CONTENT
Reflective Summary Studio Introduction Primer | City Scales Studio trip | Cologne - Berlin Staging | City Language Realisation | City Fragment Think through making Synthesis | City Threshold Appendix Kolumba Case study Charrette Illustrated cultural bibliography Bibliography
REFLECTIVE SUMMARY
Keeping heritage relevant in cities, to preserve and protect the historic elements of one’s city. This year studio giving me a chance to further explore the history of Newcastle. Throughout the year, I have implemented different types of material in different stage, such as metal and cement. After creating massive conceptual items, I found out that execution of plans is as important as imagination. Since every piece of art work is unique, redoing a same idea will not always give the same product. Every sculpture will be heterogeneous with respect to different environment, or even emotion of author. Mastering the way to shape and craving the material is important, but it seems to me that making observation is much more crucial. Instead of frequently practicing, I prefer to study and stimulate myself with the by-product. Even though it is time consuming to produce numerous items, I believe that each single product is meaningful to clarify myself what is unwanted and what should be kept. I used to hesitate and question myself too much. Plan before act is correct, but I am not afraid to make mistake because that gives me valuable experience indeed. Therefore, I have tried to combine distinct elements and colors together throughout the year. At the final stage of project I eliminated the irrelevant elements to give a decent design with simplicity. I would not consider the previous effort as waste because those are the process that lead me to the finalized idea.
SEMESTER • ONE
PRIMER
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SEMESTER • ONE
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CITY SCALE
ARTIST REFERENCE | REBECCA WARReN
The combination of female body parts with flower imagery reinforces the romantic cliche that allies femininity with flowers especially roses. Viewed from the side, the form of the up stretched hand looks like a clown, and the pink nipple a nose rended as a result of luxurious excess as implied by the tittle. From amorphous to more recognisable forms, which are sometimes sexually explicit, embracing both the formal and grotesque.
“Is there an autobiographical aspect to your book?” RW: “I don’t think it can be otherwise. It’s all about happening in the machine in your head, the person, from the mess experience.” “After all, this is me. This is my mind, my life. They are exposures of my intimate relations to art and the world.”
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CITY SCALE
Fascia III, 2010.
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ARTIST REFERENCE | sir eduardo paolozzi
Cyclops, 1957.
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Paolozzi’s casting artwork introduced the combination of human parts and machine elements. The creation of inhuman creature had inspired me to start exploring the uniqueness of each human individuals and architecture. Building were designed to have their own characteristic, which it the same as human - born to be unique.
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LARGE SCALE
CITY SCALE
The movie ‘Howl’s moving castle’ (sketch on the right) have shown the idea of building as an living creature. Therefore, for primer large scale model, an abstract human form model that combines with the significant buildings around Newcastle were made.
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CITY SCALE
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CITY SCALE
CITY SCALE
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CITY SCALE
CITY SCALE
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CITY SCALE
ARTIST REFERENCE | sir eduardo paolozzi
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CITY SCALE
Yantra, 1924-2005. The industrial style of Paolozzi’s work has inspired me on discovering the circulation of pipe work within building construction. Pipes are like veins connecting different part of a human body, this shows the importance of pipe circulation in a building project.
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CITY SCALE
medium scale
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CITY SCALE
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CITY SCALE Copper pipe work on MDF with paint on top illustrating an abstract form of a building, where is wires and pipes are indicating the circulation of the water pipe work with in and out.
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CITY SCALE
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CITY SCALE
ARTIST REFERENCE | ANTONY GORMLEY
Claps, 2014.
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CITY SCALE
Walking outside the university’s student union, I have notice the void within the sculpture of Antony. Giving a sense of a building outline but at the same time looking like a human form from another angle. His work has reminded me to look over not just the mass of an object but the negative spaces that lies within.
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CITY SCALE
Small scale
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CITY SCALE
The small scale is focusing on the shades on wall. When street lights penetrates into the room, it brighten up the textures of the wall and ceiling.
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CITY SCALE
CITY SCALE
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CITY SCALE
PRIMER CELEBRATION
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CITY SCALE
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COLOGNE
STUDIO TRIP
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BERLIN
The field trip took place in November. Cologne was the first city that we visited, followed with the capital of Germany, Berlin.
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COLOGNE
BRUDER KLAUS FIELD CHAPEL
Through dispassionate attention to the play of light and shadow, the creation has drawn my attention to the details of surfaces, boundaries and volumes.
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KOLUMBA
COLOGNE
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BERLIN
ERNST BUSCH ACADEMY Of DRAMATIC ARTS
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KONIG GALERIE
BERLIN
Both the Ernst busch academy of dramatic arts and the koing galeir, have shown the properties of concrete material, the simplicity but also the sense of depth that crates within the building.
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SEMESTER • ONE
STAGING
Newcastle Upon Tyne
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SEMESTER • ONE
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SITE ANALYSIS
CITY LANGUAGE
The project site is a car park area thats locates on the St. James’ metro station.
St. James’ site
Sun path (E - W)
Wind path (NE)
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CITY LANGUAGE
PRODUCED BY AN AUTODESK STUDENT VERSION
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SCALE BAR 1: 1000
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CITY LANGUAGE
SITE PHOTOS
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CITY LANGUAGE
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CITY LANGUAGE
GREEN AREAS
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Significant building.
Noise.
CITY LANGUAGE
Traffic flow.
1:1500 SCALE BAR
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CITY LANGUAGE
ON SITE MATERIAL EXPLORATION
Concrete material were used as the main construction material of the metro station, also concrete column were designed as the supporting of the stadium.
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CITY LANGUAGE
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CITY LANGUAGE
1870s - 1970s HISTORICAL MAP
Bulmer stre G
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CITY LANGUAGE
eet showing shored- up gable and approach (top right); Gallowgate and Bulmer street frontages (bottom right).
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CITY LANGUAGE
1960S BURTALIST ARCHITECTURE
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CITY LANGUAGE
I have studied the Pearl assurance house which is one of the remaining brutalist design in Newcastle. With the use of concrete material, it shows the solidity of buildings in the 1960s. The tapered window helps to out stand the simple building form.
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CITY LANGUAGE
MASSING STUDIES
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CITY LANGUAGE
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CITY LANGUAGE
MASSING MODEL
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CITY LANGUAGE
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SEMESTER • TWO
realisation
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SEMESTER • TWO
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CITY FRAGMENT
Program
A tour was taken to the university’s fine art department. Having not enough studio and workshops spaces seems to be one of the major issues of the building. Therefore, I have designed a doubled height space to accommodate the workshops and studios.
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CITY FRAGMENT
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CITY FRAGMENT
FLOOR PLANS MODEL
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CITY FRAGMENT
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ELEVATION
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CITY FRAGMENT
GROUND FLOOR PLAN
KEYS: 1 | Reception 2 | Foundry and casting workshop 3 | Art shop 4 | Cafe 5 | Plant room 6 | Supermarket 7 | Washroom 8 | Wood workshop 9 | Metal workshop 10 | Kiln room/ show room
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CITY FRAGMENT
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EXTERIOR VIEW FROM SCULPTURE GARDEN
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CITY FRAGMENT
ENTRANCE
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CITY FRAGMENT
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CITY FRAGMENT
CAFE
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CITY FRAGMENT
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CITY FRAGMENT
FIRST FLOOR PLAN
KEYS: 7 | Washroom 8 | Wood workshop 9 | Metal workshop 11 | Seminar rooms 12 | Lecture Theatre 13 | Video room/ cinema space 14 | Stage 2 studio 15 | Store room 16 | Gallery space 17 |Dark show room
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CITY FRAGMENT
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CITY FRAGMENT
SECOND FLOOR PLAN
KEYS: 7 | Washroom 15 | Store room 16 | Gallery space 17 | Dark show room 18 | Stage 3 studio 19 | Textile workshop 20 | Stage 1 studio 21 | Print room 22 | Resin room 23 | Digital printing room 24 | Dark room 25 | Photography room 26 | Media lab 27 | Show rooms
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CITY FRAGMENT
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CITY FRAGMENT
STAGE 1 STUDIO
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CITY FRAGMENT
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CITY FRAGMENT
THIRD FLOOR PLAN
KEYS: 7 | Washroom 14 | Stage 2 studio 15 | Store room 16 | Gallery space 18 | Stage 3 studio 28 | Stage 4 studio 29 | Roof top garden 30 | Staff office 31 | Meeting rooms 32 | Pantry
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CITY FRAGMENT
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CITY FRAGMENT
FOURTH FLOOR PLAN
KEYS: 7 | Washroom 15 | Store room 33 | Painting studio 34 | Life studio
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CITY FRAGMENT
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CITY FRAGMENT
FIFTH FLOOR PLAN
KEYS: 7 | Washroom 15 | Store room 35 | Gallery/ multi- functional rooms
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CITY FRAGMENT
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SECTION A- A1
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CITY SECTION
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SEMESTER • TWO
THINKING THROUGH MAKING WEEK 092
SEMESTER • TWO
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TTMW
ARTIST REFERENCE | SIR EDUARDO PAOLOZZI
Konsul, 1962.
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TTMW
Niigata- Turkoma, 1924.
Visualising the concept of Paolozzi’s work on to the column design of the building. The artist worked on a full scale wood model, using layers of curves, circular, and triangular shapes to form the depth within the work.
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TTMW
PROCESS
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TTMW
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TTMW
TTMW
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SEMESTER • TWO
STNTHESIS
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SEMESTER • TWO
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CITY THRESHOLD
CONCRETE cladding facade
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CITY THRESHOLD
The Koln university library, a precedent that discovered during the studio trip to Germany. Delicate reliefs of the form work and with the compacted window design, it shows a great plasticity with projecting and rejecting masses.
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CITY THRESHOLD
CLADDING EXPLORATION
Aeschylus and Socrates, 1974-76 Sir Eduardo Paolozzi
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CITY THRESHOLD
Paolozzi’s screen print developed a vocabulary of shapes and patterns. The blocky form that presents behind the curve lines could be seen as the buildings where the curve lines. For my facade design, I have replicate the curves within the roughness. Where is shows the decorative side of an art school building but at the same time
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CITY THRESHOLD
PROCESS
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CITY THRESHOLD
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CITY THRESHOLD
CITY THRESHOLD
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CITY THRESHOLD
CITY THRESHOLD
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APPENDIX
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Case study | Kolumba Charrette | Made (not) for Instagram Illustrated cultural bibliography
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CASE STUDY
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INTRODUCTION
STUDIO 2 | KOLUMBA MUSEUM
Kolumba Museum, located in Cologne, Germany, is an art museum located on the site of the former St. Columba church. The museum houses the art collection of the Roman Catholic Archdiocese, which spans over a thousand years. Designed by architect Peter Zumthor, the building seeks to commemorate the history of the site, which was destroyed during World War II. The building rises from the ruins of the old church, preserving the essence of the original building in its design and material choices. “They believe in the inner values of art, its ability to make us think and feel, its spiritual values. This project emerged from the inside out, and from the place” - Peter Zumthor
Group Members: Maria Aksenova Architect and Atmosphere Tunu Brown Typology and Materiality Alvin Tsang Site and Structural Strategy Juergen Springer Programme and Threshold Bella Colley Concept and design development and Spatial Sequence Zoey Fung Studio Relevance and Environmental Strategy
K O L U M B A M U S E U M, C O L O G N E
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A: ARCHITECT / DESIGNER
A: ARCHITECT / DESIGNER
STUDIO 2 | KOLUMBA MUSEUM
STUDIO 2 | KOLUMBA MUSEUM
ARCHITECTURAL STYLE
PETER ZUMTHOR
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Gugalun House
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3 Bruder Klaus Field Chapel
Sogn Benedetg Chapel
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KOLUMBA
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His style is focused on the way people experience buildings and the atmosphere that is created. Zumthor’s design principles are based on the belief in the importance of sensory and experiential qualities. He is inspired by the philosopher Martin Heidegger; the architect believes that to experience building it entirely has to visit in person. Therefore he does nor rely on the media while representing his projects. His design is based on the surrounding area and the context, as well as the use of the materials and the people’s perceptions. His buildings are mysterious and show no sign of the one specific style. Zumthor’s projects vary in scale and the materials and experiences, although all of them are minimalistic and atmospheric. It can be said that his most significant contribution to architecture: an architecture with the stong meaning that is rooted in the context and experiential qualities.
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FINLAND, SPAIN, HOLLAND
ITALY
USA
GERMANY
ZAHA HADID
SWITZERLAND 13
120 110 100
NORWAY, AUSTRIA
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NORMAN FOSTER
STEVEN HOLL
FRANK GEHRY
ZUMTHOR
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CHIPPERFIELD
Peter Zumthor is a Swiss architect; he was born in 1943 in Basel. His works described and minimalistic and atmospheric. It focuses on the experiential qualities on the buildings and materials, rather than technology or aesthetics. Zumthor followed his father’s profession as a cabin maker, studied it in his home city Basel then he studied to design the NewYork. After he finished education, he worked as the conservation architect, which gave him the understanding of the materiality and the craft construction. In 1979 he opened his firm in a small village in the Swiss Alps, only 30 employees. Zumthor has a mythical reputation as he does not seek attention or fame. That is resulting in less project than other famous architects. He is the winner of the 2009 Pritzker prize and 2013 RIBA Royal Medal.
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70 number 60 of Peter 50 Zumthor’s 40 projects 30 compared 20 10 to other 0 architects.
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The Coun3 tries 2 he 1 mainly 0 in. worked 3
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Zumthor’s House
Swiss Sound Box
Theme Vals
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A: ARCHITECT / DESIGNER
B: TYPOLOGY
STUDIO 2 | KOLUMBA MUSEUM
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STUDIO 2 | KOLUMBA MUSEUM
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TIMELINE
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This typology study will analyse how other designers have approached designing an art museum/gallery as well how designers have worked with utilising a pre-existing structure and/or attempting to commemorate the history of the building site in their designs. The examples chosen range drastically in terms of location, size, popularity, and age in order to provide deep contrasts and comparison points with Kolumba Museum. The main feature linking the buildings is a desire to acknowledge the past, which is demonstrated through the design decisions of the architects involved.
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2007 Kolumba Art Museum
1988 Sogn Benedetg Chapel 1996 Theme Vals
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2011 Serpentine Gallery Pavilion
2007 Bruder Klaus Field Chapel 1986 Zumthor’s Studio
2002 House Luzi
Kolumba Museum, Cologne
The Louvre, Paris
Tate Modern, London
Changjiang Art Museum, Taiyuan
Year established: 1853
Year established: 1793
Year established: 2000
Year established: 2019
17 exhibition rooms with an exhibition area of 1600 square meters
10.2 million visitors in 2018
5.8 million visitors in 2018
380,000 objects and 35,000 works of art
Tate Modern is one of the largest contemporary art museums in the world, containing international modern art from 1900 to the present day.
Located between a newly built residential community and the urban grid, Changjiang Art Museum functions as an art museum as well as serving as a shared cultural space for the community.
Kolumba Museum is an art museum of the Archdiocese of Cologne exhibiting late antiquity to contemporary art pieces. The art pieces on display are not labelled, which is intended to decrease visual distraction for visitors.
2016 Zinc Mine Museum
The Louvre is the largest and most visited museum in the world, as well as one of the most recognisable architectural features in Paris. It contains artifacts and art pieces from prehistory to the 21ist century.
2000 Swiss Sound Box
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B: TYPOLOGY
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B: TYPOLOGY
STUDIO 2 | KOLUMBA MUSEUM
Building footprint
Kolumba Museum, Cologne
STUDIO 2 | KOLUMBA MUSEUM
The Louvre, Paris 4
Additions to original building
Tate Modern, London 5
Changjiang Art Museum, Taiyuan 6
* to scale
Kolumba Museum, Cologne
The Louvre, Paris
Tate Modern, London
Changjiang Art Museum, Taiyuan
Total floor area: 1,750 square meters
Total floor area: 60,600 square meters
Total floor area: 34,500 square meters
Total floor area: 3,932 square meters
Kolumba Museum rises from the ruins of a Gothic church which was destroyed in WWII. Zumthor acknowledges the site’s history in the building design, displaying the remains of the church in the ground floor exhibition space, a zig-zag wooden bridge leading visitors through the excavation.
The Louvre Pyramid, completed in 1989, was intended to provide a grand and convenient entrance and lobby space, as well as house several underground galleries and connections to the original structure. I.M. Pei’s intention was to “break the architectural traditions of the past,’’ the new structure drastically contrasting with the original 12th century building.
In 2000, the derelict Bankside Power Station was transformed into Tate Modern. This project, undertaken by Herzog & de Meuron, sought to maintain the industrial feel of the original structure, minimally altering the exterior of the building and referencing the original building design on the interior as well as in its extensions, The Tanks and The Switch House
Unlike the other buildings, The Changjiang Art Museum is an entirely new structure. The building is located in Changjiang village, an area that was razed away in 2016 to be replaced by large scale urban development. The building was selected for this typology study because of its commemoration of the lives and atmosphere of the village through its design.
Kolumba Museum utilises handcrafted grey brick to unify the new building to the original destroyed church. The materiality choice demonstrates a desire to provide a contemporary alternative to the masonry used in the church without overshadowing the beauty of the original structure.
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On the other end of the spectrum, the glass and steel structure of the Louvre pyramid contrasts starkly with the original Neo-Baroque 12th century structure. The architects felt this material choice was most compatible with the Louvre, the density and opaqueness exaggerating the transparency of the pyramid.
The Switch House, added to Tate Modern in 2016, is a 10-storey pyramid shaped tower. The structure reinterprets the original building’s brick pattern, utilising a perforated brick lattice made up of 336,000 bricks. The structure offers a nod to the power station whilst also providing an exciting modern take on traditional masonry.
The Changjiang art museum is intended to be a sanctuary amongst the urban development in the area, and the material choices reflect this, the brick masonry contrasting deeply with the steel and glass structures surrounding it. The structure is centered around a light well which provides natural lighting inside the building, as well as the trees in the courtyard, which provide much needed connections to nature.
C: SITE
STUDIO 2 | KOLUMBA MUSEUM
STUDIO 2 | KOLUMBA MUSEUM
Cologne Central Station
Rhine River
Gothic Cathedral
Circulation diagram
Entry point diagram
Site plan (1:5000 on A3)
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D: PROGRAMME
STUDIO 2 | KOLUMBA MUSEUM
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D: PROGRAMME
STUDIO 2 | KOLUMBA MUSEUM
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Historic ruins
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Courtyard
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Foyer and bridge Madonna in the ruins
Historic ruins
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Kolumba in the city scape
Projection of masses
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Seamless rising of Kolumba
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Gallery Space
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The link between history, voids and circulation While the Kolumba chapel is incorpoated within the project the new museum, inaugarated in 2007, witholds from ‘subverting stylistic independence or neglecting contemporary functional requirements.’
Hence the buildings program relates closely to the sites history and projects its form throughout the buildings masses creating a new dialouge with the surrounding city.
Rising over 20m high at points the building allows for Atmosphere, circulation, spacial sequences and thresholds to be formed through long staircases, the seamless use and combination of materials, as well as the projection of masses to create voids and gallery spaces throughout the building. This allows for the creation of a story through history fusing both new and old.
1. Foyer 2. Courtyard 3. Excavation/Chapel 4. Former Vestery 5. -
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D: PROGRAMME
STUDIO 2 | KOLUMBA MUSEUM
6. 7. Cabinet 8. 9. Armanium 10. -
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View of Cathedral
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North cabinet North Tower East C Wabinet East Tower South Cabinet
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Indicates Gallery
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E: CONCEPT
STUDIO 2 | KOLUMBA MUSEUM
900 square meters of excavation site are protected by the Kolumba museum. The Madonna in the ruins was considered the most important parish church in medieval Cologne.
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Roman residential development, 1st to 3rd century Frankish incl. apse on roman building, 7th century Phase I
late Roman, 4th to mid-5th century
Phase II
Carolingian single-nave church
Phase III
three-nave Romanesque church, mid-11th century
E2
A preliminary statement made by the Diocesan Museum requests a specific awareness of perception. The design should encompass a space-creating architecture, with restrained and durable materials and functionality in detail. Zumthor’s careful, material-appropriate execution governed his design process that he explored primarily through drawing. Essentially, the design concept focuses on the historical occupation of place, whilst also planning for success in functionality. Both are developed by Zumthor through his considered approach towards materiality and spacial quality.
two reconstruction phases, 12th century Phase IV
four-nave late Gothic church, 15th to 16th century
Phase V
five-nave Gothic church, 15th to 16th century and more recent buildings 20th century walkway
Image courtesy of Kolumba.de
Image courtesy of Kolumba.de
E3
Walkway through the ruins
Fusion between old and new
Image courtesy of flickr.com
Within the excavation site
Photograph to show the merging of old and new 13
E: CONCEPT
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E: CONCEPT
STUDIO 2 | KOLUMBA MUSEUM
STUDIO 2 | KOLUMBA MUSEUM
New and Old Strong emphasis was placed on the preservation and celebration of the ruins of Kolumba that are integrated into the new façade. Zumthor conceptualised the brick masonry to protect, rather than exclude the excavation site from the outside climate. Architecturally, this was articulated through the use of perforations in the grey brick exterior that create works of light, shadow and a sense of spirituality.
The concept of functionality follows the significance of the museum’s artwork. The spiritual verticality of the museum is defined in the spatial connection with the monuments and their superstructure. The new building is more horizontal in terms of quantity and invites visitors to linger in its simplistic and muted galleries. Zumthor’s concept works towards a creative encounter between art and the viewer; which is based on the effect of architecture as an element leading to and not distracting from art objects.
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Photograph of gallery space on second floor
Image courtesy of archdaily.com
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Creation of 12m high space to encase the ruins of the Church of St. Kolumba
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Walls of the old church taht adapted to the new structure; reusing their structural memory
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Adaptation to protect ‘Madonna in the Ruins’, in line with the facade
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Ruins have become a central focus of contemplation for the museum, enabled by the suspended walkway
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Adaptation to protect the Chapel, in line with the facade
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New external courtyard derived from existing walls
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New spaces for museum
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Small perforation in brick facade allow light to shine through
Ground Floor
First Floor
Second Floor
New Build Old Ruins Photograph of exhibited artwork
Diagram to show old structure vs. new structure 15
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Diagram of old vs. new space
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KOLUMBA
Kolumbas programme rises seamlessly out of the ruins of the Madonna, the late-Gothic Kolumba Church dating back almost 2000 years.
F: STUDIO RELEVANCE
STUDIO 2 | KOLUMBA MUSEUM
REALISATION - City Fragment “A place with such a profound historical aura was predestined to become an art museum.” The Kolumba Museum is having two millennia of western culture in a single building. Besides the chapel, the building also includes exhibition rooms which house the collection of Catholic art. By the use of form, material and light, the architect manages to imbue the museum with a sense of serenity and meditation, it transcends the boundaries of a specific religion to imbue the visitor with an atmosphere of spirituality away from the worldly bustle of the city. The museum plans were designed to have a complex ensemble of functions, the building houses galleries displayed work of ancient and modern artworks, temporary exhibition space and a library that consists of books of sacred art.
KOLUMBA
To fulfil the functional requirement of a Fine Art Department, the plan of the urban proposal shall include workshops, exhibition spaces, project spaces, seminar rooms and lecture theatre, thus to accommodate the new campus. Working closely with the precedent and reference the multi-functional plans and formation of museum space, thereby develop a convincing gallery space for users.
Entrance Collage
F: STUDIO RELEVANCE “We are looking to create architecture that is rooted in place and explores the experiential potential of materials, carefully pieced together in a celebration of craft and construction. We are looking to create architecture that is contemporary yet not isolated in time.” Architecture is much more than the building of an object on a site: it is a reinvention of the site itself. Focus on the conceptual exploration on background and context, not solely on whole or individual buildings, still, consider in context among other buildings and in landscapes. Proposals or developments often show no regard for the context in which they sit and erode, rather than enrich the character of the area as a result. The latter leads to a superficial echoing of historic features in the new building, which itself erodes the character just as much. Peter Zumthor mentioned “At the time, architects generally held the opinion that new construction should present as great a contrast as possible to old buildings. As a rule, they responded to massive old walls by designing lighter constructions of steel and glass. But the jury liked our impulse for an older- style architectural stance that would bring old and new together in a new whole geared towards harmony rather than contrast.” Kolumba Museum preserved and incorporated the ruins, the facade of grey brick integrates the remnants of the church which unite the destroyed fragments of the site. The new building reconciles these many layers of history, develops seamlessly from the old remains whilst respecting it in every detail.
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STUDIO 2 | KOLUMBA MUSEUM
Collage of architect’s sketch on historical site
F: STUDIO RELEVANCE
STUDIO 2 | KOLUMBA MUSEUM
SYNTHESIS - City Thershold “Looking closely at the use and assembly of materials, how materials can be pieced together to communicate particular ideas and how this may relate to the surroundings.” The decorative façade is rarely just a visual flourish, and the design of these elements was rooted in the context of the site. Kolumba Museum gives respect to the church, simplicity form, colour and material that embed these gothic- style fragments; the texture of thin grey brick frams the remains of the church achieving a remarkable integration between new and old. As a precedent, the architect managed to add to the architectural continuum, while keeping and embracing the pre-existing fragments, the building reconciles these many layers of history. It is not only aesthetically pleasing yet having a contribution to the ideas concerning figure, history and context with the wider city.
Facade Collage
G: SPACIAL SEQUENCE
STUDIO 2 | KOLUMBA MUSEUM
G: SPACIAL SEQUENCE
The Kolumba Museum’s spacial sequence was developed in relation to its idiosyncratic floor plan. The historical roots of the building are seamlessly connected to the gallery spaces above, most notable by the grand, full height staircases that lead visitors towards the artwork. The height of the staircases’ ceilings may reflect the grand spaces of gothic churches, linking the new building with its historical context. The user is remined of the ruins upon which the museums resides, whilst being guided away from the ruins.
Photograph of stairway leading to the grand staircase
STUDIO 2 | KOLUMBA MUSEUM
The staircases are strong feature of the museum’s circulation. Evidence of carefully considered spacial succession is revealed through varying proportions and qualities of light. Some are tall and lit through high, opaque windows, whilst others are long, low and windowless. The variations between spaces deliberately enhance the visitor’s experience and influence their observation of the art exhibited.
Photograph of staircase spanning from ground floor to first floor
Photograph of view from top of first staircase
Photographs to show varying spacial and luminous qualities
Diagram to show vertical circulation
Diagram to show programme of spaces
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G: SPACIAL SEQUENCE
STUDIO 2 | KOLUMBA MUSEUM
The circulation within the gallery spaces on the first and second floor centres around a main area that leads into separate rooms and large floor to ceiling windows. Many entrances and exits are the same meaning visitors have to double back. These ‘dead-end’ spaces provide opportunity for contemplation and connection with the outside world. These spaces do not hinder visitor’s movement from one to the next but allow time for reflection in between.
H: STRUCTURAL STRATEGY Steel column reinforcement
Photograph of central exhibiton space
The new mansory facade and 2 new storeys were able to be erected 20m above ground level, thanks to an implanation of steel columes. It is believed that this structural strategy was chosen over the others because of the architect’s desire on daylighting, spatial arrangement, and preservation of the Gothic ruins. The steel columns provide a double-storey hollow space above the archaeological zone, which can represent the magnificence in a Gothic church which has a high ceiling supported by structural pillars. They also provide opportunity to install the non-load-bearing “Knitwear” mansory facade. Its open-and-close pattern allows daylight softly illuminate the double storey void in an atmospheric tone, at the same time, harmonises the destroyed church masonry. Inplanation of structural piles also reinforces the Gothic walls, supporting the above load-bearing masonry facade. Preparation work for the foundation optimization included setting up of numerous 9-meter-tall drilling platforms in the digging field, as well as providing external timber support on the church’s remaining walls. For the wall-implantation, the existing load-bearing walls were first drilled to the foundation archs in the basement, using a method involving Ø100mm dry-core drilling with puff blowing. For the core archaeological zone, Ø350mm core-drilling was carried out on the strata. All the boreholes were then filled with AIDA-type suspension using multi-phase tremie method. Implant tubes were insert into the drill, carrying the composite piles to the ground. Each composite pile, with a doule corrosion protection, consists of a single bar pile with 3 Ø63.5mm Gewi load-bearing micro-piles. The Gewi load bearing piles are angled 60° each to provide extra support (Dietz and Schurmann, 2006).
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STUDIO 2 | KOLUMBA MUSEUM
Diagram to show horizontal circulation between gallery spaces
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Exploded axonometric drawing of the steel-column reinforcement method
Masonry facade and 2 new upper storeys
Internal and wall-implant steel columns
St. Kolumba Gothic church ruins
Gewi Micro-piles with Ø63.5mm bore
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I: ENVIRONMAENTAL STRATEGY
STUDIO 2 | KOLUMBA MUSEUM
LIHGHTING Church Kolumba is a light-and-shade museum, consisting a perforations design on faรงade which helps lighten up the blocky form of the building and filter the exterior to only allow light and temperature to go through. Diffused natural light penetrate through the building, light develops with the changing times of daylight and seasons and also experiences twilight. Mild daylight showing respect to the location and the seriousness of its contents, emanating a sense of serenity. However, after the completion of the new constructed museum, the archaeological hall was being criticized on being too dark. For that reason, the monumental space is lit up since a series of pendant light were added to the area as a supporting. Exhibition space The museum area consists different height level throughout the building, yet the architect still achieves create a sense of unity on lightings. Sixteen exhibition rooms are usually dim-lighted, almost private, grey spaces with polished concrete floors, conceived to underline the exposed artworks, and providing a general sensation of quietness and timeless permanence. The first level relying on artificial lighting, walking up the staris where you will encounter the first window glazing of the exhibition area. Frameless wall- sized window with hand- sewn silk curtain which is for lighting control to the overall exhibition space, at the same time, by use of large window frame views of the surrounding city space. One of the exhibition room on the top level, translucent glazing was used on controlling excess daylight into the room. In its place, side light and lateral overhead light from the various geographical directions give distinction to most exhibition rooms. In the artificially lit rooms, which are both reasonable and necessary for a museum, no effort was made to imitate daylight, but rather to create a unique light quality with glass calottes for general lighting and spots for accentuation.
KOLUMBA
Diffused natural light and artifical lighting
Section showing level difference
Window with hand sewn silk curtain covered
Painting on second level
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I: ENVIRONMAENTAL STRATEGY
STUDIO 2 | KOLUMBA MUSEUM
VENTILATION In all the museum rooms (and storerooms), apart from the foyer, the temperature and humidity can be finely adjusted. Due to the thermo-active building system and geothermal energy the necessary technical installations could not be visibly integrated into floors and ceilings of the exhibition rooms. Unlike conventional air-conditioners, the supply air flows in from above through the lamp holes in the mortar ceiling and the used air is exhausted over large areas through the floor-edge joint. The fresh air is obtained from the large space of the archaeological zone, where it flows in through the filter masonryW. Providing users a wonderful venue with proper thermal comfort, air quality, room illumination, and visual perception to have memorable experience. A low energy consumption for ventilation and air-condition are utilization of renewable instead of fossil energies means a lot. Dynamical simulations showed of the thermal behaviour and the air flow. From the localised colour and streamline, it is obvious that the air velocity and distribution of air temperature are ideal. The ventilation system can therefore be reduced in comparison to complete air conditioning, as air change rates are mainly based on loads of occupants and lighting. HEATING Thermal control is essential on protecting works of art, as temperature and relative humidity are vital elements of collections care. In between the building components of Kolumba Museum, water pipes for heating and cooling are embedded. Equipping the room surface with great thermal capacity in combination with warmed and chilled floors, walls and ceilings shall be able to maintain stable temperature. The two systems work even better when conventional heat and cold distributers like radiators or convectors are installed.Rate of heat loss is also carefully addressed when selecting material for indoor elements. The materials chosen including concrete at ceilings and walls, screed on the floors, plaster with cement or clay binder on ceilings and walls and masonry walls. They all have distinct properties that could affect the environment gently. For instance, clay plaster has a higher sorption rate, which allows for storing excess moisture, masonry walls have cavities that could insulate sound and heat from transmitting to nearby rooms. Components of the whole building envelope are therefore characterized by air tightness and thermal insulation in addition to the described surface temperature control.
Simulations for distribution of air velocity
Ground floor plan with air flow indicated
Simulations for distribution of air temperature 25
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J: ATMOSPHERE
J: ATMOSPHERE
STUDIO 2 | KOLUMBA MUSEUM
STUDIO 2 | KOLUMBA MUSEUM
GROUND FLOOR 1
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“Words like atmosphere and mood inevitabily come to mind when faced Zumthor’s architecture.” - Brigitte Labs-Ehlert
CIRCULATION CHAPEL
The Kolumba Museum reflect the central concept of the architect to connect the historical part of the site with the modern building. It creates a dialogue between the past and the present, emphasises the feeling of timelessness and the make us appreciate history. From the outside, the building does not tell a lot, the naturally warm volume and the silent light grey brick. The building is quickly becoming a part of the landscape connecting the old building with the newer part of the city, and yet it manages to stand out.
The ground floor of the museum is showing the ruins go the churches that existed on the site before. The colossal leather curtain separating the chapels from the rest of the building. The first thing we feel entering the room is the differences in the temperature. The runs of the chapels are left untouched therefore the temperature is like on the outside. Walking on the timber bridge above the ruins gives the feeling of the connection with the historical past of the site; that was transferred many times. The natural light that is entering the building through the perforated brick not only creates a fascinating shadow pattern but also gives the dynamic qualities to the interior. 27
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STUDIO 2 | KOLUMBA MUSEUM
J: ATMOSPHERE
STUDIO 2 | KOLUMBA MUSEUM
SECOND FLOOR
FIRST FLOOR
CIRCULATION
CIRCULATION
TOWERS
TREASURE ROOM
READING ROOM WINDOWS
Gallery space
Treasure room
The second floor is the gallery spaces, even though it provides a little bit different atmospheres comparing to the first floor. The most significant difference is the huge windows that frame the view. The neutral space gets fascinating with the reflection on the shiny floor from these windows. The area is an experience to be bigger and brighter in contrast with the previous level. The Reading room continues the calmness of the whole building. However, it feels like a resting point in building exploration. The place is inviting to come in and sit to enjoy the view and the beautiful timber panels. The towers that are located in the three parts of the buildings. It provides the diffuse light from the top of the artworks. It is creating a connection with the church like light on the ground floor.
The gap separating spaces
Reading room
Reading room
The Tower
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K: MATERIALITY
K: MATERIALITY
STUDIO 2 | KOLUMBA MUSEUM
The ruin hall exhibits the excavated remains of the original gothic church. In this space, the handcrafted brick doesn’t distract from the history of the space, whilst the the perforated brick lining the top of the walls in the ruin hall allows filtered light and air into the room, the outdoor temperature and humidity in the space aiding in preserving the excavated remains. As the ruins were to remain untouched, a red wooden bridge zigzags above the excavation, allowing visitors to look down and experience the space.
The use of materiality in Kolumba Museum is perhaps one of the most distinctive aspects of the building. The outer masonry shell is made of light grey bricks, handcrafted by Petersen Tegl of Denmark, and fired with charcoal to imbue a warm hue. The bricks are noticeably long and thin, all around 36mm thick and of varying lengths. The mortar is slightly recessed, offering further variance in the texture. The outer walls of the museum offer a seamless extension to the church fragments, whilst also allowing the richness of tone, texture and history imbedded in the stone ruins and brick masonry of the church to shine through.
Image demonstrating Zumthor’s attempt to gracefully merge the old and new structures.
Kolumba™ bricks.
STUDIO 2 | KOLUMBA MUSEUM
Watercolour painting illustrating the range of materials, colour and texture in the exterior walls of Kolumba Museum.
Watercolour painting illustrating the range of materials and colour in the exterior walls of Kolumba Museum
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K: MATERIALITY
K: MATERIALITY
STUDIO 2 | KOLUMBA MUSEUM
STUDIO 2 | KOLUMBA MUSEUM
The walls of the exhibition spaces are of plaster, and displayed artworks must be drilled into the walls, meaning that when there are changes in the wall arrangements, the traces of previous arrangements are apparent. The floors of the central spaces are covered in grey terrazzo, however the smaller galleries have floated concrete floors set an inch above the terrazzo in the central spaces. The walls and floors are all off white, the neutrality and simplicity of the space complimented by the fact that the pictures and sculptures are displayed with no accompanying text informing visitors about the pieces, one can only be informed by the handout given when entering the museum.
One of the most memorable spaces inside the Kolumba Museum is the reading room. Bar the large window which offers a view of the city, the walls are encased in heavily figured veneers, with luxury leather chairs to match the warm walnut hues of the space. The combination of the rich leather and the veneers adds a sense of warmth and homeliness to the space, a feeling which deeply contrasts with cold colours utilised throughout the remainder of the building. In this building Zumthor maintains his consistency in demonstrating a sensitivity of material use and understanding of the effects this will have on those inside it.
The simplicity of the materiality choices in the exhibition spaces allow the art pieces to speak for themselves.
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Walnut toned veneer on the walls of the reading room.
Watercolour painting highlighting the warm tones inside the reading room
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The first floor is the gallery space. The Atmosphere of the exhibition rooms is simple and neutral for the art object to be fully understood. The calmness of the area makes visitors stay silence and focus all of the attention on the exhibitions. The exciting part is that there is no windows on this floor, only artificial light. The architects are separating rooms with the gap on the floor or by creating the difference atmospheres like in a Treasure room. Where the space is not visible and cannot be experienced at all, only the bright jewellery stand out in the endless dark.
L: THRESHOLD
STUDIO 2 | KOLUMBA MUSEUM
Kolumba, by Zumthor, embodies Thresholds throughout the entire building. Every space throughout the museum was designed in such a way to allow different atmospheres to be created and the building to become a Threshold itself. The thresholds closely link to the careful selection of materials and the attention to detail provided in the buildings construction. Zumthor amplifies these Thresholds with the use of light, spacial breakdown, thick walls, reflections and steps.
Seamless materials
Casted Shadows
Tiled hall way
The building as a threshold itself
Historic story
locker room
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STUDIO 2 | KOLUMBA MUSEUM
KOLUMBA
Threshold between, museum and excavation site:
Tiled hall way
Transition
Interior
Curtain
Enclosed moment
Increased ceiling height + wood bridge Semi-exterior
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L: THRESHOLD
STUDIO 2 | KOLUMBA MUSEUM
Cobble stone path Exterior
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Tran sition
Threshold of the entrance to the Madonna in the ruins:
Stone slabs Interior
LIST OF FIGURES: A.1 - ‘Sounds, smells, and textures make great architecture’, Medium, 2019, <https://medium.com/ mentor-prot%C3%A9g%C3%A9/sounds-smells-and-textures-make-great-architecture-477f07a48b6c> [Accessed 11 December 2019] A. 2 - ‘Gugalun House’, Flickr, 2012, <https://www.flickr.com/photos/_freelance/6880578164> [Accessed 10 December 2019] A. 3 - Amoretti, Aldo, ‘Peter Zumthor’s Bruder Klaus Field Chapel Through the Lens of Aldo Amoretti’, 2016, <https://www.archdaily.com/798340/peter-zumthors-bruder-klaus-field-chapel-through-thelens-of -aldo-amoretti?ad_medium=gallery> [Accessed 10 December 2019] A. 4 - ‘Saint Benedict Chapel’, Architectuur, 2019 <http://architectuul.com/architecture/saint -benedict-chapel> [Accessed 10 December 2019] A.5 - Hobhouse, Jack, ‘Zumthor’s house’, dezeen, 2018 <https://www.dezeen.com/2018/10/29/ peter-zumthor-secular-retreat-living-architecture-villa-devon/> [Accessed 10 December 2019] A. 6 - Chiaramonte, Giovanni, ‘Swiss Pavilion’, domus, 2018 <https://www.domusweb .it/en/from-the-archive/2018/02/03/peter-zumthor-mass-matter-and-light-.html> [Accessed 10 December 2019] A. 7 - Savorelli, Pietro, ‘Kolumba Museum’, domus, 2018 <https://www.domusweb. it/en/from-the-archive/2018/02/03/peter-zumthor-mass-matter-and-light-.html> [Accessed 10 December] B.1 - Hyde, Rory. Image 9/13, photograph, ArchDaily, 18 November 2010, <https://www.archdaily.com/88705/ad-classics-le-grande-louvre-i-m-pei> [accessed 10 December 2019] B.2 - Stephenson, Jim. Image of Tate Modern, photograph, Tate, date n/a, <https://www.tate.org.uk/about-us/history-tate/history-tate-modern> [accessed 10 December 2019] B.3 - Chen Hao. Image 2/50, photograph, ArchDaily, date n/a, <https://www.archdaily.com/927386/changjiang-art-museum-vector-architects?ad_source=search&ad_medium=search_result_all> [accessed 10 December 2019] B.4 - Hyde, Rory. Image 13/13, photograph, ArchDaily, 18 November 2010, <https://www.archdaily.com/88705/ad-classics-le-grande-louvre-i-m-pei> [accessed 10 December 2019] B.5 Baan, Iwan. Image 5/8, photograph, ArchDaily, 23 May 2016, <https://www.archdaily.com/788076/tate-modern-switch-house-herzog-and-de-meuron> [accessed 10 December 2019] B.6 - Chen Hao. Image 8/50, photograph, ArchDaily, date n/a, <https://www.archdaily.com/927386/changjiang-art-museum-vector-architects?ad_source=search&ad_medium=search_result_all> [accessed 10 December 2019] E.1 - «KOLUMBA :: Architektur :: Peter Zumthor», Kolumba.De, 2019 <https://www.kolumba.de/?language=ger&cat_select=1&category=14&artikle=59&preview=> [Accessed 12 December 2019] E.2 - «KOLUMBA :: Architektur :: Peter Zumthor», Kolumba.De, 2019 <https://www.kolumba.de/?language=ger&cat_select=1&category=14&artikle=59&preview=> [Accessed 12 December 2019] E.3 - «IMG_7533», Flickr, 2019 <https://www.flickr.com/photos/hhc991300822/6922235392/> [Accessed 12 December 2019] E.4 - González, María Francisca, «Peter Zumthor’s Kolumba Museum Through The Lens Of Rasmus Hjortshøj», Archdaily, 2019<https://www.archdaily.com/877432/peter-zumthors-kolumba-museum-through-the-lens-of-rasmus-hjortshoj?ad_medium=gallery> [Accessed 12 December 2019] J.1 - González, María Francisca, «Peter Zumthor’s Kolumba Museum Through The Lens Of Rasmus Hjortshøj»,Archdaily,2019<https://www.archdaily.com/877432/peter-zumthors-kolumba-museumthrough-the-lens-of-rasmus-hjortshoj?ad_medium=gallery> [Accessed 11 December 2019] J.2 - Binet,Hélène, ‘Kolumba art museum’, Architectuul, 2019, <http://architectuul.com/architecture/ view_image/kolumba-art-museum/9885> [Accessed 11 December 2019]
BIBLIOGRAPHY: ArchDaily, “Tate Modern Switch House / Herzog & de Meuron,” ArchDaily [online] published 23 May 2016 [cited 10 December 2019]. Available from: <https://www.archdaily.com/788076/tate-modernswitch-house-herzog-and-de-meuron> Bianchini, R. (2019), Kolumba – Köln. Available from: http://https://www.inexhibit.com/mymuseum/kolumba-art-museum-cologne-peter-zumthor/ [Accessed: December 12, 2019]. Cilento, Karen, “Kolumba Museum / Peter Zumthor,” ArchDaily [online] published 6 August 2010 [cited 10 December 2019]. Available from: <https://www.archdaily.com/72192/kolumba-musuem-peterzumthor> Davey, Peter, “Zumthor’s Diocesan Museum shows clearly and movingly the continuity of Christian faith,” The Architectural Review [online] published 5 July 2011 [cited 10 December 2019]. Available from: <https://www.architectural-review.com/buildings/zumthors-diocesan-museum-shows-clearly-and-movingly-the-continuity-of-christian-faith/8616966.article> Detail Inspirations. “Kolumba in Cologne – A Museum for Art,” Detail Inspirations, Volume 11 (2007): pp 1266 - 1267. <https://inspiration.detail.de/Download/document-download/id/5caded118b468> [Accessed 10 December 2019] Divisare (2017), PETER ZUMTHOR KOLUMBA MUSEUM. Available from: http://https://divisare.com/projects/349228-peter-zumthor-rasmus-hjortshoj-kolumba-museum [Accessed: December 9, 2019]. Durisch, Thomas., and Peter. Zumthor, ‘Peter Zumthor : Buildings and Projects 1985-2013’, (Scheidegger & Spiess, 2014) Hybel, Jacob, “Kolumba Museum,” arcspace [online] published 24 June 2013 [cited 10 December 2019] Available from: <https://arcspace.com/feature/kolumba-museum/> Jones, Rennie, “AD Classics: The Tate Modern / Herzog & de Meuron,” ArchDaily [online] published 17 September 2013 [cited 10 December 2019]. Available from: <https://www.archdaily.com/429700/adclassics-the-tate-modern-herzog-and-de-meuron> KOLUMBA, date n/a [cited 10 December 2019]. Available from: <https://www.kolumba.de/?language=eng> KOLUMBA (n.d.), Kolumba from A to Z. Available from: http://https://www.kolumba.de/?language=eng&cat_select=1&category=22&artikle=311 [Accessed: December 11, 2019]. Mercier, Dominic, “The Ancien Régime’s Fatal Blow,” AIA Architect [online] published 5 July 2017 [cited 10 December 2019]. Available from: <https://www.architectmagazine.com/aia-architect/aiafeature/ the-ancien-regimes-fatal-blow_o> Mueller, H. (2013), “Energy efficient museum buildings”, Renewable Energy, vol. 49, pp. 232-234. Petersen Tegl, “Kolumba™,” Petersen Tegl [online] date n/a [cited 10 December 2019]. Available from: <https://en.petersen-tegl.dk/kolumba/products/> Shuang, Han, “Changjiang Art Museum / Vector Architects,” ArchDaily [online] date n/a [cited 10 December 2019]. Available from: <https://www.archdaily.com/927386/changjiang-art-museum-vectorarchitects?ad_source=search&ad_medium=search_result_all> Souza, Eduardo, “AD Classics: Le Grand Louvre / I.M. Pei,” ArchDaily [online] published 18 November 2010 [cited 10 December 2019]. Available from: <https://www.archdaily.com/88705/ad-classics-legrande-louvre-i-m-pei> Stevens, Philip, “changjiang art museum by vector architects is an oasis amid rapid urban development,” designboom [online] date n/a [cited 10 December 2019]. Available from: <https://www.designboom. com/architecture/changjiang-art-museum-vector-architects-taiyuan-china-10-29-2019/> Tate, “History of Tate Modern,” Tate [online] published date n/a [cited 10 December 2019]. Available from: <https://www.tate.org.uk/about-us/history-tate/history-tate-modern> Rose, Steve, «Steve Rose On Cologne’s New Kolumba Art Museum», The Guardian, 2019 <https://www.theguardian.com/world/2007/nov/19/germany.architecture> [Accessed 12 December 2019] 38
Zeballos, C. (2012), PETER ZUMTHOR: KOLUMBA MUSEUM, COLOGNE. Available from: http://http://architecturalmoleskine.blogspot.com/2012/04/peter-zumthor-kolumba-museum-cologne.html [Accessed: December 10, 2019]. Zumthor, Peter, ‘Atmospheres : Architectural Environments; Surrounding Objects’, (Birkhäuser, 2006)
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CHARRETTE Inspired by the pattern found on the trousers of the provided outfit with a sense of artificial but at the same time natural aesthetic. Throughout the project we would like to focus on the perspectives, and also users integration with the exhibition. By using reflective materials like mirrors and tin- foil, in order to allow the installation to be viewed from different angles. Spotlights further allow us to encourage the users to give an eye on different aspects of the display. The colourful background was designed to emulate the lower part of the outfit. Having blues, pinks and whites behind to out stands the white plain shirt. And the hanging leafs
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MADE (NOT) FOR INSTAGRAM
MADE (NOT) FOR INSTAGRAM
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illustrated cultural bibliography 128
The stained glass art in church architecture have always caught my eye.
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Bibliography
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Christies. n.d. Sir Eduardo Paolozzi, R.A. (1924-2005) , Niigata-Turkoma. [online] Available at: <https://www. christies.com/lotfinder/sculptures-statues-figures/sir-eduardo-paolozzi-ra-niigata-turkoma-5701933-details. aspx?lid=3&sc_lang=zh> [Accessed 26 May 2020]. Flickr. 2006. Paolozzi In Pimlico 1/3. [online] Available at: <https://www.flickr.com/photos/nic/101210472/ in/photostream/> [Accessed 6 June 2020]. Geograph. 2011. Sir Eduardo Paolozzi Sculpture. [online] Available at: <https://www.geograph.org.uk/photo/2363983> [Accessed 6 June 2020]. Moore, A., n.d. Pearl Assurance House – Newcastle. [online] Brutalist Constructions. Available at: <https:// brutalistconstructions.com/2014/12/02/pearl-assurance-house-newcastle/> [Accessed 11 June 2020]. Phillips. n.d. Rebecca Warren - Fascia III. [online] Available at: <https://www.phillips.com/detail/rebecca-warren/UK010417/5> [Accessed 2 June 2020]. Tate. n.d. ‘Aeschylus And Socrates’, Sir Eduardo Paolozzi, 1974–6 | Tate. [online] Available at: <https://www. tate.org.uk/art/artworks/paolozzi-aeschylus-and-socrates-p01996> [Accessed 9 June 2020]. Tate. n.d. ‘Cyclops’, Sir Eduardo Paolozzi, 1957 | Tate. [online] Available at: <https://www.tate.org.uk/art/ artworks/paolozzi-cyclops-t00225> [Accessed 2 June 2020]. Tate. n.d. ‘Konsul’, Sir Eduardo Paolozzi, 1962 | Tate. [online] Available at: <https://www.tate.org.uk/art/artworks/paolozzi-konsul-t12487> [Accessed 5 June 2020]. Tate. n.d. ‘Mechaniks Bench’, Sir Eduardo Paolozzi, 1963 | Tate. [online] Available at: <https://www.tate.org. uk/art/artworks/paolozzi-mechaniks-bench-t01469> [Accessed 9 June 2020]. The Hepworth Wakefield. n.d. New Funding And Planning Permission Is In Place For The Hepworth Riverside Gallery Garden. [online] Available at: <https://hepworthwakefield.org/news/green-light-for-the-hepworth-riverside-gallery-garden/> [Accessed 3 June 2020]. The Hepworth Wakefield. n.d. Work To Begin On The Hepworth Wakefield Garden In January 2019. [online] Available at: <https://hepworthwakefield.org/news/work-to-begin-on-the-hepworth-wakefield-garden-in-january-2019/> [Accessed 6 June 2020]. Sotheby’s. n.d. Sir Eduardo Paolozzi, R.A.. [online] Available at: <http://www.sothebys.com/en/auctions/ ecatalogue/2012/modern-postwar-british-art/lot.143.html> [Accessed 9 June 2020]. Whitecube. n.d. Antony Gormley At Newcastle University. [online] Available at: <https://whitecube.com/ news/news_and_events/antony_gormley_at_newcastle_university> [Accessed 2 June 2020].
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