DESIGN PORTFOLIO
CELSO CAUE REGO RIBEIRO 15030458 MAY/2016
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TABLE OF CONTENTS i. ARTIST’S STUDIO: STUDIO OHTAKE..........................................5 ii. CLANDON HOUSE: BOTANICAL GARDEN.................................39 iii. BATH MUSEUM: BAUHAUS ARCHIVE.....................................69 IV. FIELD TRIP: LISBON............................................................109
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ARTIST’S STUDIO
STUDIO OHTAKE
A studio built with an artist of choice in mind. It should be located in Bristol within one mile from Arnolfini. The artist’s needs, history and kind of work are the core motivations for the project. The context impact should also be accounted, how would it benefit local visitors?
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ARTIST’S STUDIO
INTRODUCTION Tomie Ohtake was born in Kyoto, Japan but was naturalized in Brazil, in 1968, after living in there for 32 years. Tomie arrived in the age of 23, she appreciated the strong yellow sunlight and humid weather. Her work as a painter became when she was 40 years old, inspired by the city she was living in: Santos. Her first paintings were more figurative than abstract. This 1952 changed gradually as she worked more with art.
1954
Tomie’s paintings have a strong emphasis in shape, texture and depth, even though she used repeated shapes, she managed to achieve different results through the use of varied chromatic relations. The use of collage had an important role in her creative development.
1978
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1983
LEGACY
2001 1985 1988 2008 Tomie left a strong legacy in Brazil through her built pieces in public spaces, that became iconic attractions for sightseen in different Brazilian cities. In 1985 she made her first sculpture, which was a floating sculpture: the “Estrela-do-Mar” (Star-fish), it was built in Rio de Janeiro. After that Tomie had several scultures built in other public spaces, such as the Japanese Immigration Memorial in Sao Paulo (1988). In 2001 with the opening of Ohtake Institute, she designed moving structures that funcion like interactive sculptures.
2014 2014 2014 Tomie’s last exposition focused in monochromatic compotisions. Texture and depth give life to her paintings even though only a single colour is used. Throughout her career as an artist her work had a strong relation with human perception, this concept manifests even more in her sculptures.
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ARTIST’S STUDIO
CONTEXT
QUEEN SQUARE ARNOLFINI
SITE ST. MARY REDCLIFFE
The site offers a good variety of options for accessibility: bus stops, pedestrian and cycles structure, flat topography for ease of access and a train station that provides easy access from other cities. Area is located within less than a mile from Arnolfini, offer views to the city and St. Mary Redcliffe Church; the chosen site itself is located in a spot that is potentially a node between St. Mary Redcliffe and Temple Meads. Movement and both city and nature landscapes are visible from the site, offering good sources of inspiration to the artist whose art is much related to the surrounding environment and human perception.
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TEMPLE MEADS
THE SITE
The site is located in an island between Redcliffe Way and Temple Gate avenues, two 16 meter high buildings currently under construction surround the site. The site have 900m2 of total area and is entirely flat, which is helpful to the artist access the area with a wheelchair. The area today is very busy for both automobiles and people, the construction of the studio shall turn the site into a small green island in the middle of the busy city - a place for passersby contemplate as they go, or even a place for a quick stop for resting.
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ARTIST’S STUDIO
MASTERPLAN The idea for the area around the site is to create a link between the Arnolfini and Temple Meads using the existing attractions as part of the link and the studio as the node that ties those locations together. Even though there are interesting places close to each other, their connection is broken by the busy avenues; pedestrianising the area would emphasize the importance those locations and connect them. An initial approach is to create green isles that would help emphasizeing the connection, and to create a cycle path in the route, with parking stations next to the facilities in the area.
PARKING STATION
GREEN ISLE GREEN ISLE
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OPEN STUDIO
ABANDONED GAS STATION
There is an abandoned gas station next to the chosen site. Giving a new use to it would reinforce the node that ties the connection between St. Mary Redcliffe and Temple Meads. The idea for the area is building an extension to the studio garden which may be used by both the artist and the public to work outside. Since the site is located right next to a residential area, its residents would also benefit from it. The place may also be used with workshops with the artist or for exhibition of larger sculptures or models by the artist.
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ARTIST’S STUDIO
PRECEDENTS
ROYAL ONTARIO MUSEUM DANIEL LIBESKIND
The Royal Ontario Museum, now named the Michael LeeChin Crystal, got its new name from the building five intersecting metal-clad volumes, reminiscente of crystals. The interlocking prismatic forms turn this important area of Toronto into a luminous beacon. The idea of the design is to create an inviting glimpses from different directions up, down, into the galleries and from the street. There is a large entrance atrium separating the historic building from the new. The ground level of the building consists of a seamless space of circulation and transparency. The expansion uses glazing and steel as its main materials.
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18.36.54 DANIEL LIBESKIND
Designed to be a mixture of the avant-garde and the cozy; the chocolate-colored structure consists of bronzed stainless steel cladding, the interior is solid stained white oak. Porches around the house give good views from the interior. All furniture is built-in, custom made for the project. The house is subtly raised; the areas of the house are distinguished by elevation change of the floor, and material.
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TOMIE OHTAKE RESIDENCE RUY OHTAKE
The environments of the house are characterized by concrete walls, sometimes natural and sometimes painted in some rooms. Some of the furniture of the house is also made out of concrete. The studio inside the house is wide and is surrounded by concrete in its natural colour. Several of the artist’s pieces are exhibited in the space. From the studio, it is possible to see the garden which is in the back of the house, surrounded by the building.
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JAPANESE GARDEN DESIGN THEORY
The basic principle of Japanese Garden design is that you may idealise and symbolise something, but never create something nature cannot. It is subtle, and it must suite the site (not the opposite). The garden is usually surrounded (fenced) by the building and glimpses of it are given from inside. Seven principles summarize well the theory behind Japanese gardens:
Kanso: Simplicity or elimination of clutter Fukinsei: Asymmetry or irregularity. Shibui: Beautiful by being what it is meant to be. Shizen: Naturalness. Yugen: Suggestion rather than revelation. Datsuzoku: Transcending the conventional. Seijaku: Tranquility.
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ARTIST’S STUDIO
CONCEPT
The first ideas for the project originated from two collages. One for the site and the following for the interior. The idea summarized by the collages are the concept of the building (represented by shades of grey) embracing the garden (represented by shades of green). While the latter shows how the garden has a subtle position towards the interior of the building.
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DEVELOPMENT
The artist’s needs that defined the shape and form of the building were the following:
- The existance of a gallery which offers good views of the city and is inviting to the general public; - A wide studio with enough space for multiple tables and easels, should offer views outside and plenty of sunlight; - A small space for storing some finished work and materials; - A small bedroom for the artist with an accessible bathroom; - Fully accessible, since the artists in on a wheelchair.
With the artist’s needs in mind, the inicial concept started from a single volume with all needed spaces, which were separated in two volumes in order to fit a Japanese inspired garden in the middle, hence creating the possibility of passersby cross the area to either contemplate the garder or observe the artist working. The shape was then modified in such a way that each corner of the building was pointing towards one of the pieces of the route created previously in the masterplan. The final shape of the building also had each facade creating a view towards a point of interest.
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DEVELOPMENT Before achieving the final plan layout, two different variations were proposed, considering the spaces, views and accesses. Those variations had more edges and were inefficient to work with proper furniture, mainly with the artist bedroom and bathroom. Another issue with the variations was the insufficient sunlight.
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DEVELOPMENT Figure out the views, a draf site model was made, considering existing trees in the area. With the model it was possible to decide the ideal facades for the building, accounting both views and sunlight.
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DEVELOPMENT At this point some alternatives for cladding the building were developed, and a simple comparison to the surrounding buildings was made. The studio presents a strong contrast to them, which is consolidated by the garden surrounded by the studio itself, representing the green island metioned before.
After the final shape was defined, a simple structural model was made, to show the beams of the building and decide where would braces be located.
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FINAL SKETCHES
The final studio had the shape simplified in order to achieve more efficient angles. The cladding was also simplified in plain wood. The idea was leave the focus for the angles and openings of the building. The pergola was removed from the final project in order to enhance sunlight. Most of the building have glazing, which helps to enhance sunlight inside it.
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ARTIST’S STUDIO
THE PROJECT The studio consists of three different areas: the gallery, the studio and the artist’s room. The addition of the room was decided due to the artist’s advanced age and condition as a wheelchair used; the room makes it conveniente for Tomie resting whenever needed. The gallery is in the west block of the building, it is where the artist may exhibits her work. The exhibitions are held in easels or tables, in case of models. The studio itself is located in the east block of the building, it is wide and offers the possibility of working with multiple pieces at once. Between the two blocks there is a japanese-inspired garden, the garden is composed by rocks and a pond, which is next to the access ramp to the gallery. Following the way from the studio to the south, it is located where the abandoned gas station once was, for the project, it was turned into an open air gallery.
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ARTIST’S STUDIO: GROUND FLOOR
GALLERY
STUDIO GARDEN
DEPOSIT
BEDROOM WC
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ARTIST’S STUDIO: ROOF
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ARTIST’S STUDIO: VIEWS A & B
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ARTIST’S STUDIO: VIEWS C & D
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ARTIST’S STUDIO: SECTIONS A & B
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ARTIST’S STUDIO: SECTION C
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ARTIST’S STUDIO: VIEWS
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ARTIST’S STUDIO: VIEWS
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ARTIST’S STUDIO: VIEWS
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ARTIST’S STUDIO: VIEWS
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ARTIST’S STUDIO
ENVIRONMENTAL STRATEGY RAINWATER CONTROL: RAINGARDEN
SUNLIGHT
To control rainwater the garden surounded by the house may be used as a Rain Garden. The concept of a Rain Garden is basically imitating how a forest floor absorbs rainwater through porous soil.
To improve sunlight in the studio, the garden opening is facing south, in this way both the gallery and the studio are well lit throughout the year.
A Rain Garden consists basically of an excavated area filled with engineered porous quick-drying soil, protected by river gravel, with an underdrain in the bottom, which may be surrounded by gravel as well. Shrubs and grass should then be planted on the rain garden.
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The artist’s bedroom was positioned in the southmost part of the building to improve sunlight as well.
MATERIAL
Metal: Metallic roofing for ease of installation with the metallic structure; Wood: Wood cladding for some of the external walls, wood was also used for flooring; Textured concrete cladding: Reflects the artist’s use of texture in her paintings, the neutral tone also make it more subtle so that in contrasts with the paintings exhibited.
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ARTIST’S STUDIO
DETAILS wood pannels 25mm
concrete pannels 25mm
vapour barrier 5mm
vapour barrier 5mm
timber 20mm
timber 20mm
pink wall batts 110mm
pink wall batts 110mm
wall cavity 40mm
wall cavity 10mm
waterproof 20mm
waterproof 10mm
reinforced concrete 140mm inside
acoustic coating 20mm
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reinforced concrete 100mm
Left detail: Artits’s bedroom wall section (thicker insulation and addition of acoustic coating)
Right detail: Gallery wall section
inside
STRUCTURE: FRAMED - COLUMNS AND BEAMS
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CLANDON HOUSE
BOTANICAL GARDEN
A studio built with an artist of choice in mind. It should be located in Bristol within one mile from Arnolfini. The artist’s needs, history and kind of work are the core motivations for the project. The context impact should also be accounted, how would it benefit local visitors?
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CLANDON HOUSE
INTRODUCTION Clandon House was built in 1733, designed by Giacomo Leoni. It was formerly the house of Onslow family. After the World War II Clandon Park became William Onslow’s property, however due to the cost of high cost of maintaining it, his aunt Gwendolen, Countess Iveagh, bought Clandon Park and donated it to the National Trust. The house was was then restored and redecorated, containing a fine collection of 18th century furniture and porcelain, Italian comedy figures, tapestries and other textiles. Later on, the house also became a wedding venue, in order to help with the costs of maintenance. In 2015 Clandon House had most of its interior destroyed by a fire. The project proposal was to bring more visitors to Clandon Park, that is, propose something new for the burned house, other than simply restoring it. The main attraction of the new proposal should be a Hortus Botanicus and a Winter Garden. Other areas should also be added to the park, such as a virtual tour room, an archive, a restaurant and a shop, to mention a few.
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FIRE DAMAGE
The interiors were entirely destroyed, but some of the items and details were rescued and are being restored. Archeological work is still being carried on. Even though the interiors cannot be returned to its former layout due the damage, they suffered considerable alterations over the centuries, so their architectural importance is not as high as the outer shell, which is preserved. The proposal of a Hortus Botanicus offers the opportunity to bring something fresh to Clandon Park that may receive visitors all year round. Some of the objects and details of Clandon House survived the fire and are being recovered, those may still be part of an exhibition about the house itself.
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CLANDON HOUSE
CONTEXT
Clandon Park is located to the east of Guildford, south west of London. The main access to the park today is through the Clandon Station, or if the visitor is coming from Guildford, there is a bus stop close to the Clandon House. At last, the only car access to the Park is from the east of where the house is located. Around the area there are some places of interest such as St. Peter and St. Paul Church, Hinemihi maori house, Temple Court Liivery farm, the house former gates and the house gardens. The park itself is also rich in nature and have three lakes forming a line from the Clandon Station to the house.
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TOPOGRAPHY The topography of the area is gentle, getting a little rough around where the lakes are formed. Should be noted that Clandon House sits in such a way that its views to the north face right in direction of the lakes, enhancing the view due to the level difference. For a pedestrian crossing the park however it is not much noticeable, not only due to the small difference but also because of the trees.
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CLANDON HOUSE
MASTERPLAN The Masterplan for Clandon Park accounted mainly the access and experience of the park. The car access was moved to the former entrance, in order to use the old gates once again, as part of the visit to Clandon Park. For visitors coming by train, a route by tram was initially proposed to cross the whole park, by the river, and arriving in the new restaurant, which would be built next to the lake. The visitors however would have also the option to access Clandon House walking from the station through the park - inside the park totems telling a little bit about the history of the place would be located within walking distances so that the visitor would have something else to explore in the route to the house, other than nature itself. Clandon Park workshop, positioned near a elementary school, would also be part of the route. It will be the location for the Conservation and Horticultural workshops. Its location funcion as another incentive for the visitor to go though the park. The workshop might also hold visits for the school children nearby.
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CONNECTION Following the idea of discovery, the Masterplan aims to create a connection between the corners away from the park to Clandon House. The main access to the house is from the former gate, where buses, cars, pedestrian and cycles are able to access. For people arriving in Clandon Station, a route linking the station to the house was created to be used specifically by a bus that would take people through the park - the route goes by the river in order to give a glimpse of the park. The initial idea of building a tram was dropped since it would be too much for a simple access. The facilities spread through the walking trail of the park are:
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Workshop Restaurant History totems Restaurant Botanical Garden
The visitor should feel intreguied to explore the area despite where they accessed the park from. Access to Clandon Park is free, visitor buying the bus ticket to cross the park may use the same ticket to access the building itself.
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CLANDON HOUSE
PRECEDENTS Museum of Historical Marksmanship Gnädinger Architekten
The Museum of Historical Marksmanship is located in Duderstadt, which is a historic town filled with timber-frame buildings, the access of the museum is attached to one of those timber-frame building with an added faceted golden structure. The form as chosen in oder to be a new landmark, distinctive from the surroundings. The inclinations of the facade were inspired by the inclined facades of the half-timbered houses. The museum adjoins the historical Westerturm gatehouse tower, a steelbridge was added so that visitors may access the stone wall next to the tower. Stone texture wall is exposed inside, other than the stone that already was there, the project interiors also used timber and raw steel.
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Nestlé’s Chocolate Museum Metro Arquitetos Associados
Nestlé Chocolate Museum main intention was to shape the landscape of where it was built. It is located in a site near the motorway between Sao Paulo and Rio de Janeiro. Visibility was an important aspect for the building. The strong character was also important, since the intervation was built in Nestlé’s factory, the museum had to set it apart from the factory. The chosen materials, geometry and structure aimed to prokove a sensory and perceptual experience, contribuiting to the seizure of information about history and chocolate produce along the museum. The building is composed by a tubular metal structure of varied thickness, steel plate for the floors (perforated to contribute with ventilation) and glazing. The roofs are composed by flat steel sheets in the top and bottom, with EPS in the middle for enhancing acoustics and thermal performance.
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PARQUE IBIRAPUERA sao paulo
Ibirapuera Park was built to celebrate São Paulo 400th anniversary. It is often compared to Ueno Park in Tokyo, Hyde Park in London and Central Park in New York due to its size and number of visitors. The total area of the park is 1584000m2 and offers several cultural attractions other than the park itself (with cycle paths, fitness areas, courts and playgrounds). A few museums and pavilions, an auditorium and a vivarium compose the park’s attractions. The attractions, other than having their on funcions, also work as an incentive to explore the park.
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Royal Botanic Garden Edinburgh
The Royal Botanic Garden Edinburgh was founded in 670 as a physic garden to grow medicinal plants; today the garden is open to public visit and is home to more than 13,302 plant species. The park’s main attraction are the glasshouses, which offer several different climate zone species to visit all year round. The environments are wide and some areas of the glasshouses have more than one level. Different collections are exhibited: there are rainforest exhibits, arid lands exhibits, tropical and many more variations. The glasshouses offer also some information about the plants, countries they may be found in and use.
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CLANDON HOUSE
CONCEPT The first concept of the building based on the approach of the Museum of Markshmanship: a new building in a very strong historical context. For Clandon House, the idea was to create a building which would distinguish itself strongly from the historical context it is inserted in. At the same time, the building should not touch areas that are already currently used by visitors. In order to avoid creating a building that would interfere with the free area already used by the public, the concept of it embracing a patio was born. The new building should also be translucent, not only to enhance sunlight but also to create views to Clandon House.
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CIRCULATION STUDIES
In order to leave the area behind Clandon House entirely free, the Glasshouse itself was moved to the other side, creating a link to the north - this way, visitors of Clandon House would finish the tour in to the north of the house, instigating them to proceed the visit to the rest of the park, or visiting the restaurant. The link between the Clandon House and the Glasshouse was made into an aerial glass footbridge in order to make it show up even from far away. The footbridge, other than a character element, would be made a place to stay, contemplate the views of the park and Clandon House itself.
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CLANDON HOUSE
THE PROJECT The Clandon House Botanical Garden project aims to bring different plant species to the park that could not live there outside a specific Glasshouse - sub-tropical and arid zones plants. The new building consists of the Glasshouse itself, a wide translucent and large footwalk - to be used as an aerial winter garden - and a building made of steel and reclaimed bricks, which touches the Clandon House, where is located the shop, cafĂŠ and direct access to the new building only. The connection between the house and the new building is made by a light steel footbridge, the former windows of the house were made into doors for the transition.
back exhibitions that already were held in former Clandon House.
The house itself had the external walls reconstructed and the internal area partially rebuilt in order to create an interactive museum about the history of the place, and bringing
The museum route starts from Clandon House normal entrance, the visitor have the option to visit the underground for the virtual tours or proceed directly through the exhibitions of the house. In the final floor of the building there is a gallery of temporary exhibitions, followed by the cafĂŠ and the access to the Tropical Glasshouse - or to the shop, in case the visitor decides to exit the building. The glasshouse is composed by three major areas: Arid zone, with cacti exhibitions; and two Sub-tropical species areas: one for full sun (such as palms) species and another for half shade (broad leaf) species. Finally, the winter garden functions as a transition area between the modern and historic, its size and appearance make it possible to see it from far away - functioning also as an element of curiosity in the landscape for visitors of the park.
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CLANDON HOUSE: BASEMENT FLOOR
CONSERVATION WORKSHOP
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VIRTUAL TOUR
ARCHIVE STORE
LOUNGE
ARCHIVE STORE
PLANT ROOM
WC
CLANDON HOUSE: GROUND FLOOR
SHOP
SUBTROPICAL ZONE: HALF SHADE DEPOT
SUBTROPICAL ZONE: FULL SUN
EXHIBITION
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CLOAK ROOM
WC
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CLANDON HOUSE: NEW BUILING FIRST FLOOR ACCESS
SHOP
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CLANDON HOUSE: FIRST FLOOR
ARID ZONE
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CLANDON HOUSE: ROOF
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CLANDON HOUSE: VIEWS A & B
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CLANDON HOUSE: VIEWS
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CLANDON HOUSE: VIEWS
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CLANDON HOUSE: VIEWS
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CLANDON HOUSE: VIEWS
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CLANDON HOUSE
ENVIRONMENTAL STRATEGY GLASSHOUSE: SUNLIGHT The Glasshouse is mostly made of glazing, but some elements were distributed through the building to funcition as heat mass: the north wall of the building, the pond in ground floor. The pond serves for subtropical aquatic plants but also functions as a a humidity regulator for the building.
VENTILATION To control the ventilation in the winter garden openings are positioned in such a way that the air enter in the bottom of the structure and flows to the top. The way the air remains pleasant for people staying in the area, due to constant circulation.
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MATERIAL
Glazing: The tropical Glasshouse used glass for most of its parts except for a few walls used as heat masses; Reclaimed Brick: The Reclaimed Brick was applied in solid walls (non-glazing) of the new building. The block right next to Clandon House used almost entiredly Reclaimed Brick because of its pallete, leaving the focus to either Clandon House and the Winter Garden Footbridge; Metal Structure: Light Metal Structure makes it easier to avoid columns in the Glasshouse and make the main connection of the new building to Clandon House less damaging to the old structure.
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CLANDON HOUSE
DETAILS
Detail: glazing fitting to the steel structure
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STRUCTURE
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BATH MUSEUM
BAUHAUS ARCHIVE
The focus of the project was to bring a new attraction to the historic city of Bath. The main challenge was to fit the needs of the place with its history.
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BATH MUSEUM
INTRODUCTION Bath is rather small city located in the west of England, well known for its Roman Baths, general roman influence and its status as a UNESCO World Heritage Site. The city also holds several notable pieces of architecture (other than the Roman Baths) mainly examples of Georgian and Victorian architecture such as the Royal Crescent, The Circus and Victoria Art Gallery. Despite its size Bath receives annually 900,000 tourists staying overnight, and offers a good diversity of museums, a few examples are the Herschel Museum of Astronomy, Jane Austen Centre and the Museum of East Asian Art. Some parks can also be found in Bath, such as Parade Gardens, Queen Square and Alexandra Park. In sum, Bath offers a fair variety of attractions for the number of visitors. This was the first challenge towards the project - proposing something which would fit the context while offering something the city lacks. The idea of proposing a Bauhaus Archive satellite in Bath was born from the fact that it is got a connection to the artistic and architectural aspects of the city while still having a contrasting concept, that is, offering something entirely new.
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THE CITY OF BATH
A notable feature of Bath is the predominant use of bath stone in the buildings, which gives a creamy beige palette for the whole city. However, while it is an important aspect of the city (and also one of the reasons why it is an UNESCO World Heritage Site), it also turns some buildings less memorable than they could be, since they already have formal similarity (belonging from the same architectural era). The medieval background of the city also results in some narrow pathways and a feeling of imposing buildings, since all of them are built to the limits of their respective sites.
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BATH MUSEUM
CONTEXT
Surrounding the area there are some important landmarks, such as the Bath Abbey and the Pulteney Bridge, it is also where once was located the North Gate of the medieval town. The site itself may be considered transitional, where people cross with the intent of going somewhere else rather than staying. The area around the site would become a pedestrian exclusive area, which will change the perception of the buildings, solving partially the issue of narrow pathways. However, the scale still is imposing considering that all buildings in the area are at least four storeys high.
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BATH MUSEUM
The site offer great views to the Bath Abbey, Pulteney Bridge, St. Michael’s Church and from far away, The Holburne Museum.
The initial idea for the site would be to create an area that people feel more invited to stay, offer a little bit of nature in the middle of the town and a scale closer to the pedestrian. The space taken by the building should be partially given back to the community, as a public space that may be used in different ways.
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CONTEXT To analyse the area for the Masterplan, the first step was to observe outside the project area and check how people access it and who is accessing it. The train station is located in the south of the area, while the fastest route by car arrives in the north where is located today a car park.
People visiting Bath from other cities by train are more likely to access the area from the South, therefore a better structure for pedestrian from the station is important. Visitors arriving by car, are more likely to arrive in the north, where there is already located a car park, an expansion for it might be necessary. Students coming from Bath University may access the area by bus through the South, arriving nearby the Abbey. When coming by bicycle however, both North and South accesses are possible, the south access is slightly closer.
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CONTEXT
The area may be separated in three different zones: cultural/commercial; comercial; residential. The Zones II and III of the diagram curently are not as busy as Zone I, implementing a new museum in Zone I might increase the circulation of people in those other two areas.
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BATH MUSEUM
MASTERPLAN The area around the site would become a pedestrian exclusive area, which will change the perception of the buildings, solving partially the issue of narrow pathways. However, the scale still is imposing considering that all buildings in the area are at least four storeys high. The initial idea for the site would be to create an area that people feel more invited to stay, offer a little bit of nature in the middle of the town and a scale closer to the pedestrian. The space taken by the building should be partially given back to the community, as a public space that may be used in different ways. The area already have several cultural facilities already being used by the public, the new attraction will bring even more people to the region - so the access where people are coming from should be noted.
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A GREENER CITY Being a historic city, Bath lacks a little variety and greenery in areas away from parks. The idea for the Masterplan is to bring new elements to the streets, such as: - flower beds: offer a green look to the city without damaging the views of the city; - unique urban furniture: create a connection within the area through easily recognizable urban furniture; One of the proposals of the museums is to bring workshops and lectures open to the public, so to promote even more the participation of the community to the area, urban farms may be applied to the green zones pointed out in the map. A proper cycle network should also be applied mainly coming from the South, in order to connect the station to the area.
PARKING STATION GREEN ZONE CAR PARK
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BATH MUSEUM
PRECEDENTS SAO PAULO MUSEUM OF ART (MASP) LINA BO BARDI
Bardi believed that each architectural style had its own moment in history, furthermore new constructions with new materials should be welcome. Contemporary architecture was going through a period of solidarity and social responsibility, that is avoiding an entirely abstract meaning while not losing its formal identity. São Paulo Museum of Art summarizes well Bardi’s ideals, with its strong lines, colours and public use. The project main condition was to protect an important gathering space in Avendida Paulista, the city’s main financial and cultural artery. The building is easily recognizable by its huge columns lifting it from the ground. Attention is drawn towards the columns due to their bright red colour. Underneath it was left an open wide area which is used by the public for gatherings, fairs and markets until today.
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USSHER LIBRARY TRINITY COLLEGE
The concept establishes three prismatic sculptural blocks on a podium set North-South across the site; the two longer blocks are connected by an atrium. The taller is closed and stone-clad and dedicated to book storage, the other, lower, more dynamically shaped in stone and glass contains reading rooms with views over College Park; the third block is for a Book Conservation Laboratory.
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Greek Archaeology Museum Proposal Tsabikos Petras
The Greek Archaeology museum proposal offers a wide open space around the museum building which could have multiple purposes. The access path is long and wide, turning it into a journey which empowers the museum. The building embraces an indoor garden.
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Werdendes Ruhrgebiet Exhibition ruhr museum
Werdendes Ruhrgebiet exhibition uses artificial light as its main source of guide for the visitors, the objects are highlighted becoming the main focus - the architecture around it is less important than the objects.
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BATH MUSEUM
PARENT MUSEUM The initial step before developing the concept for the museum was analysing the parent museum’s elements and what gives it character. The key Bauhaus principles of design are: - Absence of ornamentation: form and function should have equal importance; - Craftsmanship and mass production united: constructivist design for efficient mass production; - Less is more: good design required simplicity; Considering the needs of the parent museum, some of the highlighted elements were the “journey” to access the building, from which you are able to view around the building as you walk through the ramp; The café open towards a patio by the entrance; and a built “functional” element which is high enough for giving the building visibility and character.
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EXHIBITIONS
Bauhaus Archive’s exhibition focus on the objects: which are either medium sized or small, the exhibition layout allow the visitor to see the object from various angles. Even though the visitor has a degree of freedom, there is a clear stabilished route.
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BATH MUSEUM
CONCEPT
The volume design started from a cube, which was cut in two blocks in order to give a different function to each area of the building. It was shaped with Bauhaus theory and the parent museum elements in mind. The gap between the two blocks was created in order to increase sunlight in the north block. Each block would have a different exposition, therefore a different ilumination will be needed for each block.
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VOLUME
As stated before, each block was shaped following its use. Block I will exhibit Object Design and Sculptures, therefore the ilumination should focus on the objects only and not the building and natural light should be avoided not to damage the objects. The remaining blocks consist of the Architecture and Photography exhibitions, workshops and the cafe. All of those will benefit from sunlight, therefore the building is mostly translucent in those blocks. Elements of the build such as the staircase are also considered part of the exhibition.
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ACCOMMODATION
Before the final plan, a draf accommodation schedule was planned, the main access of the building was in the ground floor through Block I, from there the visitor could either visit the temporary exhibits in the underground or proceed directly to the permanent exhibits from the ground floor and up. A wide space for events and lectures was planned in the first floor and the ground floor was almost entirely permeable (except for the cafe). The second and third floor were entirely dedicated to the workshops, so that it would receive more sunlight and offer better views of the city.
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FINAL VOLUME From the accommodation draft, the shape was changed once more before achieving the definite volume. The new volume had more internal space and a better use of the open area. The main access was moved to the underground so that the visitor goes through the temporary exhibition before visiting the permanent. Adding the access to the underground also created the ‘ramp’ and ‘journey’ elements from the parent museum.
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BATH MUSEUM
THE PROJECT The final building consists of two blocks connected by a glass footbridge. It’s got a fixed path to be followed for the exhibitions and the main access is underground. The south block exhibitions consists of furniture design, paintings, sculptures and general objects - pieces of art that need focal illumination. The areas inside this building are darker, while only the exhibitions are well lit, in order to draw attention to them. The only built element that have focus in this building is the staircase, which have glazing walls that allow the visitor see outside, this is the only area where natural light comes inside the block, the idea was to maintain the visitor aware of the context and time. The connecting glass footbridge is an exhibit by itself, it’s a transition from object design exhibitions to the architecture exhibition, so the focus changes from only the objects to the whole space. The north block is surrounded by glass panels, which means the building and the context become also a part of the exhibition. The used materials can be clearly seen and the staircase structure is part of what makes it stand out. The exhibition is lit by natural light during the day, since it consists of models and panels with drawings and pictures the natural light doesn’t interfere. The last floor of the building is where the workshops are located. The ground floor is an open plan, as suggested in Corbusier’s principles, in order to be used in various ways. When no event is being held, it serves as space for temporary exhibitions, however the main idea is to have the public use the area. The cafe is located facing the main street, its location favours the views from the cafe and to the cafe. It is easily accessible and passersby may visit it without the need of visiting the whole museum. It is also possible to visit the museum shop from the cafe.
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BATH MUSEUM: BASEMENT FLOOR (MAIN ACCESS)
RECEPTION& TEMPORARY EXHIBITION
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BATH MUSEUM: GROUND FLOOR WC
CAFE& BAR KITCHEN
PUBLIC USE& TEMPORARY EXHIBITION
WC KITCHEN
PERMANENT EXHIBITION - PRODUCT DESIGN
ARCHIVE
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BATH MUSEUM: FIRST FLOOR WC
BOOKSHOP
PERMANENT EXHIBITION - ARCHITECTURE
WC OFFICE
PERMANENT EXHIBITION - PRODUCT DESIGN ARCHIVE
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BATH MUSEUM: SECOND FLOOR
PERMANENT EXHIBITION - ARCHITECTURE
PERMANENT EXHIBITION - FURNITURE DESIGN
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BATH MUSEUM: THIRD FLOOR
PLANT ROOM OFFICE
DEPOT
WORKSHOP
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BATH MUSEUM: ROOF
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BATH MUSEUM: SECTION A
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BATH MUSEUM: SECTION B
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BATH MUSEUM: VIEWS
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BATH MUSEUM: VIEWS
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BATH MUSEUM: VIEWS
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BATH MUSEUM: VIEWS
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BATH MUSEUM: VIEWS
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BATH MUSEUM: VIEWS
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BATH MUSEUM
ENVIRONMENTAL STRATEGY Both blocks of the building positions grants them different heating properties due to different exposure to sunlight. South block is colder sue to less sunlight - most of the heat the building may absorb will come from the roof - built using dark colored metallic roofing to increase heat absorption. The north building already receives plenty of sunlight throughout the year - its main facade is mostly translucent and faces south. To regulate the heat excess, both blocks have some awning glass panels. The awning glass panels allow the entire building to work around the heat through cross ventilation - some openinings are positioned in the bottom while some, in the opposite side, are positioned in the top, so that hot air flows outside.
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MATERIAL
Concrete cladding: Applied to the entire building, alternating with glass pannes to created different effects; Steel rods: Used as main structure for the north block staircase; Wood: Used for most floors of the building; Glass panels: In combination to the concrete cladding panels, mostly used in north block; Metal Structure: Used for easily creating big gaps in the building without the need of too many columns;
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BATH MUSEUM
DETAILS
Left Detail: Connection of the steel structure to the concrete foundation (screwed) Right Detail: Connection between steel beams (screwed)
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STRUCTURE
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FIELD TRIP
LISBON
The field trip to Lisbon, Portugal, focused in analysing several aspects of the city. Understanding briefly how if fuctions and how the buildings are connected.
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LISBON TRIP: TRIP SQUARE ANALYSIS
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LISBON TRIP: SQUARE ANALYSIS
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LISBON TRIP: ARTIST STUDIO
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LISBON TRIP: TRADITIONAL MUSEUM ANALYSIS
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LISBON TRIP: DISTRICT ANALYSIS
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LISBON TRIP: NON-TRADITIONAL MUSEUM
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LISBON TRIP: FREE TASK
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