of the Cangrande statue. His subtle use of new elements and forms juxtaposed to the existing created a physical historical timeline of the art and architecture of Castelvecchio. The orthogonal floor inserts were designed so that they would not interfere with the naturally rough and unsure nature of the irregular pre-existing walls. The gaps separating the new floors and the patterns on them would fit into the makeup of the old building to create a reference point for unifying history at the Castelvecchio. The new floors allowed the artworks to be pulled away from the walls as a practice of accommodating the visual affects created by light and space on art.
P R O P O S E D
C O N C E P T & D R A W I N G S
C O N C E P T
The concept aims to create the desired exhibition space without impeding on the existing, original building fabric. This is done through the design of four main interventions. This was the key aspect of the intervemtion, in order to conserve the character of the building, keeping any alterations visible and distinguishable.
3. Suspended Frame Structure Designed not to impede on the existing walls of the building, where a steel track running along the length of the room is used to suspend a number of these tension cables upon which paintings are hung.
A. Art Work Exhibit Due to the fact, that the exhibition space consists of three separate sub-spaces, each intervention and mounting system had to be purposely designed in order to satisfy the differing elements of each space. 1. Sculpture Stand Allows flexibility and is easily movable. The design makes use of a limestone block as a form of weight as well as to fit within the existing context. The intent behind this structure is to allow various types of exhibitions.
4. Mountable Arched Structure Supported by a structure resting below the raised parquet floor, the easily assembled steel structure, which is designed to seem as if it were emerging from the ground, mimics the presence of the arched ceilings. The overall structure entails two arches, of different sizes, welded together. The larger one exploited for the lighting system used to illuminate and embrace the existing arches and the smaller one, with the addition of tension cables used to mount paintings. This can be done using a variety of heights and lighting positions through the design of the movable lighting and clamping system.
2. Frame Mounting Stand Similarly to the above system, it is also flexible and movable with the only differ-
B. Floor Structure The parquet is installed as a raised flooring, resting on a grid structure in order
ence being that it is designed for the mounting of a painting. This system may be used alone or in conjunction with other systems. The structure makes use of the same limestone block, steel rods and a clipping system for the mounting of paintings.
to avoid any impact on the original flooring of the space. This is only used in the space which was previously a courtyard, since the other two spaces retained their original marble flooring.
P R O P O S E D D R A W I N G S
A’
P R O P O S E D P L A N S A N D S E C T I O N S Kitchenette The room adjacent to the first exhibition room, which currently serves as a storage room, is designed to incorporte a kitchenette, bathroom and anteroom. Anti-Room The entrance to these spaces is shared, however the anteoom was designed in order to provide a waiting area for the bathrooms as well as supplying ventilation, light and avoid qeues forming in the main hall of the building. The anteroom is designed in a minimalistic way, consisting only of seating. Kitchenette The kitchenette includes a sink and draining area, cooker, storage, a fridge and sufficient worktop area. This allows for any catering activities to take place if needed, as well as for staff purposes. Bathroom The bathroom's dimensions satisfy those required for all access purposes and includes a sink and toilet with assistance rails.
B
B’
Reception A reception was not particularly designed as part of this project since this is already present in the building today, where for organisational and administrative purposes it proved more efficient to have one reception which serves all acitivities.
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500
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scale 1:100
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H A L L WA Y S P A C E
h a l l w a y
A D J A C E N T R O O M
a d j a c e n t
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C O U R T YA R D S P A C E
ARKA
a s s e m b l y 1
2 3 4
5 6
1. Steel rod welded to the movable clamp scale 1:5
2. Upright light sconce bolted to the frame to light up arch
scale 1:5
3. Rotatable light fitting attached to clamp which is moveable vertically along the steel rod
5. Tension cable screwed from underneath the structure
4. Key joints in the ARKA frame
6. Continuation of joints in the structure
scale 1:5
scale 1:10
scale 1:10
scale 1:10
c o u r t y a r d e x h i b i t s p a c e
c o u r t y a r d e x h i b i t s p a c e
B I L L
O F
Q U A N T I T I E S
The following Bill of Quantities represents the amount of material required and total costs of the exhibition
ITEM
Mountable Arched Structure
PRELIMINARIES The following Bill of Quantities is to be read in conjunction with the necessary drawings, specifications and other documents. Any differences in these documents shall be communicated to the architect/s. All measurements quoted are to be confirmed with the winning bidder, in conjunction with the necessary drawings.
DESCRIPTION
QUANTITY
UNIT
RATE (€)
TOTAL PRICE (€)
Supply and lay S275 RHS 100mm x 30mm steel for main arch
13
m
€4/m
€52
Supply and lay S275 RHS 100mm x 30mm steel for secondary arches
4.6
m
€4/m
€18.40
Supply and lay 15mm diameter tensile steel cables
26.9
m
€10/m
€269
1
per attachment
€50/attachment
€50
The following prices reflect the cost for one mountable arched structure
Supply and lay painting attachment and holder
Price for one arched structure
All prices quotes are to be confirmed with the supplier when the project is being commissioned.
Number of installations
ITEM
DESCRIPTION
Sculpture/Frame Mounting Stands
The following prices reflect the cost for one mounting stand for sculptures/frames
€389 7
Total Price for arched structure
€2723
Total Price with contingency @10%
€2995
QUANTITY
UNIT
RATE (€)
TOTAL PRICE (€)
Supply and lay 100x200x600mm limestone block for stand bases
1
m²
19.50/m²
€3.12
Supply and lay 15mm steel rods for stand supports
5
m
€2/m
€10
Supply and lay stand platform
1
per platform
€50/platform
€50
Supply and lay frame attachments and holder
1
per attachment
€50/attachment
€50
Price for one mounting stands Number of stands
€113.12 5
Total Price for mounting stands
€565.60
Total Price with contingency @10%
€622.16
ITEM
Suspended Frame Structure
DESCRIPTION
QUANTITY
UNIT
RATE (€)
TOTAL PRICE (€)
Supply and lay 15mm steel rods for hanging system
7.94
m
€2/m
€15.88
Supply and lay 100x50mm steel bars to hang steel rods
94.62
m
€4/m
€378.48
Supply and lay frame attachment and holder
1
per attachment
€50/attachment
€50
The following prices reflect the cost for one suspended frame structure
Price for one frame structure Number of structures
ITEM
Raised Flooring System
DESCRIPTION
€444.36 6
Total Price for frame structure
€2665.65
Total Price with contingency @10%
€2932.10
QUANTITY
UNIT
RATE (€)
TOTAL PRICE (€)
Supply and lay 15mm layer of wooden parquet for flooring (herringbone)
82.1
m²
€25/m²
€2052.5
Supply and cast 35mm layer of anhydrite screed
82.1
m²
€14/m²
€1149
Supply and lay 18mm layer of gypsum board (water-resistant)
82.1
m²
€25/m²
€2052.5
Supply and lay 0.2mm layer of PE sheet
82.1
m²
€10/m²
€821
Supply and lay S275 steel base jack 25mm for raised flooring
120
per jack
€4.50/jack
€540
The following prices reflect the cost of the raised flooring installation
Total Price for flooring Total Price with contingency @10%
€6615 €7276.50
ITEM
Main Steel Structure
DESCRIPTION
QUANTITY
UNIT
RATE (€)
TOTAL PRICE (€)
Supply and lay S275 100mmx100mm steel structure underneath flooring system
72
m
€9.50/m²
€684
Supply and connect structure using M12 GR8.8 bolts
92
per bolt
€5/bolt
€460
The following prices reflect the cost for the steel structure installed in the Museum courtyard
Total Price for structure Total Price with contingency @10%
ITEM
DESCRIPTION
QUANTITY
UNIT
RATE (€)
€1144 €1258.40
TOTAL PRICE (€) SUMMARY OF COSTS
Lighting
The following prices reflect the total costs of lighting installed Supply and install directional lighting for ARKA main arch Supply and install tubular fluorescent lighting for cove lighting between the floor and the wall Supply and install track lighting and spotlights for paintings
12
per light
30
per light
30
€20 each
€240
€2.50 each
€75
per light
€25 each
Total Price for lighting Total Price with contingency @10%
Total Costs for Arka Installations
€2723
Total Costs for Statue Platforms
€565.60
Total Costs for Suspended Painting Installation
€2665.65
Total Costs for Flooring
€6615
Total Costs for Main Steel Structure
€1044
Total Costs for Lighting
€1065
FINAL TOTAL COST
€14,678.50
FINAL PRICE WITH CONTINGENCY @10%
€16,146.30
€750 €1065 €1171.50
M A R K E T I N G
ARKA
ARKA