Comprehensive Booklet

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SCULPTING T H E VO I D san sebastian, spain kate ford | fall 2014


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table of contents

1. 2. 3. 4. 5.

introduction context site analysis conceptual framework technical solutions

appendices

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1. introduction Architecture is art. Art and the built environment naturally engage with each another in contemporary culture. Not only do artists manipulate space within existing structures, but architects often take on the role of artist themselves. Art comes as a natural extension of asking critical questions. When designing a museum that exhibits the work of an artist, the relationship to art becomes more important than ever. Should the architect be a neutral canvas that let’s the art speak for itself? Or should they compliment the artist’s designs and create a building that encompasses the spirit of the artwork. I believe capturing the spiritual essence is what will produce a successful and beautiful building. All architectures are temporal: they change over time, and are subject to continuous material transformations, circulatory processes, and shifting purposes. Is there something to be said to temporary architecture? Its driving force is the concept of place and time, which opens up new possibilities in understanding the relationship between architecture and site. The architect must consider how long the building will stand, how it will be taken down, what the lasting impression of the site will be once its gone, and can it be relocated to another part of the world? All these problems and questions posed will require careful consideration and planning in order to create a space both sculptural and temporary.

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2. context The city of San Sebastian is one of the most prolific and important metropolitan centers of the Basque Country in northern Spain. Its breathtaking geography is a combination of river, sea, mountains, islands, waves, beaches and wind. They all merge into a singular experience, making San Sebastian an almost idyllic setting in which to build. The city is famous for its music and film festivals, as well as an important number of museums such as Museo San Telmo. As recognition for this, the city was nominated to be the European Capital of Culture in 2016, which will further publicize and promote all that it has to offer. The coastline has the potential of becoming a pearl in a necklace of cultural events.

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context san sebastian

Founded: 1180 Coordinates: 43o, 19', 17" N 1o, 59' 8" W Area: 23.5 sq miles Population: 186,000 Languages: Basque + Spanish San Sebastián is the capital of Gipuzkoa, one of the three provinces making up the Basque Country. It lies to the northeast of the Iberian Peninsula, 30 kilometers from the border with France. It is a medium-sized city with almost 186,000 inhabitants and two official languages, Basque and Spanish.

Spain

The main economic activities are commerce and tourism, and it is one of the most famous tourist destinations in Spain. Despite the city’s small size, events such as the San Sebastián International Film Festival have given it an international dimension. In recent years, San Sebastián has moved into the leading position among European cities, largely because of its commitment to science, technology, sustainable development and culture. Its designation as European Capital of Culture confirms this pledge.

Basque Country

Distance from major cities: Biarritz 50km Pamplona 92km Vitoria 100km Bilboa 102km Madrid 451km Barcelona 565km

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San Sebastian


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context

history + Growth San Sebastian was founded in 1180 by Sancho the Wise (VI), King of Navarre. Beginning in 1200, the province of Spain, Guipúzcoa, pays allegiance to the Castilian King Alfonso VIII, enemy of Sancho the Strong (VII) of Navarre. For merchants of San Sebastian this change was positive because it is the port of a small state without territorial expansion possibilities (Navarra), to serve as an outlet to the sea of a monarchy, the Spanish, much larger, richer and expanding. This marks the start of a long series of privileges granted to San Sebastian and allowed trade for the Spanish market. Continuous trade from this port is the one positive attribute that emerged from the many fires that devastated San Sebastian from 1266, reaching full burn six times in over two centuries. The Hundred Years War, the War of the Bandos and evolution of Navarra French towards dynastic reasons brought to San Sebastian in the second half of the fourteenth century brought on serious consequences for the city. These events caused the displacement of the main lines of traffic to Bilbao, replacing San Sebastian as the center of gravity of trade. Five hundred years ago, the continuous state of war in San Sebastian deteriorated its economy. The city had to spend money on the fortifications, the maintenance of the garrison, and the continued decline of maritime trade. In 1573, Seville, Spain became acquired all the trades with America. After taking two centuries heroically fulfilling its mission war, Philip IV, in 1662, granted the title of City. During the War of Independence, San Sebastiån in 1808 was occupied by Napoleon’s troops. i In June 1813 the Allies, the Anglo-Portuguese

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troops surrounded the city. After several days of intense bombardment they carried out through the breach in the walls, forcing French troops to retreat to the Castle. The looting of the AngloPortuguese troops caused a fire that only saved the buildings located north of Trinidad Street, called Calle today. 1813 marked the last major fire in the city and the regrowth that occurred is what exists today. From this stage on, San Sebastian has built up the city and earned the nickname of Little Paris. Shortly after the outbreak of the Spanish Civil War in 1936, San Sebastian fells into the hands of the rebels. General Franco resided from 19401975 in Aiete Palace, which was purchased by the city council offered to the general. During this period he held at that place the Council of Ministers. In 1953, the International Film Festival of San Sebastian was created with the dual aim of extending the holiday and helping return cultural activity and glamour to the city that had been lost since the Civil War. The success of the first edition led to the dictatorship taking over the event, which gradually gained popularity and prestige and became one of the most important cultural events, as well as one of the best film festivals in the world. In 1955 began the second expansion of the city, resulting in a neighborhood called Amara Berri (which referred to the marshes that were in that land before construction). It is considered that the extension was finally consolidated in 1993 with the Anoeta Stadium construction at its southern end.


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context geography Overview

Beaches

Mountains

Bays

San Sebastian is in the north of the Basque Country, on the southern Bay of Biscay. The seaside environment is enhanced by hilly surroundings that are easily accessible, such as the Urgull (at the heart of the city by the seashore), and the view from the four mountain peaks.

La Concha Beach The Concha stretches out for a kilometer and a half. Its landscape and its fine white sand make the Concha unique, the second top city beach in the world according to the Travel and Leisure magazine.

Monte Igueldo Elevation= 413m (1355 ft) Tallest summit with vast views of the city. A funicular railway leads you up the to a miniature theme park with roller coasters and boat rides.

The Bay of Biscay is a gulf of the northeast Atlantic Ocean located south of the Celtic Sea. It lies along the western coast of France from Brest south to the Spanish border, and the northern coast of Spain west to Cape Ortegal.

River Rio Urumea Length= 59.4 km The Urumea enters the city in the district of Loiola and runs out into the Cantabrian Sea on the Bay of Biscay, between Monte Urgull and the Zurriola. Both banks of the river have lovely, elegant walkways and shady avenues.

Monte Igueldo 14

Ondaretta Beach Lying between Monte Igeldo and the Palacio Miramar gardens, Ondarreta proposes over half a kilometer in length and 100m in width for taking in the sun. Zurriola Beach The liveliest beach and the one most popular with surfers in San Sebastián. This beach leads to the site for the Chillida exhibition. The Island Beach Isla Santa Clara is home to San Sebastián’s fourth beach. Being no more than 30 meters in length leaves this tiny beach at the mercy of the tide.

Isla de Santa Clara Elevation=48m (157 ft) The island has a small beach which only appears with low tide. There is a small bar + a small port. Monte Urgull Elevation= 123m (403 ft) The hill became a defense point since the early ages of the city foundation in the 12th century. The hill is topped by a stronghold, the Mota Castle, but it had a chapel and a conspicuous 12 meter-long sculpture of Jesus Christ added in 1950, now towering over the bay.

Bay of Biscay La Concha

La Zurriola

Monte Ulia Elevation= 243m (797 ft) This privileged location turned the place into an important leisure and romantic area in the early 20th century, a condition that has remained up to date, despite the pressure of increasing urban development.

Monte Igueldo Monte urgull

Monte ulia


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context climate

The city lies at the northwest end of the Pyrenees mountain range. The climate is mild all year round, with steady rainfall throughout the seasons. San Sebastian’s weather isn’t as sought after as other Spanish coastal destinations; the days are often dull and dreary and rainy periods are just as likely as sunny interludes.

Most summer days are almost perfect, when temperatures are neither too hot nor too cold. The summer weather and climate is at its most appealing from June to September. July and August are the hottest months, when temperatures can rise to 95°F with warm water temperatures hovering around 68°F.

The Bay of Biscay plays host to some of the Atlantic Ocean’s roughest weather. This occurs as a result of the Spanish continental shelf which extends in parts right into the Bay. Consequently, many areas are characterized by shallow waters which bring rough seas. Large storms often rock the bay, particularly in the winter months.

The autumn features occasional showers, mixed with sunny weather and overcast days. From September to November the average temperature is around 20°C / 68°F. Evenings begin to feel noticeable colder as winter approaches.

Rainy weather tends to be more frequent during the springtime, although sunny days are still in good supply. Average temperatures between February and April range from 57°F to 64°F.

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Once winter arrives, the weather and climate still remains fairly mild. Rain showers are most common between December and January. Daytime winter temperatures average around 46°F, while water temperatures hover around 50°F, making swimming possible on sunny days.


SPRING

SUMMER

AUTUMN

WINTER

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context

typologies + strategies

courtyard

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u-shaped

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linear

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The city is comprised of three major building typologies; courtyard, u-shaped and linear. The courtyard typology is successful because it provides shade from the sun and helps ventilate the building. The courtyard also creates a private outdoor space away from the busy streets. If you were to cut the courtyard typology in half, the u-shaped typology would form. The u-shape is more welcoming in nature, while also providing sun-shading during different hours of the day and drawing in the breeze. Lastly, the most simple typology is the linear bar, which is vulnerable to south, east and west without proper sun shading.

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context neighborhoods

Parte Zaharra: This is the oldest known city and neighborhood which was originally surrounded by walls. It has been devastated many times by fires and intrusions. Centro: The center of the city which is the place of business and trade. The city began after the demolition of the city walls in 1863. The city was designed by architect Antonio Cortazar and holds high quality and homogeneous buildings due to the planned architecture. Antiguo: Arguably the first population nucleus, even before the land at the foot of Urgull was settled. A monastery of San Sebastiรกn el Antiguo ('the Old') is attested in documents at the time of the foundation in 12th century. Gros: This area acts as a second city center and has transformed from its status as an industrial neighborhood. The district is built on the sandy terrain across the river. Zurriola beach by the river's mouth bears witness to that type of soil. In the 19th century, shanties and workshops started to dot the area

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Egia: One of the oldest neighborhoods in San Sebastian. The cigarette factory conjures up the former industrial past of the area, while the building has been made recently into a Contemporary Culture Centre by Rafael Moneo. Amara Berri: This city expansion to the south came about as of the 1940s, after the works to canalize the river were achieved. The district harbors the main road entrance to the city, with Donostia's central bus station being located between the roundabout and the river (Plaza Pio XII). Amara: It has eventually merged with the city center to a large extent, since former Amara lay on the marshes at the left of the River Urumea. The core of this district is the Easo Plaza, with the railway terminal. Aiete: One of the newest parts in the city. The postwar city council bought the quaint compound of the Aiete Palace for the use of Francisco Franco in 1940, right after the conclusion of the Civil War. The place in turn became the summer residence for the dictator up to 1975.


parte zaharra

cento

antiguo

gros

egia

amara berri

amara

aiete

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context green systems

San Sebastián is marvelously green; it is surrounded by mountains and easily accessed urban green areas. The hills surrounding San Sebastián shelter, protect and embrace the city. The true green lungs of the city once was a military fortress but now is an area of leisure and enjoyment. Monte Ulia is home of a natural park in the heart of the city. An ancient lookout point for spotting whales, the area covers an extensive green area of 318,249. Mt. Ulía was constituted for recreational use by the aristocracy in the early 20th century. Today it is the city’s biggest hillwalking area. The Oak tree is of particular significance to the region of San Sebastian. The Oak Tree is a symbol of Basque nationality. This symbolism has existed at least since the fourteenth century when representatives of Biscay villages would come together under great local trees to hold assemblies. This is a symbol of the Biscayan people and their traditional freedoms. The carnation is a special flower because it is beautiful and long lasting. Though the different colors of carnation have different meanings, and those meanings differ from culture to culture, the red is the favorite of Spain. It sends a message of love, or more accurately, “my heart aches for you”. The climate present in much of Spain is favorable to the growing of this flower, though San Sebastian is not one of those places, since it is overcast most of the time and the carnation wants for plenty of sunlight and well draining soil.

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The Pomegranate is rich in symbolism, most of which are religious in nature. It is an ancient fruit that has traveled across the world and is believed to have spread originally from the middle east, the fertile crescent. The pomegranate was so highly regarded that the Spanish introduced it to the Americas during war. Some sources say that the fruit signifies unity, in that the many seeds are held together by the one skin and topped with a crown. Spain has two vegetation types predominately: those that grow in wet climates and those that grow in arid and sunny climates. There are areas that are considered scrub-lands or shrub-lands where the vegetation consists mostly of heartier, more fibrous plants, of which many are grasses. Giant Feather grass grows in the wetter scrubregions, and occupy mountainous areas, such as San Sebastian. This is used as an ornamental grass. Esparto is grown in the drier regions and is often utilized as woven or paper products.

Species include: 1. Chestnut 2. Wild Carrot 3. Oak Tree 4. Pomegranate 5. Red Carnation 6. Tufted Grass 7. Esparto 8. Campion

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3. site analysis The site is at the end of the coastal promenade, in the area known as Zurriola Beach on the eastern side of the mouth of the Urumea River. The area represents a climactic ending to a sequence of events, which tells the story of the past, present and future of the city. With the excuse of San Sebastian being the European Capital of Culture in 2016, the proposed building will temporarily exhibit specific works of one of its most important and prolific artists, Eduardo Chillida. His sculptures combine the material with the spiritual in a search for a perfect balance between form and void. The proposed building will allow visitors to see and experience this magnificent work.

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site analysis zurriola beach

The location of the site for the Chillida Exhibition is at the farthest eastern point of the coastline in San Sebastian. On the western point is Peine del Viento, which was also designed by Chillida. The coastline of this city has the potentials of being a pearl necklace, stringing along wonderful examples of Chillida's art work.

In the center of the Paseo de la Concha, Chillida paid his own personal tribute to the inventor of penicillin with the sculpture, Homage to Fleming. The design was made in iron in 1955, year of the Scottish scientist's death. However, it wasn't until 1990 that the artist sculpted the granite work we know today.

Today, on the site is a basketball court and an open asphalt plane which has no cultural or spiritual connection to the site or the city. Having a building that encompasses Eduardo Chillida and his work will act as an anchor for the beach.

In 1948, Chillida designed a bronze sculpture, the Torso, on Mount Urgull in homage to his friend Arana. "It assumed a new dimension while, at the same time, establishing a relationship with the surrounding space and the landscape" (Carandente, pg6). It would bring more culture to San Sebastain if they continued to piece a series of Chillida's work along the coastline.

At the other end of Zurriola Beach is the Contemporary Culture Center designed by Rafael Moneo. This bay will have to significant, modern and cultural buildings acting as bookends to this already popular destination in the city. The diagram to the left depicts the linkage between Eduardo Chillida's presence in the San Sebastion urban fabric. It would take a visitor just under an hour to walk from Piene del Viento to the site of Chillida exhibit.

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Eduardo Chillida paid homage to countless musicians, scientists, artists, poets, and friends, it is about time someone pays homage to Chillida.

Piene del Viento, 1976 Homenaje A Fleming, 1955 The Torso, 1948


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site analysis history

For the past 201 years, San Sebastian has been rebuilding its architecture because of the last great fire on August 31, 1813. The growth of the city started at Monte Urgull and the city walls and made its way down the coasts and in land. In 1813, Zurriola beach was significantly different than it is today. The river has adapted over the past two centuries and has become narrower, allowing us to walk on the beach and to our site. This is why the buildings in the Gros neighborhood are more modern (rather than classical), than other areas of the city. It was all under shallow water until the 20th century. The drawing to the right illustrates the usage of the beach as a utilitarian resource rather than the popular sun bathing spot that exists there today. In 1966, the San Sebastian Jazz Festival was founded and is one of the oldest in Europe. Some of the venues are in the open air and some others are indoors. Among these, the shows on Zurriola Beach are the most popular.

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daily life in 1813

didier petit meurville

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site analysis

environmental conditions average temperature

average high/low

average humidity

average daily sunshine

average rainfall

To the right are a series of graphs that show the average climate conditions for each month of the year. From this data it has been determined that July is the hottest month in San Sebastian with an average temperature of 69째F (21째C) and the coldest is January at 47째F (9째C). The wettest month is April with an average of 190mm of rain. particularly in the winter months. May and June have the most daily sunshine at 13 hours of daylight. The hours of daylight are important to the site because it is well shaded during the beginning hours of day due to Monte Ulia blocking the site from the east. During the spring and summer, the site is exposed to a lot of daylight which means the proposed building would benefit from vertical louvers on the east and west facades and overhangs on the southern facade. Another environmental condition to consider is the corrosive powers of salt, especially since some of the faster winds are coming off of the water. The proposed building is temporary, so that could be used to our advantage. Peines del Viento (The Combs of the Wind) was designed to lose in inch every twenty years, which is connect the sculpture to its place and time.

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average fog days


January

July

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7am

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7pm

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site analysis Sequence of icons

The coast line of San Sebastian is not just limited to the works of Chillida, but to other icons that string together a network of cultural sites. From the most western point is Peine del Viento, which extends out into the sea. Down the beach is Chillida's other sculpture, Homage to Fleming, which has a back drop of Monte Urgull. Once past the first bay, the location of the old city walls appear, and within there is the Plaza de la Constutucion. Before making it to the summit of Monte Urgull, at the base is Jorge Orteiza's sculpture, Construcción Vacía, which has similarities to the work of Chillida. At the top of the mountain is the old fortress which has views out to the whole city and is the location of the Sacred Heart statue. Next are a few of San Sebastians contemporary architecture, San Telmo Museum and Kursaal. These two building lead us to the final destination, the proposed Eduardo Chillida Exhibit. 1. Peine del Viento 2. Homage to Fleming 3. The Plaza de la Constitución 4. Construcción Vacía 5. Sagrado Corazon 6. San Telmo Museum 7. Kursaal 8. Proposed Site

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site analysis water

The bay and the river have drastically changed over the past few centuries and every day the tides change the appearance of the beaches. Between 1813 and the present, the River Urumae has become narrower and allowed us to have Zurriola beach and the site for the proposed building. Our site is well known for its great surf and fishing, so the tides are an important element to the area. The area most effected by high tide is the Island Beach on Isla Santa Clara. During high tide, the beach is non-existent.

COASTAL CHANGE

HIGH AND LOW TIDE 34


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site analysis views

1. Looking east from on top of Monte Urgull 2. View from beginning of the boardwalk 3. View from middle of the boardwalk 4. View from end of the boardwalk 5. Looking north from site entrance 6. Looking northwest from existing parking

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views onto the site

1. Looking south towards the city 2. Looking west across the bay 3. Looking southwest towards site entry 4. Looking north towards the point 5. Looking northeast at Monte Ulia 6. Looking southwest at urban condition

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views from the site


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site analysis Accessibility

An amazing characteristic is the cities accessibility. To walk from one end of the coast to another takes approximately 45 minutes. This is an advantage for the proposed site because it is along a boardwalk used by pedestrians and cyclists as well as near a road for vehicular traffic. To get from one icon to another is a convenient process, which reinforces the idea of a network of cultural sites.

5 minutes

1. Zurriola Beach 2. Kursaal 3. La Concha 4. Construcci贸n Vac铆a 5. Peine del Viento

10 minutes

20 minutes

30 minutes 45 minutes

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5 minutes

10 minutes

20 minutes

30 minutes

45 minutes

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site analysis topography

One of the most unique characteristics of San Sebastian is it's heart beat type sections that fluctuates between mountain peaks and sea level. The site is specifically interesting because it is flanked with two major conditions, one being Monte Ulia, which is almost 800 feet tall, and La Zurriola Bay. This causes some dynamic sections in many areas of the site.

Due to these site conditions, it will allow views of some of Eduardo Chillida's biggest inspirations. The ocean, the horizon, the waves, the wind and the landscape. In the diagrams below, you will see the constantly changing site sections. Not one area will look like another due to the steep mountain side and the flowing edge of the bay.

Edge Conditions

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site analysis

Zones

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Building Usages

access

circulation


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4. Conceptual framework My initial reaction to the site in regards to a museum for Eduardo Chillida is that the purpose of the building and the location of the site are a cohesive pair. Chillida appreciated the natural beauties of his surrounding environment; the wind, the ocean, the waves, the sun, and the horizon all have influenced his works during his lifetime and each one of them is found in abundance on this site. The site is an ideal location for its diversity of terrain. Not every city has rolling hills separated by large bays, with long beaches and a mixture of historical and contemporary buildings. The strict guidelines that the museum must be on site one and the kindergarten must be on site two, and not visa versa, raised the question -why? Now understanding Eduardo Chillida as a person, his process, his work and most importantly, his influences, the answer became clear. Chillida appreciated the natural beauties of his surrounding environment. The wind, the ocean, the sun, and the horizon all have influenced his works during his lifetime and each one of them is found in abundance on this site. Eduardo Chillida has a reoccurring theme of “framing spaces, which should be� applied to the beautiful landscape. Since it is overcast for the majority of the year, only being able to see a certain framed view will enhance the beauty of the area. By creating a series of voids that show the visitors a specific experience such as how the mountains meet the ocean, or a sliver in building that gives you a glance of the horizon, it will take away some of the overwhelming grayness the site endures. This concept could not hold as true if it were located within the city on site two. A museum to celebrate and commemorate Eduardo Chillida needs open air and the common home of the horizon.

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conceptual framework Eduardo chillida

Born in San Sebastian, Spain in 1924 Died in San Sebastian, Spain in 2002 Eduardo Chillida is regarded one of the most important Spanish sculptors of the 20th century. Chillida first became famous for his monumental abstract steel works, many of which are now public sculptures. These works include the series El peine del viento (The comb of the wind), installed at the bay in the Basque region of his hometown in 1976, or his 2000 sculpture Berlin, placed facing the chancellery in the Germany capital as a symbol of German reunification. Chillida was born in San Sebastian, in the Spanish section of the Basque region set between Spain and France. After studying architecture in Madrid, he began creating sculptures in 1947. He lived in Paris for three years before moving back to his hometown San Sebastian. There, he first worked with clay and plaster, but soon concentrated on sculpting using steel and granite, the materials with which he could best “form the empty space, "provoking the vacuum and embracing the horizon", � as he once commented. While Chillida received widespread international attention, he went unnoticed in Spain for many years.

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Chillida's earliest sculptures concentrated on the human form (mostly torsos and busts); his later works tended to be more massive and more abstract, and included many monumental public works. Much of Chillida's work is inspired by his Basque upbringing, and many of his sculptures have titles in the Basque language, Euskera. A large body of his work may now be seen in San Sebastian. In 2000, Chillida opened his own museum in Hernani, fulfilling a lifelong dream. He died two years later, at 78 years old; the museum still actively displays his work today.

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1. Embrace III, 1991 2. Elogy to the Horizon, 1990 3. Monument to Tolerance, 1995 4. Untitled 5. Installation 2012

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conceptual framework Architecture + Museum

The architecture of a museum is another concept that is worth exploring. This type of architecture should promote discovery and learning. An endless sequence of rooms that show case paintings is rather dull, even if the paintings are great. A museum that interlocks spaces to create a back drop to 11,000 art pieces is the Davis Museum at Wellesley College. The museum is a "treasury that speaks about the lives of those people who received their education here." Therefore, its simplicity works well with the generations after generations of young women that attend the school and appreciate to museum and the art it holds. However, a museum for Eduardo Chillida, who believes in the impossible and uses nonorthogonal angles and materials that test the limits, should not be a neutral backdrop, instead it should be provoking.

Neutral exhibition

vs.

A museum should provoke emotions and experiences that are directly connected to the topic of the museum. An example of a provoking exhibit in is the Jewish Museum in Berlin, Germany by Daniel Liebskind. One of the most emotional and powerful spaces in the building is a 66 ’ tall void that runs through the entire building. "The concrete walls add a cold, overwhelming atmosphere to the space where the only light emanates from a small slit at the top of the space. The ground is covered in 10,000 coarse iron faces. A symbol of those lost during the Holocaust; the building is less of a museum but an experience depicting what most cannot understand" (archdaily, 2010).

Provoking exhibition

davis museum

jewish museum

Rafael Moneo Wellesley, Ma

Daniel Libeskind Berlin, Germany

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temporary + architecture A temporary structure is more than a tent that gets assembled and disassembled in the same day. Exhibits, pavilions, installations, markets and a numerous amount of other building types all can function as a temporary structure. Temporary architecture can be defined as any space that is mobile or intended only to be used for a short period of time before it is either dismantled or relocated to somewhere else in the world. Temporary architecture is often responsive and adaptable to function and location. The structures are about tectonics and often act as a testing ground for new technologies without the pressure of lasting permanently. A well known example of a temporary building is the Barcelona Pavilion by Ludwig Mies van der Rohe. It was the German Pavilion for the 1929 International Exposition in Barcelona, Spain. It is an important building in the history of modern architecture, known for its simple form and its spectacular use of extravagant materials, such as marble, red onyx and travertine. Due to the fact that it was planned as an exhibition pavilion, it was intended to exist only temporarily. The building was torn down in early 1930, not even a year after it was completed. However, thanks to black-and-white photos and original plans, a group of Spanish architects reconstructed the pavilion permanently between 1983 and 1986. The pavilion still stands today and is a testament for the flexibility and versatility of temporary architecture.

During the construction work of neighboring buildings and facilities the market is intended to act as an urban facility which can be removed and recycled once it is no longer needed. Once construction work of the market’s surrounding development has reached completion the cylinders have been designed so as they can be taken down and relocated to an alternative location in Madrid.

Spanish pavilion expo 2008

Barcelo temporary market

Francisco Mangado Zaragoza, Spain

Nieto Sobejano Madrid, Spain

Barcelona pavilion Ludwig Mies van der Rohe Barcelona, Spain

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conceptual framework temporary architecture + the site Something that needs to be considered about temporary architecture is what the impact on the site will look like once the building is gone. One option is to leave little impact so that the next building or landscape to utilize the space has a fresh canvas to work upon. Another option, and the strategy I find most appealing for this site is to leave a lasting impression so that the memory of the exhibition lasts longer than the architecture itself. Eduardo Chillida is a legacy in San Sebastian and deserves to be commemorated. He was an important cultural icon in this city, and should be celebrated every year based off the breadth of his work, rather than just in 2016 when this city is honored with being the European Capital of Culture. That is why I would like to create a hard-scape that will remain once the building is gone and will utilize the footprint of where the building once stood in order to remember Chillida and all the masterpieces he has made. Existing on the site today are a few insignificant outdoor recreational courts that have no cultural or meaningful ties to the city. The site is at the very tip of the eastern coast of San Sebastian and should be a place to attracts locals and tourists. On the western end of the coast is Peine Del Viento (The Combs of the Wind) which was designed by Chillida. The area in which you view the sculptures was designed by his friend, architect Luis Pena Ganchegui. It is a hard-scape that allows you to admire the ocean, the mountains, the city and the artwork, Our site should compliment this gathering space because it is so successful and it creates "bookends" at either side of the city.

Peine del Viento Luis Pe単a Ganchegui Eduardo Chillida 50


51


conceptual framework "the murmur of the site"

It is common to associate architecture with “substantial immobility” because it is expected that a building is bounded to the earth for eternity. It is a challenge to design architecture that will be on a site one day, and is either dismantled or relocated another day. However, a similar approach should be taken in regards to its spiritual connection to the site, while the physical connection has some additional hurtles to overcome. “Without the site, without a singular, unique site, architecture doesn’t exist. ” The exhibition for Eduardo Chillida will take possession of the site for as many years as the city of San Sebastian feels fit, and for the amount of time it will have domination over the tip of the Zurriola beach. "Even when a nomad plants a tent in a dessert, the tent is expressing domination, a mastery of the site. For that moment, even if only for a few days, the land has an owner. ” What happens when the museum no longer owns the site? Plans for the buildings aftermath needs to be resolved. I don’t want the museum to be erased or forgotten, I want remnants to last on the site, or to slowly dwindle away like Peine del Viento, the sculpture done by Chillida on the other end of the coast in San Sebastian. The site currently holds nothing of significance to the neighborhood and creates a dead end for the sequence of events along to coast. When the building is gone, a piece of Chillida must remain. How will an exhibition respond to the site and to San Sebastian as a whole? The architect of the Kursaal, Rafael Moneo, had a relevant approach for his site in response to "San Sebastian [as a] city in intimate contact with its geography and its natural setting." His building has two masses or “rocks” that addresses the site. One of the large performance halls creates a dialogue with Mount Urgull, while the other looks toward Mount Ulia. He considered to harsh weather conditions that occur on the site and built with materials that could withstand the corrosive powers of the sea salt and wind. Moneo also created a building that “changes dramatically at night when they become fans facing the open sea. They are alone, distant and silent, keeping the site as it is. They do not belong to the urban fabric: they belong to the landscape. ” What does it mean to design a temporary exhibit for Eduardo Chillida? Should the museum be a neutral canvas to show Chillida’s work or should it encompass his spirit? Chillida is unique because he is a child of San Sebastian, who was born, grew up, worked and died in this city. A neutral museum would be an insult to his legacy. Chillida’s work is reflective of the Basque culture and to translate his art into architecture would be appropriate for this site. He was influenced by the natural elements around him such as the ocean, the waves and the horizon. To have the architecture address those topics and to frame those views will be an important part of the design. Rafael Moneo designed the Miro Foundation in Palma de Mallorca, which is place for artists to work and study the paintings of Joan Miro (who had been an influence for Chillida). In Moneo’s design approach, "Miro's sculptures will occupy this promising space as if they were the phantoms of the painter himself, still alive and in his beloved house." This concept is exactly want I want to achieve in exhibiting the works of Chillida. Ultimately, I want my building to be an homage to Chillida, meaning, if you were to take all his art work out, it would still be clear that it was meant for him. 52

Miro Foundation, 1992 Rafael Moneo Palma de Mallorca Kursaal, 1999 Rafael Moneo San Sebastian Spain [Substantial Immobility] The Murmur of the Site, 1992 Rafael Moneo


"to know the site, to analyze it, to scrutinize it, does not produce an immediate or obvious answer." -Rafael Moneo

53


conceptual framework exhibition for buscando la luz iii In respect of Eduardo Chillida, I have chosen to exhibit his artwork in the environment he had intended it to be in. He designed a lot of open air sculptures that have a strong relationship with an aspect of the environment, such as the horizon, the ocean or the wind. In the case of Buscando la Luz III, the three sculptures were designed to find and catch the light. If this monumental sculpture were to be exhibited inside, under artificial lights, the purpose for the sculpture is lost. Buscando la Luz III, 1997 Corten Steel

54


model of a void

To create a void in the styles of Chillida, I used a methodical process to make a space. I did this by acknowledging both his 2-dimensional and 3-dimensional work. I made a cube and sliced surfaces away to create a void. When disassembled, it remains as one continuous piece of material, which creates a new sense of negative space. This product strikes similarities to some of the collages and drawings Chillida had created in his lifetime.

55


conceptual framework Relationship to the landscape Eduardo Chillida had architectural training which has translated into his artwork. I investigated what would happen if you transform his work into an inhabitable space by manipulating the scale and material. A reoccurring theme of Chillida's is the idea of framing spaces. Chillida often would create a void to frame an important view such as the horizon or to gather sunlight. "Deep is the Air- Stele XIII" is a perfect sculpture to try out this investigation of scale and framed views of the San Sebastian landscape. The detail of the sculpture that I selected is approximately 12" x 12" and has grown into a space 9' x 9'. The material used in the sculpture is granite which needs to be carved and polished in order to create the space. I have applied corten steel (a common material used by Chillida) to the walls and contrasted it against a white wall. The space i have framed give the context of the area. One void gives a glimpse of the waves meeting the beach and the buildings that lead you to the museum. Another void frames the view of how the mountain meets the sea and the horizon. This concept can be applied to almost any of his sculptures as a three-dimensional spaces and his collages and drawings can be translated into a facade, ground surface or site strategy. Deep is the Air— Stele XIII, 1990. Granite, 48.75 x 41.25 x 68 in.

56


57


conceptual framework ICONIC architecture This temporary building should be iconic and contemporary and not conform to the existing architecture and grid in the urban fabric. With the Kursaal being its neighbor down the bay, the building wants to be an intriguing and unique example of architecture. The Kursaal creates a dialogue with the surrounding mountains. The Eduardo Chillida Art Exhibition will create a dialogue with Chillida artistic works and inspirations, while framing views of the incredible landscape.

58


1. PEINE DEL VEINTO EDUARDO CHILLIDA + LUIS PENA 1976

2. MUSEO SAN TELMO Nieto Sobejano Arquitectos 2011

3. KURSAAL RAFAEL MONEO 1999

4. ECEA KATE FORD 2014

City Grid Density less dense

more dense

59


conceptual framework Sculptural architecture

After investigating a process of design where the transformation of a sculpture by Chillida is turned it into an inhabitable space, the concept of this project was formed. This creates an homage to the celebrated artist as well as creating a building that focuses on sculpting voids. Chillida's wood sculpture, Relief, 1963, is the inspiration for this exhibition. When translated from sculpture to architecture, it allows for nice opportunities for large galleries, exterior spaces and views out to the landscape. If the sculpture were to be hollowed out, the spaces inside have endless possibilities. The solution that drove the design for the galleries was taking a specific style found in his sculptures where Chillida carves away blocks from a single material and creates solids and voids.

60


Unique design process 1. Claes Oldenburg Sculptures

2. Alvar aalto Architecture + Furniture

The design concept of taking an object and changing the scale is not a typical process, but has been done before by well known artists and architects. Claes Oldenburg is an American sculptor best known for his public art installations typically featuring very large replicas of everyday objects. The drastic change in scale is similar to the design intentions of the Eduardo Chillida Art Exhibition (ECEA), except the Wooden Relief sculpture is not an "everyday" or recognizable object. A designer that also plays with scale, but in a less obvious way, is architect Alvar Aalto. The furniture he designed has striking similarities to the architectural works he did during his life time. Taking a design at one scale, and not replicating it, but instead, use the same design principles at a different scale is something that is incorporated in the ECEA with the galleries. Two buildings that draw inspiration from its culture are the MUSAC in Leon, Spain and the Contemporary Art Center in Cordoba, Spain.

3. Musac Mansilla + Tunon Arquitectos Leon, Spain

4. Contemporary Art Center Nieto Sobejano Cordoba, Spain

The facade of the MUSAC is made up of more than 3,000 colored glass, stained-glass window inspired by 'The Falconer', one of the oldest in the cathedral, the thirteenth century and whose image has been pixilated to give color to each of the glass covering the facade. The Contemporary Art Center draws on the richness of Islamic forms and geometries by reinterpreting ancient motifs through contemporary materials and spatial relationships. Sobejano compares the inverted pyramidal ceiling of each gallery cell to the Islamic muqaras, the intricate patterns of miniature corbels, squinches and domes found in many of the vaulted ceilings of the Alhambra. 61


conceptual framework Process SKETCHES + models

62


63


conceptual framework Initial program

By taking an existing sculpture and scaling it up, a massing of a building is left to then fill with program. In order to create a layout that is not forced, certain guidelines needed to be put into place. The program that is the most important and must be celebrated are the galleries. They are also the largest program in the building and require double and triple height spaces in order to add galleries that play with Chillida's idea of space and void. With this in mind, the three shapes (the L and the intersecting U's) will solely be the galleries and the rectangular base will enclose all other program. This allows the galleries to be centralized and have all other program to be woven between its forms.

program

area (net)

total (SF)

Lobby/Reception Coat Check Projection Room Bookstore Cafe Kitchen Staff Area

600 500 2000 700 1000 400 500

1 1 1 1 1 1 1

600 500 200 700 1000 400 500

Gallery (General) Gallery (Singular) Outdoor Exhibit

15000 3000 -

1+ 1 -

15000 3000 -

Subtotal Total

64

Quantity

23700 39500

(Assuming 70% efficiency)


Galleries

Original sculpture

Division of Program

Lobby + Bookstore + Projection + Cafe + Staff Area + Services

65


conceptual framework exhibited works

Sculptures 11. La Casa del Poeta I 12. Lurra 42 13. Elogio del Vacio II 14. Monumento a la Tolerencia 15. Beaulieu 16. Acro de la Libertad 17. Escuchando a la Piedra IV 18. Homage to Calder Drawings 1. Euzkadi III 2. Enparantza I 3. Bilbao Mundial 4. Fundacio Miro 5. Elogio del Agua 6. Gravitacion 7. Homenaje a Aime Maeght 8. Elogio del Horizonte 9. Kutxa 10. Zedatu II

Sculptures

66

Dimensions (in.) 23x39x22 15x10x7 40x16x16 37x104x87 82x26x22 117x81x82 71x39x37 304x 182x182 54x37.5 30x21 37x24 27x19 9x6 8x12 63x42 9x8 17x15 20x28


Drawings, paintings + collages 67


conceptual framework Relationship to site

property boundary

The ECAE is situated towards the beginning of the site boundary for multiple reasons. Its location is closer to the city context and allows for a seamless transition from the end of the beach board walk to the start of the public square + entrance to the exhibition. It's location also hides some of the parking lot from pedestrians on the boardwalk. Lastly, it allows the tip of the site to be used as a platform for contemplation and views out onto the beautiful scenery the city has to offer.

BAY OF BISCAY MOUNT ULIA

To help the design fit into the context seamlessly, the existing playground will be extended onto the lower right-hand side of the site. The line of trees will also extend past my building to make the progression of greenery seem rythmnatic,

ZURRIOLA BEACH context

buildable area Point horizon

entry exit vehicular bicyclist

mt. urgull

mt. ulia

pedestrian kursaal

beach 68

access

views

city


69


conceptual framework site plan

70


71


conceptual framework

72


73


conceptual framework Paying Homage

No other sculptor of the 20th century has paid so many tributes to other artists as Eduardo Chillida. Dedications to other artists, as well as to musicians and writers can be found in great abundance and with great frequency in his works.

"Miro's sculptures will occupy this promising space as if they were the phantoms of the painter himself, still alive and in his beloved house." -Rafael Moneo Miro Foundation, 1992

Chillida's tributes express his spiritual connectedness with other artists across "epochal boundaries." But these affinities in history are also to be seen as an expression of humanist aspirations of the work of Eduardo Chillida. To create a spiritual connection between San Sebastian and Eduardo Chillida, this art exhibition is to be made as an homage to this Basque sculptor.

Homage to Eduardo Chillida 74


Homage to Jorger Guillen

Homage to Joan Miro

Homage to Alexander Calder

Homage to Aime Maeght 75


conceptual framework Dissecting the sculpture

Chillida's sculpture is a monolithic piece of wood that is solid inside. To transform this sculpture into an inhabitable building, it needs to become hollow inside to create architectural spaces. What happens when it gets dissected is a complete mystery and can have millions of different interpretations. Enric Miralles did an investigation on "How to Layout a Croissant" where he took sections through every segment of the pasty. His process informed the sectional quality of the building by discovering the potential voids within the sculpture at an early stage, as well as providing the realization that both the interior and exterior are made of wood.

"how to layout a sculpture"

76

"how to layout a croissant"


77


conceptual framework Sculpting the galleries

If the sculpture was hallowed out and considered as a "container" to the galleries inside, the galleries need to have a contemporary connection to the style of artwork Chillida once created. Within the container are polycarbonate galleries suspended from the roof to give an illusion that they are defying gravity. This form took on many shapes until it found its final configuration. At first it started off very planar, which had no relationship to Chillida and his sculpting. Volumes started forming on top of the plates which still lacked a connection to Chillida. Finally, planar forms were avoided and forms that strike similarities to some the the sculpture done by Chillida started to materialize. The polycarbonate galleries (the contained) are respectful of the scaled up Wooden Relief sculpture and only touch its interior walls at points in which the visitor can transition outside onto the roof deck.

78


79


UP

UP

3' - 0"

1

A2-01

conceptual framework Fire Stair 015

Circulation 013

Staff Area

UP

UP

014

Storage

Elevator

020

2 DN

A2-02

3' - 0"

1

Janitors Clst 016

Projection Room 0' - 0"

018

Technical Closet 018a 019 UP

2

A2-03

1

A2-03

Single Gallery

Gallery 017

Circulation UP

UP

1

A2-02

003

Lobby

Vestibule

001

000

Cafe 009

Bookstore

Mechanical

012

011

Kitchen

Janitor Closet

010

004

Men

Women

007

006

Coat Room 002

Mechanical

B

2

Ground floor

A2-04

3

-

---

80

A2-04

A2-01 2

005


program

service/ served

circulation

81


conceptual framework

circulation

roof gallery access

82


A2-01 1 DN

204

DN

DN

UP

Fire Stair

Elevator

2

Single Gallery 205

JC

A2-02

203

Galleries

A2-03

201

A2-01 2

2

A2-04

A2-04

3

-

First floor

---

1

A2-02

DN

1

DN

2

A2-03

UP

202

83


conceptual framework Juxtaposition of Geometries

Chillida strikes up a dialogue between shapes that creates a strong spatial tension by rejecting to use 90-degree angles in his work. He found the relationship between an 88 and a 92 degree angle more interesting than that of a 90-90 relationship. "I believe the 90-degree angle permits dialogue with other angles only with difficulty, it converses only with right angles. In contrast, angles between 88 and 93 degrees are more tolerant and their use enriches spacial dialogue. Besides, are 90-degree angles not a simplification of something very serious and very alive, our own verticality?" The design of the galleries are orthogonal to challenge this idea of thinking. The juxtaposition between the nonorthogonal lines of Chillida's sculpture and the strictly orthogonal polycarbonate galleries allows for constantly changing slivers of light and view throughout the space.

3

1 84

2


A2-01 2

A2-04

2 A2-03

1 A2-03

2

Galleries A2-02

301

2

A2-04

3

---

-

Second Floor 1

A2-02

DN

Fire Stair 304

Elevator 303

302

JC

85

DN

1

A2-01


86


conceptual framework

87


conceptual framework Top of Roof 50' - 0"

Second Level 30' - 0"

First Floor 15' - 0"

Ground Level 0' - 0"

WEST Elevation

Top of Roof 50' - 0"

Second Level 30' - 0"

First Floor 15' - 0"

Ground Level 0' - 0"

88

EAST Elevation


89


90


conceptual framework Top of Roof 50' - 0"

Top of Roof 50' - 0"

Second Level 30' - 0"

Second Level 30' - 0"

First Floor 15' - 0"

First Floor 15' - 0"

Ground Level 0' - 0"

Ground Level 0' - 0"

NORTH Elevation

Top of Roof 50' - 0"

Top of Roof 50' - 0"

Second Level 30' - 0"

Second Level 30' - 0"

First Floor 15' - 0"

First Floor 15' - 0"

Ground Level 0' - 0"

Ground Level 0' - 0"

SOUTH Elevation 91


conceptual framework Container and the contained

"Boundaries are actually the main factor in space, just as the present, another boundary, is the main factor of time."

"My work is a rebellion against gravity."

These two quotes from Eduardo Chillida have been inspirations and goals for the design of the galleries. The wooden relief sculpture is a boundary that encloses an entirely different form. The new form floats within the sculpture, respecting the boundaries and rebelling against gravity. A visitor will walk into the "sculpture" and see translucent galleries floating within the a wooden space. Natural light will trickle down the wooden sides, emphasizing this contrast between the wooden container and the galleries that are being contained.

92


7

6

5

viii vii

4

3

iii

2

1

Top of Roof 50' - 0"

Second Level 30' - 0"

First Floor 15' - 0"

Ground Level 0' - 0" Level 0 -3' - 0"

Cross Section 1 1

2

iii

3

4

vii viii

5

6

7

Top of Roof 50' - 0"

Second Level 30' - 0"

First Floor 15' - 0"

Ground Level 0' - 0"

Cross section 2

93


conceptual framework A

B

a

C

D d

E

F

G

I

Level 4 45' - 0" Level 5 41' - 0"

Second Level 30' - 0" Level 6 27' - 0"

First Floor 15' - 0"

Ground Level 0' - 0" Level 0 -3' - 0"

Longitudinal Section 1 I

G

F

E

d D

C

a

B

A

Level 4 45' - 0" Level 5 41' - 0"

Second Level 30' - 0" Level 6 27' - 0"

First Floor 15' - 0"

Ground Level 0' - 0" Level 0 -3' - 0"

94

Longitudinal Section 2


95


conceptual framework Interior views

"Framed spaces" is a theme that has been repeated in many of Chillida's art work. This idea enhances the spatial quality of the galleries because it provides multiple vantage points to view sculptures and spaces. The material of the galleries is a polycarbonate panel that is translucent. While in the space, someone can see silhouettes of other peoples movements through the panels. This makes the space more lively and less static. In the perspective to the right, the sculpture on the ground level has been framed by the space so that you can only see it in specific areas. In the earlier iteration of the space found below, the sculpture could be seen from the staircase and the walkway. In the current design, one must travel to specific places to view the artwork, which gives more purpose for its existence in the exhibition.

96


97


conceptual framework CURATING THE ARTWORK

The art work is curated in no strict order or path. The visitor can view the artwork in what ever pattern they desire. All paper works (collages, paintings, drawings) are found inside the polycarbonate galleries while the sculpture are located in the voids. This allows the visitor to weave between solid and void as well as 2D and 3D artwork.

1

2

10

11

3

4

5

6

7

8

9

Larger sculptures are located on the rooftop patio and are accompanied by the beautiful views of the ocean, the beach, the mountains and the city of San Sebastian.

8

12

11

8 6+7 9

1

5

2 3+4

13

10

98

15

16

16

17

17

8

18

18

1

5

12+13

2

9 14

Void space Sculptures

14

Interior space Paintings + collages

15

Circulation space Aerial view of sculptures

Outdoor space Large sculptures


99


conceptual framework LASTING LEGACY

After the building has fulfilled its purpose and needs to be disassembled, what is remaining will become a new gathering place at the tip of the western coast. The hard-scape that was designed for the Eduardo Chillida Exhibition will also serve as square and lookout destination to view the city, beaches, mountains and ocean. The wooden louvers of the building will be recycled and will infill the footprint of the building to act as a gathering place for markets, concerts, festivals and other events. It is important to create a space in this city that allows Eduardo Chillida's legacy to live on. He loved the wind, the ocean, the waves, the landscape and his birthplace, San Sebastian. This site allows locals and visitors of the city to experience all of Chillida's inspirations from one vantage point.

Temporary EXHIBITION

SKIN

As it exists today, the site has poorly maintained recreational courts taking up a potentially beautiful area. The city of San Sebastian needs both the Eduardo Chillida Art Exhibition as well as an urban gathering space to appreciate the amazing views seen from Zurriola bay.

SITE

100


Before

after

101


conceptual framework COASTAL TIP GATHERING SPACES

Through the use of similar stone pavers and staggered platforms with strong geometries, a new public square was created to pay homage to Eduardo Chillida and his friend, Luis Pena. Peine del Viento was completed in 1976 and is one of the most visited areas of San Sebastian as a place to view the impressive sculptures by Chillida as well as a place of contemplation. Both of these squares are at the extreme tip of either side of the San Sebastian coast and will create a cohesive bond between the whole coast line.

102


103


104


5. Technical solutions 105


technical solutions Actual Program

area (net)

area (GROSS)

Lobby/Reception Coat Check Projection Room Bookstore Cafe Kitchen Staff Area

915 485 2000 950 1125 365 700

1100 580 2400 1140 1350 438 840

1 1 1 1 1 1 1

915 485 2000 950 1125 400 500

Gallery (General) Gallery (Singular) Outdoor Exhibit

10500 3575 -

12600 4290 -

1 1 -

10500 3575 -

program

Subtotal Total

106

Quantity

total (SF)

20615 29450

(Assuming 70% efficiency)


Spatial relationships

With laying out a building, their are certain adjacencies that want to happen. With the ECEA, the lobby wanted to be oriented towards the city to allow people from the boardwalk to have a clear path to the entrance of the building. Neighboring the lobby should be coat check to allow the visitors to put away their belongings upon arrival. The Cafe should have direct access to the kitchen as well as be located near the restrooms. The cafe should also have views looking out to the bay because this is an area people will stop and appreciate the scenery. Although it does not hold any artwork, the projection room should be near the galleries because it will provides information about the artist and is an attraction that would draw people in along with the galleries. The staff area should be private and does not have any important relationships with any of the other program. Lastly, the bookstore should be located with the exit because that will encourage the visitors to shop before leaving, which will help the museum be more profitable.

City

Lobby

Coat Check

Kitchen

Cafe

Restrooms

Gallery

Projection

Gallery

Staff Area

Bookstore

Exit 107


Technical solutions occupancy + fixtures

Minimum requirements Men- 1:1 25 Occupants Women- 1:65 Occupants Ground Floor Bathroom Men 4 Lavatories 4 Urinals 2 Water Closets Womens 4 Lavatories 6 Waterclosets

108


Lobby/ Reception

61

Coat check

10

Bookstore

19

Cafe

75

Projection Room

150

General Gallery

350

Single Gallery

120

Staff Area

9

Kitchen

2

TOTA L

794

= 20 Occupants

109


Technical solutions Egress EGRESS Program Component Program Type

Public

Program Component

# Means of Egress

# of Occupants

# Doors per Space

Minimum Door Width (in)

Minimum Clear Corridor Width (in)

Maximum Common Path of Egress

Maximum Length of DE Corridor

Lobby/RecepIon/Ickets

61

1

2

32

36

250R

75R

20R

Coat check/Lockers

Locker Rooms

10

1

0

32

36

200R

100R

20R

Bookstore

19

1

2

32

44

250R

75R

20R

Gallery-­‐General

MerchanIle Assembly A-­‐3 Occupancy, Unconcentrated SeaIng

350

2

0

32

44

250R

75R

20R

Gallery-­‐Singular

Assembly A-­‐3 Occupancy, Unconcentrated SeaIng

120

1

2

32

44

250R

75R

20R

ProjecIon room

General Assembly (concentrated seaIng)

150

2

4

32

44

250R

75R

20R

Assembly A-­‐3 Occupancy, Unconcentrated SeaIng

75

1

2

32

44

250R

75R

20R

1 2

1 2

32 32

36 36

250R 300R

75R 100R

20R 20R

Kitchen Staff area Subtotal

785 Kitchens, Commercial Business Areas

2 7 9

VerIcal CirculaIon/Chases Bathrooms Mechanical

0 0 0

Subtotal

0

Total

110

Use

Egress Requirements Maximum Travel Distance

Assembly Occupancy (standing space)

Café Outdoor exhibit Subtotal

Private

Occupancy loads

794


111


conceptual framework Structure

|

Concept

The goal in designing the structure is to create spaces that are structurally intriguing without visually seeing how its held up. Due to the temporary nature of the building, the materials used in construction need to be easy to dismantle and recyclable. This drove the structure to be made up of steel and wood. The galleries of this exhibition take on the forms in which Chillida would design. Galleries are as if they were one whole piece that got carved away to create voids. The solids need to be visually uninterrupted by structure so that the transition from solid to void is clear and concise. This is why the solids of the gallery will be suspended from the ceiling to give the illusion that they are a shape within the shape of the container.

Steel construction roof with sloped skylight around edge

Polycarbonate Suspended from roof

The container will need a large members in order to span and suspend the galleries. The structure also needs to be discrete here too and will all be within the cavity of the wall. The base on the other hand will be very light weight and will consist of a series of columns no farther than fifteen feet from one another.

steel construction + wooden louvers

112


Steel structure

cable -rods

Suspended structure

hollow tubes polycarbonate pa n e ls

woode n lo u ve r s

Hidden structure

Structural components

load distribution

Lateral Bracing

113


Technical solutions Structure

|

EUROPEAN CAPITAL OF CULTURE EDUARDO CHILLIDA EXHIBITION

EUROPEAN CAPITAL OF CULTURE EDUARDO CHILLIDA EXHIBITION

ZURRIOLA BAY SAN SEBASTAIN, SPAIN

ZURRIOLA BAY SAN SEBASTAIN, SPAIN

Technical GENERAL NOTES

j h

g

H

e

d

b

W18X46

W24X62

W12X35

W18X46 W18X46

W18X46

W18X46 W24X62

vi vii viii v

20' - 7 7/8" W24X62

v

W12X35

W18X46 W18X46

W18X46

W24X62

W24X62

W12X35 W18X46

W12X35

W24X62

W12X35

W12X35

W12X35

W18X46

36

W18X46

W12X35

W12X35

W12X35

W12X35

W12X35

5

W18X4 6

W24X62

W18X46

W12X35

W18X4 6

W18X46

W18X46

W12X35

W12X35

W12X35

W12X35

W24X62

W12X35

W24X62

W18X46

iv

W12X35

W18X46

W18X46

W12X3 5

W12X35

W18X46

W12X35

W24X6 2

W18X46

W12X35

W12X35

W18X46

vi vii viii

W18X46

W18X46

W18X46

W36X135

W18X46

W24X62

W24X62

5

W12X3 5

W18X46 W18X46

W36X135

W18X46

W12X35

W18X46

W24X62

W24X62

W24X62

3

W12X35

3

KEY PLAN

KEY PLAN

W12X35

W12X35

W12X35

i

i

ii

W12X35

ZURRIOLA BAY SAN SEBASTAIN, SPAIN

I

F

E

C

B

G

EUROPEAN CAPITAL OF CULTURE EDUARDO CHILLIDA EXHIBITION

ZURRIOLA BAY SAN SEBASTAIN, SPAIN

A

I

G

F

E

B

C

EUROPEAN CAPITAL OF CULTURE EDUARDO CHILLIDA EXHIBITION

A

ARCH 513.01 COMPREHENSIVE STUDIO ROGER WILLIAMS UNIVERSITY SAAHP FALL 2014 INSTRUCTOR: ROBERTO VIOLA OCHOA KATE FORD ARCH 513_01_14FA

SCHEMATIC DESIGN SET

SCHEMATIC DESIGN SET

Second floor framing plan

Roof framing plan GENERAL NOTES

j h

g

H

e

d

b

c

a

S1-04

Scale

ix

Bracing

W8X18 W8X18

W8X18

W8X21

W24X62

W8X21

iv

vi vii viii

W12X35

W24X62

W24X62

W8X21 W12X35

W12X35

W8X21

W24X62

vi vii viii

W24X62

W24X62

W12X35 W12X35

W12X3 5

W12X35

W12X35

W12X3 5

W12X35

5

W8X18

W12X35

W12X35

W12X35

W12X3 5

x

6

W12X35

4 iv

Bracing

W8X21

W8X21

W12X35

W8X21

W24X62

5

W24X62

W8X21

W12X35

EQ

W24X62

EQ

W24X62

W12X35

W8X21

W8X18

W8X18

W8X21

W8X18

W8X18

x

W8X21

W18X46

W24X62

W8X18

W8X18

W12X35

W12X35

W12X35

W8X21

ix

7

7

Scale

W8X18

W8X18

W8X18

iii

W8X18

W12X35 W12X35

ii

W12X35

W12X35

W12X35

W18X46

W12X35

I

G

F

E

C

B

A

I

G

SCHEMATIC DESIGN SET

SCHEMATIC DESIGN SET 60' - 6 5/8"

First floor framing plan

20' - 1"

10' - 1"

20' - 0"

31' - 5 7/16"

8' - 6 9/16"

114 Scale

S1-01

12/21/2014 10:12:03 PM

19' - 10"

Foundation plan

Scale

S1-02

12/19/2014 11:20:05 AM

F

E

D

C

B

A

1

W8X21

i

W12X35

W8X18

W8X18

W12X35

W12X35

W12X35

W12X35

W12X35

W18X46

i

W18X46

W12X35

W12X35

W12X35

W12X35

W8X21

W12X35

ARCH 513.01 COMPREHENSIVE STUDIO ROGER WILLIAMS UNIVERSITY SAAHP FALL 2014 INSTRUCTOR: ROBERTO VIOLA OCHOA KATE FORD ARCH 513_01_14FA

W18X46

EQ

v

W8X18

W12X35

3

W12X35

W12X35

W18X46

W12X35

W8X18

W12X35

W12X35

W18X46

2

W8X21

W12X35

W12X35

ii

W18X46

W18X46

W8X21

ARCH 513.01 COMPREHENSIVE STUDIO ROGER WILLIAMS UNIVERSITY SAAHP FALL 2014 INSTRUCTOR: ROBERTO VIOLA OCHOA KATE FORD ARCH 513_01_14FA

W18X46

v

W12X35

W18X46

iii

KEY PLAN

W12X35

3

W8X18 W8X18

W8X21

2

W8X21

EQ

W8X21 Bracing

KEY PLAN

EQ

W8X18

W12X35 W8X21

Bracing

W18X46

EQ

12/19/2014 11:20:13 AM

j

S1-03

h

g

H

e

d

c

a

b

GENERAL NOTES

12/19/2014 11:20:21 AM

W24X62

W12X35

2

iii

iii

W12X35

ARCH 513.01 COMPREHENSIVE STUDIO ROGER WILLIAMS UNIVERSITY SAAHP FALL 2014 INSTRUCTOR: ROBERTO VIOLA OCHOA KATE FORD ARCH 513_01_14FA

ii

W12X35

W18X46

W18X46

W12X35

W12X26

W12X35

W18X46

W18X46

W18X46

W12X35

W12X35

W12X35

W18X46

iv

W18X46

W18X46

W18X46 W18X46 W18X46

Bracing

2

W12X35 Bracing

W18X46

W12X35

W18X46

Bracing

W18X46

Bracing

W12X35

Bracing

W18X46

W12X35 W24X62

W24X62

W12X35

W18X46

W12X35

W12X35

W12X35

6' - 7 5/32"

x

x

ix

W12X35

W12X35

ix

7

7

a

c

j h

g

H

e

d

b a

c

GENERAL NOTES


GE

KE

ARC ROG SAA KAT ARC

Framing Axon

115


conceptual framework |

Concept

The system that was chosen for the temporary exhibition is a geothermal ocean loop. The site is located only 30 meters away from Zurriola bay, making this a perfect solution for heating and cooling the building. These geothermal loops are one of the most simple to design and are relatively the cheapest to install. Water, in most all regions, remains relatively the best energy exchanger and works well because the very high conductivity of water compensates for the cool or warm temperature. This design and application is considered the most efficient. For San Sebastian, this makes sense because it takes advantage of the existing environmental conditions. Also the temperature in San Sebastian ranges from a low of 47 and a high of 77 degrees Fahrenheit. The human comfort zone index for temperature inside buildings lies between 6878 degrees Fahrenheit. However, due to its temperate climate, the humidity is consistently over 75% all year round. The inside of a building will become uncomfortable once the humidity is above 70%. Fortunately the geothermal system will provide cooling that will run from the ocean to heat pumps and then distributed to the air handling units. The spacial intention behind designing the mechanical systems is to keep it all as discrete as possible. Visual obstructions will take away from the purity of the Chillida sculpture that I manipulated into the form of the building. Running the vents through the walls, floor and ceilings will help aid this process.

116

110

Summer

Winter

Too Hot

100 90

Temperatu re (F)

Mechanical

Psychrometric Charts

80

Comfort Zone

70 60 50

Extended Comfort Zone

40

Too Cold 10% 20% 30% 40% 50% 60% 70% 80% 90%

Relative Humidity

Average Temperature

Average Humidity


Exhaust

sa

ra HEATING COOLING VENTILATION

air handling units

heat pump ENERGY EXCHANGE

geothermal loop

AHU

geothermal loop

heat pump 117


Technical solutions Mechanical

|

Technical

Second floor

First floor

118

Ground floor


ahu 4 ahu 3 ahu 1

ahu 2

ahu 5

A R S K A

heat pumps

geothermal loops (bottom of zurriola bay)

119


Technical solutions Sustainable Solutions | Concept

Due to its temporary nature, the Eduardo Chillida Art Exhibition needs to utilize some sustainable solutions in order to disrupt the site as little as possible and be good for the environment. The mechanical systems of museum uses a geothermal system that takes advantage of the consistent temperature at the bottom of the ocean. This system can be removed from the ocean when the building is removed from the site. A geothermal system is the best energy exchanger, cheap to install and very efficient. Having the design be versatile and have dual purposes is another sustainable solution. The hard-scape was designed to be used with or without the building so that the site did not need to be designed twice. The wooden louvers are used as both sun-shading for the building and the floor that will infill the footprint once the building is gone. Like the wood, the steel structure will also be recycled. It will be brought to the site by a local manufacturer and will be used again for a near by project.

120

Summer -18.84

Winter - 59.53

January

July

9am

7am

12pm

3pm

3pm

7pm


1

2

1. Geothermal system which utilizes the consistent temperature at the bottom of the ocean and can be removed with the building after 3-5 years.

3

2. The site incorporates the footprint of the building once it is removed so that a new design for the site does not need to be constructed once the building is gone. 3. Sun-shading is done through the use of louvers to limit the amount of direct sunlight into the galleries as well as to help passively cool the areas in the summer and heat in the winter.

4 5

4. Wood is used for the louvers so that it can be recycled and used to infill the foot print of the building once it's disassembled. 5. Steel is the material of the structure because it will be manufactured locally and recycled once the building is removed. 121


Technical solutions Building envelope | concept In designing the envelope it was important to stay true to the original sculpture. Two characteristics about the exterior of the sculpture are that it is made of wood and it is monolithic. A challenge that arises when try to make a building seem "monolithic" is how to create openings or have glazing. To achieve both traits in one skin, the building is cladded with wooden louvers. This create one cohesive skin while allowing either a solid wall or a curtain wall to be beyond the louvers. Having curtain walls in the building is important because of the beautiful views from the site. A monolithic building in most cases would block the opportunities to see the landscape, but having a curtain wall with louvers allows you to see the surroundings very clearly. At night, the building will have a dialogue with the Kursaal which appears to glow, because through the louvers the light inside the building will give a similar glowing effect.

122


building envelope study

123


EUROPEAN C EDUARDO CH

ZURRIOLA BAY SAN SEBASTAIN, SP

Technical solutions Building envelope | technical GENERAL NOTES

KEY PLAN

ARCH 513.01 COMPREH ROGER WILLIAMS UNIVE SAAHP FALL 2014 INSTRUCTOR: ROBERTO KATE FORD ARCH 513_01_14FA

SCHEMAT

124


5

x

GENER

Parapet

3' - 6"

35'-0"

Second Floor 30'-0"

g

1 A3-01

A3-01

17' - 0"

5

First Floor 15'-0"

5

x

15' - 0"

KEY PL

ARCH 51 ROGER W SAAHP F KATE FO ARCH 51

g

1 A3-01 Ground Floor 0'-0" A3-01

4' - 3"

5

Bottom of Foundation -5'-0"

125


126


Sc u lpting the void

sAn Sebastian, Spain Kate ford rwu saahp fall 2014 arch 513 comprehensive studio roberto viola ochoa - instructor 127


128


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