Protrusion Studio 08 : Triplicate MSD, Semester 2, 2021 LO Hoi Yau, Kira
Content Way-finding plans
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Q+A
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Material
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Works
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Critics Review
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Index
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Notes
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Knowledge Bank
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Protrusion is a critique of museum architecture as a sanitised and isolated environment for art and exhibition. The exhibition is combined with the architectural elements and the extrusions allow artworks to be exposed to the surroundings. The interior of the museum extends beyond the building border, while the external conditions are brought inside simultaneously. With the Venetian context as the background of art display, the artworks, architecture, and context become inseparable. Operable elements provoke movements and indirectness in visitors’ journeys inside the museum, which also evokes curiosity by delaying the moment of art appreciation. Paintings contain the particular moments of objects and the artists’ message for the viewers. “When Paintings become Things” is one of the themes of “Stop Painting”, it challenges the thickness of canvas, as well as unveils the moments when the objects in paintings extend beyond the flat surfaces and become actual things. The exhibition “Stop Painting” is curated in a way that the artworks echo with the architectural design and the Venetian context, while the view of Venice is also framed as part of the exhibition, establishing a dialogue between architecture and art. - LO Hoi Yau, Kira
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Way-finding Plans 1 - Ticket Office 2 - Cloak Room 3 - Information Centre 4 - Nursery Room 5 - Washroom A - Curtain, Emil Michael Klein, 2021 B - Untitled - David Hammons, 2008 C - Gate 1, Reena Spaulings, 2018 D - Vetrina (Oggetti in meno), Michelangelo Pistoletto, 1965-55 E - Orgonkiste bei Nacht, Martin Kippenberger & Albert Oehlen, 1982 F - Dix-neuf tableaux en pile, Marcel Broodthaers, 1973 G - Untitled, Lynda Bengils, 1969 H - Old Master (non tiré), Niki de Saint Phalle, c.1961 J - Untitled, Josh Smith, 2012 K - Bottle Catapult, Kasper Müller & Iacopo Spini, 2020 L - Méta-Matic No.6, Jean Tinguely, 1959 M - Silver Portrait of Dorian Gray, Walter De Maria, 1965 N - “Bauhaus” telephone, Marcel Breuer & Richard Schadewell, 1930 4
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First Floor Plan
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Q+A On Stirling Q: What did you find most challenging when working with Stirling’s material from the CCA archive? A: I think the most challenging part is that the CCA archive materials are very conceptual. You have to get the essence of the objects from the very abstract and sketchy materials and try to incorporate them into the Ca’ Corner building, forming real objects. Q: Do you think Stirling is still relevant for contemporary discourse? If yes, why? If no, why? A: Yes, I think so. Stirling’s projects are modernism architecture, what we are doing is to get some motifs from his projects and design contemporary museum architecture with them. There are a lot of interesting aspects to be extracted from Stirling’s works and construct contemporary architectural discourse, for instance, material, organisation, colour and his humanist approach.
On Museum Q: What are the challenges of thinking the museum beyond a container for art? What is exhibited and what does the exhibiting in your museum project? Is it that simple? A: The museum is not only the container for art, as the spatial design has an important role in changing people’s perception of the artworks. I would say that the spaces are designed in a way that allows people to engage with the artworks. For example, my design intention in the Ca’ Corner Museum is mainly about the incorporating operable elements into the space and creating different spatial experiences for the visitors when they are approaching the artworks. The artworks are also displayed in an extrusion of architectural element. In this way, architecture and art are combined together. Q: What are the challenges you have encountered when working with the Ca’ Corner building? E.g. the Venetian context, the architectural ornamentation, the spatial structure, etc. How did that challenge inform your approach to the museum? A: I think the biggest challenge I have is how to create something new without losing much of the Ca’ Corner della Regina, especially when you try to intervene in the space with the new elements and my own thinking. In my project, I change the hierarchy of spaces in Ca’ Corner museum, so the spatial arrangement is different from the original museum. To keep the key moments of Ca’ Corner museum, I give respect to the existing ornaments, textures, and materials. 8
Q+A
On Exhibition Q: Considering the role of technology in exhibition design, is this a concern for your design? If so, in what capacity? A: I think the most challenging part is that the CCA archive materials are very conceptual. You have to get the essence of the objects from the very abstract and sketchy materials and try to incorporate them into the Ca’ Corner building, forming real objects. Q: Does this idea of exhibition or display technology change your conception of museum architecture? A: Yes, technology means a lot to my design. They are many openings in my project, such as the doors, windows, even the arches. The role of technology in these objects is how the materials join together, which means the tectonics. The technology of assembly and materials contribute to the expression of the designed objects and make the design work holistically.
On (the) Future Q: How would you describe an architecture that exists solely inside the museum? How is that architecture different to architecture that exists outside the museum? A: I think architecture solely exists inside the museum is like a more sanitised environment, in which the context is not necessary to be considered, the focus would be more on the design and users’ experience in this kind of isolated environment. Meanwhile, when we discuss architecture outside the museum, it is in a more complicated context with lots of visible and invisible elements, the way it connects with the surrounding is a crucial consideration. Hence, it is more about how the architecture fits the bigger context and creates a system on a larger scale. Q: Has your project for a museum changed your position or attitide to architecture more generally? If yes, how? A: Yes, my project is trying to merge modernism with classical elements to generate a more interesting discourse. From my perspective, architecture should be separated from its content and every element should exist harmoniously to create the atmosphere. Architects do not only design programs and spaces to make the building work systematically, but also reflect their design intentions and ideas through the articulation of architectural elements. 9
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Material
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Exterior view, Staatsgalerie Stuttgart
Exterior view, Staatsgalerie Stuttgart
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View of handrails, Staatsgalerie Stuttgart
View of entrance from interior, Staatsgalerie Stuttgart
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View of entrance from interior, Arthur M. Sackler Museum
View of interior staircase, Arthur M. Sackler Museum
Exterior view of main entrance, Arthur M. Sackler Museum
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Site Plan 15
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Original First Floor Plan 16
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TICKET OFFICE
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INFORMATION CENTRE
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Original First Piano Nobile Plan 18
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Proposed First Piano Nobile Plan 19
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Original Second Piano Nobile Plan 20
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Proposed Second Piano Nobile Plan 21
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Elevation
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Cross Section
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Cross Section
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Cross Section
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Long Section
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Apparatus - Extrusion
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Apparatus - Focus
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Apparatus - Diversion
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Perspective View along Calle Regina
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Critics Review
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Critics Review
The project, Protusion, has a unique perspective on the challenge of the materials, functions, and constituent architecture elements. The project demonstrates a collision of tradition and modernity under the classical content of Ca’ Corner Museum. These interventions seem wacky and abrupt, but they drive visitors to think about what contemporary architecture would do with a classical museum. These objects could be recognised as bombs from the 21st century, which greatly influenced the museum. They are powerful, visually striking, also breathe new life into the museum. On the first floor, the position of the entry is a challenge. The revolving doors and tunnel-like passages replace the straightforward entrance. It somehow brings the character of shopping malls to the space—a satire on contemporary art combining commerce and consumerism. This entrance experience evokes visitors’ curiosity since their first step into the museum. The first floor achieves the interchange of aisles and showrooms, while the first piano nobile, the traditional perception of doors, windows, and entrances is overturned. The designer’s approach to applying operation mechanisms to architectural elements comes obviously at this level—revolving door as a prelude to entering a free and flexible space. The thickness and rhyme are added to the windows and transformed into exhibition devices for the artworks. The extrusion of the window could be read as the growth of architectural elements, and they break up the original order of the space. They are also breaking the heavy and dull historical feel of the museum, giving the exhibition space a new atmosphere. In addition, the extrusion creates the juxtaposition of the heavy material and the modernist lightweight material. Does it bring the curiosity of where the new, dynamic rhyme comes from? It also drives the deeper thinking on how architectural elements become exhibition devices. The windows as part of the structure of the building, is its original function retained after the transformation? It would be interesting to see an exhibition system combined with functional architectural elements. These three interventions bring more life into the museum. Stirling’s gestures on program indicators and the contrast of architectural elements become something beyond the decorations for this building. It is an abstract transformation, as well as a merge between classical and modernism. These interventions come into one comprehensive system to fuse into this historic building. - Peliu Chen
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Index
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Index : Phase 1
Staatsgalerie, Stuttgart
Ca’ Corner della Regina
Obejct 1 - Optical illusion
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Arthur M. Sackler Museum
Ca’ Corner della Regina 38
Index : Phase 1
Obejct 2 - Extrusion 39
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Staatsgalerie Stuttgart
Ca’ Corner della Regina
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Index : Phase 1
Obejct 3 - Indirectness 41
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First Floor
First Piano Nobile
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Index : Phase 2
Perspective View at Central Staircase
Perspective view at First Piano Nobile 43
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Perspective View at First Piano Nobile
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Index : Phase 2
Elevation 45
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Notes
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1ST
FLOOR
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1ST
PIANONOBILE
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Knowledge Bank
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Knowledge Bank
Project: 1. 2. 3. 4. 5.
Dan Flavin, Santa Maria Annunciata in Chiesa Rossa church, Milan, Italy Rafael Moneo, National Museum of Roman Art, Spain Carlo Scarpa, Castelvecchio Museum, Verona, Italy SANAA, Louvre-Lens, Lens, France ALA Architecs, Helsinki Central Library, Finland
Reading 1. Boris Groys, When Paintings Become Things 2. Eva Fabbris, The SIGN Critic 3. Gernot Bohme, The Theory of Atmospheres and Its Applications, Interstices 15, 2014: 92-97 4. Eeva-Liisa Pelkonen, What about SPACE?, 306090, no.15, 2013 5. Le Corbusier, Paul Stirton, and Tim Benton. “Glass, the Fundamental Material of Modern Architecture.” West 86th: A Journal of Decorative Arts, Design History, and Material Culture 19, no. 2 (2012): 282–308.
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