Panopticon Revisited. Center for creative industries in Breda, the Netherlands by Alexandra Epure

panopticon revisited

centre for creative industries in breda, the netherlands

design process

author: stud. arch. Alexandra EPure/ diploma session march 2015

DIPOLOMA PROJECT: PANOPTICON REVISITED. CENTRE FOR CREATIVE INDUSTRIES IN BREDA, THE NETHERLANDS PROIECT DE DIPOMA: PANOPTICON REVISITED. CENTRE DE INDUSTRII CREATIVE IN BREDA, OLANDA AUTHOR: STUD. ARCH. ALEXANDRA GABRIELA EPURE AUTOR: STUD. ARH. ALEXANDRA GABRIELA EPURE TUTOR: prof. dr. univ. STEFAN SCAFA UDRISTE INDRUMATOR: prof. dr. univ. STEFAN SCAFA UDRISTE

MARCH 2015/ MARTIE 2015

preamble

PANOPTICON REVISITED. CENTRE FOR CREATIVE INDUSTRIES IN BREDA, THE NETHERLANDS

INTRODUCTION: The study I am going to describe is about finding a way to reuse an old Panopticon prison in Breda, the Netherlands after being closed earlier this year due to the lack of prisoners. Considering the larger picture 20 other prisons in the country will be closed these years, this brings an interesting debate issue: the cities will need to learn to welcome these old buildings into their everyday life and the prisons will need to learn to participate in the urban life of their setting. There are a lot of conditions to work with and a lot of potential that the building has which will be discussed further. Just to announce briefly, my study process revealed that one of the best options would be reusing the prison as a kind of visual arts forum. By exploring this option, the project responds to the current aims of the city that wants to be soon recognized as the Visual Culture Capital of the world. Also the current art district has the chance of migrating from the northern parts of the city to a more representative location, closer to the city centre.

MOTIVATION: This study began in 2012, when I discovered this beautiful building in the Netherlands during my Erasmus scholarship. It is situated in Breda, in the southern part of the Netherlands, at the very edge of the historical center. At that moment, I was attracted by its’ unique weirdness – its monumentality, symmetry, and enormous interior space. After finding out it’s going to be closed, I started being more and more interested in how the panopticon could survive nowadays. It’s very much a matter of taking action and attitude since it was closed earlier this year and 9 months from now the municipality wants to organize a bid for the future of the prison.

STRUCTURE OF PRESENTATION: In order to fully comprise the complexity of this study, the following topics will be discused gradually: The first part, as a short introduction: - what a panopticon prison is - how this panopticon prison lives inside the city of Breda for the past 130 years - what are the conditions of its urban setting The second part: - the dutch attitude regarding the reuse of existing buildings - precedents – former studies on transforming the existing prisons in the Netherlands The third part: - my own approach towards the possibilities of reusing the panopticon prison of Breda Generally, the different chapters will be structured in two parts - the study statement - illustrating the current conditions, historical facts etc. followed by a second part - my personal conclusions drawn directly from the study statement.

table of contents 0. MISSION STATEMENT • Detailed description of the main design intentions - from the basic set of conditions to how the main design intentions were formulated. The mission statement describes the overall process, whilst the following parts of the book will illustrate the evolution of the design process based mainly on images. The mission statement is organized in sucha a way that each topic is presented in two main parts: the design conditions and my own conclusion from that condition.

1. PART 1: INTRODUCTION • General setting - location in the region; regional elements od identity/ values; location in the city + relationship with the medieval city; map with the location of the prisons to be closed by 2016. • Why the prison? - illustrated presentation with the key qualities of the panopticon prison in Breda • What a is panopticon prison? - the prison complex and its evolution in 130 years. • Panopticon mutations - the different changes that affected the interior of the prison. • The panopticon and the city - urban mutations; neighbours & neighbourhoods; the Empty & Quiet vs. the Loud & Crowded vs. the Modern Emptiness; the Green Promenade vs. the Pedestrian walkable neighbourhood.

2. PART 2: THE PANOPTICON TODAY/ CASE STUDIES • The dutch attitude regarding the reuse of existing buildings - illustration of different ways of reusing the built heritage in the Netherlands - the old churches study; the former factories study; public space applications. • Former studies on transforming the existing prisons in the Netherlands - Noordsingel prison, Rotterdam (built in 1872, closed in 2012), Het Arresthuis, Roermond (built in , closed in 2007); OMA’s study for the panopticon prison in Arnhem, 1979. • What can work well with the prison in Breda? - What does the city want in the prison? - the closing announcement from 2012 & local people reactions. Similar conversions of old buildings into flexible event venue - Westergasfabriek, Amsterdam. The prison vs. The Theatre comparison by photographer David Leventi.

3. PART 3: OWN APPROACH • Breda as the Visual Culture Capital - is the city prepared for this title? Where do the local artist work? What are their working conditions? • The prison cells transformed into artist studios - what can be made out of the existing cells? • The Atrium - what can the atrium become? - identifying the potential of the existing interior space - the need for a grand exhibition hall for the artists’ work - the TATE MODERN example as a success example - the scale of art vs. the scale of the building as a current condition for exhibition spaces • The Cube - aims, position and links; key qualities; types of exhibition platforms; • 2D drawing set - floor plans & sections • Model images

MISSION STATEMENT

THE PANOPTICON (p. 12 to 37): THE PRINCIPLE: The prison was built according to the panopticon concept developed by the British philosopher Jeremy Bentham in 1785. The panopticon was an efficient way of surveillance first of all, so that a guard from the center of the space/ building, could see at one glance the workers/ prisoners inside. There are 3 prisons like this one in the Netherlands and 12 in total around the world. THE PRISON COMPLEX: Briefly, the three buildings that compose the historical axis of the prison complex were all built between 1882 and 1886 – there is the main cell building – Cellengebouw, the Administration Building with the director’s office and the Service Building – Diensgebouw at the back. - The general image of the buildings was designed in such a way that it would match the surrounding newborn neighborhood in a kind of neoclassical brick façade. - The three buildings work in a way that the movement through space is carefully crafted. The main access passes through the Administration Building and takes you directly in the middle of the dome which opens up pretty spectacular. There are three other exit points through the stair towers placed in the axis of the dome. The interior of the panopticon - Initially, there was a surveillance tower in the center of the building that was demolished around the 1980’s. Soon after, a basement under the ground floor pavement was built so that extra facilities like fitness rooms and a lunch room were installed. The complex evolved in time so that a full urban block was defined. Around 1900, the houses at north were built for the staff of the prison and, a Courthouse with a temporary prison was built to the city centre side.

THE COMPLEX AND THE CITY (p.37 to 49): EVOLUTION INSIDE THE CITY: The general conclusion I drew after reading about the city and the prison is that the panopticon principle of organizing a prison was introduced in a time when experimentation and innovation were highly sought after in modernizing the old fortified cities like Breda. Basically, Breda was an intensely fortified spot until 1877 when it was decided to give up all the fortifications and start freshly with modernizing the area - it is worth mentioning that Breda was recognized around the 1900’s as the Little Brussels. The land that the prison was built on was actually a resulted land from the old city moats. There was a lot of space left for experiments at that time and a high demand of sanitized decent spaces for detention. The architect that designed the prison also designed the prison in Rotterdam -1872 and the two other panopticon prisons in the Netherlands. CONCLUSION: What needs to be clearly differentiated from the beginning is that the prison in Breda has a special position related to the city center – it is exactly at its periphery. It is also included in what I call a hybrid belt around the city center where you can find a lot of cultural activities and buildings, old remnants of the fortified city combined with new architecture like the OMA masterplan at the south of the prison. - Building condition – everything new is not allowed to go higher that the height of the prison ~ 40 m - The South of the prison is expected to accommodate more cultural facilities INTENTIONS ON AN URBAN LEVEL: - The opportunity of creating a river promenade that becomes a pedestrian walkable lively social neighbourhood connecting these different areas of the eastern city center wing - The former prison complex completes this riverfront and becomes an important anchor point between the old city and the new city.

THE PANOPTICON TODAY (p. 50 to 63): THE DUTCH ATTITUDE: I would like to comment further on the possibilities of transforming a prison nowadays in the dutch context. This matter of taking action in studying the panopticon and coming up with valid answers about its future has to do a lot with the way that the dutch people usually regard these issues. My personal conclusion after studying there and working almost a year in an architecture office in Rotterdam is that they continuously seek to preserve and add value to existing buildings (IMD Kantooor, Rotterdam; RDM Campus, Rotterdam). There is always room for experimentation in this field so usually the result is something unexpected (public space with benches made out of ship fans). FORMER INITIATIVES: I would like to come back to the prisons situation – There are quite a handful of former studies for reusing old prisons – Rotterdam’s Noordsingel prison transformed into collective housing units, Het Arresthuis in Roermond reused as a hotel (all illustrated further in this presentation) etc. My conclusion is that these initiatives generally establish a common direction in reusing the old prisons as housing units or hotels – mainly taking advantage of the temporary housing function.

CONCLUSION: I think that for something to work well with the panopticon from Breda you need to take a deeper look at how the city works around the prison and what are the demands of the city and the people living there. Also you have to see how the building will start to participate in the urban life of the city and what will participate with to start with. There a few studies on the panopticon prisons – one made in 1979 by OMA when they were asked to come up with a way of adding what it’s needed so that the prison achieves the new standards of detention and also a study made in 2001 on the Arnhem prison in the context of its renovation. None of these study how the prison could be repurposed. Before the prison was closed, there was a Facebook page where people could write down their opinion about the future of the prison. Mostly they would see there something that uses the entire space – a circus, a club, a theatre, a hotel. The municipality then came with the genius idea of reusing it as an elder’s house. People started to react heavily against it. The atrium of the building has an immense potential for becoming a lot of different things – you could imagine there a theatre, or a museum or an opera house, each of which would keep the space more or less empty but at the same time would bring activities inside (David Leventi’s comparison- further presented).

OWN APPROACH (p.64 to 107): My own approach started from identifying the qualities and potential of the building and investigating what can be done starting with the building in mind and with the fact that the spatial experience of the panopticon must not be lost. At the same time, since it will be opened for the first time to the general use of the public, it should become an inviting and attractive building that will be used by different types of people who don’t necessarily come here for the art but perhaps for the opportunity of meeting other people. I went into studying further the strategy that the city wrote last year for 2035 and here is how visual arts forum or the center for creative industries as I formerly called it came into being. My conclusion was that: 1. The city didn’t plan anything for the prison at the moment – they will start looking for suggestions. 2. That they aim passionately at becoming the Visual Culture Capital of the world. The municipality supports education and public events in that sense – Visual Arts Master Degree in all 8 visual art domains and public events like the Graphic Design festival held in July each year – they find the most unconventional exhibition spaces – parks and underground parking – Chasse. 3. On the other hand – artists working in the city seek a more representative working space that can negotiate between being a studio and being an exhibition space – a kind of a mixed use space also close to the city center. The current art district is somewhere in the northern part in a 1980’s factory used generally because they pay a really low rent. 4. This gives a purpose for the existing cells that can be adapted into shared artist studios on the lower levels and live & work units at the last two floors. The last level of cells brings a kind of shift in the way the cells could be re-used: there can be speculated a way of connecting the last floor of cells with the upper attic so that it all becomes a large work & exhibit space. As a short description of the activity inside – the cells from the lower floors can be rented by artists working in the city – the concept is already taking shape in countries like Germany where some of the buildings in the city center are used like this – Raumstation in Berlin, or in Poland – “the famous smallest house in the world” which is actually built for the travelling writers. The artist signs an agreement for a specified amount of time and they can use the cells for their own studio until they gain success and establish somewhere else on his own. They can also rent a cell and live inside it for a short period of time on the upper floors of the prison – for example, the artists that come for the graphic design festival or the jazz festival in Breda. They can also use common facilities inside like the auditoriums and screening rooms – for the artists working in 3d animation field for instance that can be hosted in the basement plinth were there were formerly the added facilities for the prisoners. 5. Artist studios gain an extra condition that comes along with the panopticon = the exhibition atrium that aims at becoming a social forum inside the building – the main space where the artists and the public get in touch.

THE ATRIUM (p.82): The atrium is actually a quite difficult space to work with – I was convinced that there is no need of brutally building inside the atrium. The half which already had the glass roof will be kept more or less as it is – we have the two stairs connecting to the basement level and a clear advantage that the space is already there. THE SPACE OF ART – THE ART FORUM – BOTH EXHIBITION AND SOCIAL SPACE: This study became more and more important for me because it is that one piece that connects everything back together. The artists lack the grand exhibition halls that they had in the factory warehouses. The atrium becomes a representative space for this new art district next to the city center something like the Turbine Hall of Tate Modern. This comparison led me to the point of investigating the scale of the atrium and the current scale of art. If we look at the different ways that the exhibition spaces evolved and the scale of art contained in these spaces we can trace a certain shift in perception and interaction between the public and the art object. 1. Shift of perception – from the blank museum walls to great exhibition halls, generally former industrial buildings (TATE) to large urban scale sculptures exhibited outside (ALEXANDER CALDER, JEFF COONS) 2. Shift of interaction – people start to interact and to establish a personal relationship with the object of art – sometimes it’s designed to interact with you. CONCLUSIONS: The building’s scale leads to the scale of art exhibited inside. The Interior/ exterior condition bring into discussion the different types of perception and interaction of the art object. Generally, they go hand in hand and the exhibition space is signaled from the outside by an urban scale sculpture (Tawada Art Center, Kroller Muller Museum, Boijmans Museum). For the interior of the building – you experience it in a state of submission. The overwhelming dimensions of art are surprising and intimidating at the same time. The interior public space Challenges the building’s capacity of generating a good and vibrant atmosphere inside. For the exterior of the building – we can imagine art as a mean of representation of the art district & public space generator (798 Beijing - a district full of sculptures and art objects exhibited outside). Sometimes they are just site relics or stuff that used to be there before and the artists transformed it. The exterior of the building challenges the site’s capacity of generating a good public space around it. A few examples of large scale art museums/ exhibitions: The classic - The Tate Modern example – arch. Herzong & de Meuron – industrial space adapted to contain big art The eccentric - Aomori Museum – arch. Jun Aoki – the exterior space is designed for big art objects The specific – Aros Kunstmuseum, Copenhaga - arch. Schmidt Hammer Lassen – interior space dedicated to a specific piece of art - Ron Mueck’s boy sculpture The experiment - Art Gallery and archive in Dunkirk – arch. Lacaton & Vassal – the space is left empty on purpose in the old warehouse and a new building is built almost identical to the new one in order to house the different extra spaces. My own conclusion after this small study was that the atrium of the prison could actually hold such function of being a large exhibition space for this type of site specific sculptures where people will come and interact with the objects.

THE CUBE (p. 91): INTENTIONS: The Cube inside was also born as a need for extra space that couldn’t be adapted in the current cells. The main intention was to come up with a single object on the end of the main access axis that can be used by the artists and the public and also become a viewing platform from which you can see the whole interior of the building projecting itself as a kind of panorama. This brings back the whole panopticon principle – from one point, you can watch the interior of the building at one glance just as a guard would have done in the past. It has developed from a small auditorium for 3d animation artists. I started then thinking about the panopticon again and how this will affect the spatial experience of the interior so that I deliberately limited the amount of space that the cube takes from the atrium. Now it lies only on one half of the ground floor.

POSITION AND LINKS: The position and structure of the cube are carefully fitted in the overall scheme also linked with the two main access points. I have seen also the need of an extra exit/access route for the large public from the southern side – in the future it is expected that the area nearby will develop with more cultural facilities. The CUBE stands exactly at the intersection of these main access routes and aims at impressing the public with two different dynamic perspectives. From one point you see the cube first while from the other (the original access) you see the panopticon’s interior embracing you and then the cube. The cube acts also as a kind of link from the southern access point to the building’s galleries. It is not a static object but rather something that aims at linking the new exhibition spaces with the building’s galleries. These issues will be presented further in the presentation. CONNECTIVITY AND SPATIAL EXPERIENCE VS THE PANOPTICON: The spaces inside the cube are almost always connected with the atrium. This is the reason why some of its faces were left out so that from the inside you don’t feel isolated from the interior of the panopticon, and you would rather feel constantly that the platforms you’re visiting look towards the interior. 1. The first platform is destined to host small presentations and exhibitions 2. The second one which is also the most generous in terms of space can be used for themed exhibitions – closer to a more traditional museum space 3. The last platform is designed to offer the most intimate experience with the interior of the panopticon – here lies the key of the study – you can fully embrace the overwhelming perspectives of the panopticon and its emptiness in a similar way a guard would do when supervising the prisoners. FLEXIBILITY AND OVERALL INTEGRATION: The cube is also integrated in the overall scenario that intents to be flexible – theatre, small projections, lectures. It does not aim at an autonomous way of working, but rather to an integrated scenario together with the exhibition platform. THE ADMINISTRATION BUILDING: The former Administration Building will keep its role as a foyer of the panopticon – the building will be used by small workshops and educational facilities for children who want to have a hand in the industry of creative arts. There are already good examples of institutions that provide this kind of educational programs for children like the MOTI Museum and the Municipal Museum. THE SERVICE BUILDING: The Service Building will be connected with the panopticon providing accommodation and a small restaurant in the attic. The building can also be accessed from the outside directly next to the ground floor reception desk. PUBLIC SPACE: The public space inside the former prison complex will be completely opened to its neighbors. There was a large area of green space preserved from the prison with connecting alleys to the site’s perimeter for easier access and circulation. The second entrance, from the southern part, will receive certain highlights that announce the new use of the buildings and will guide the public inside the panopticon in a totally different fashion from before. It is intended to draw a surprising access and view towards the interior from a point that was never explored before. Bringing back the principles of representation and regional identity of the artistic district, it can become a sculpture garden directly related to the type of art exhibited inside the former prison.

CONCLUSION: After establishing roughly the intentions regarding the future use of the panopticon we must always keep in mind the relationships between elements – they all relate to each other, but mostly the atrium is the one that generates the whole spatial experience. Moreover, the intruders of the panopticon will always be surrendered to it and always contained inside it. There is always room for development of this initial proposal – generally, The Cube becomes an anchor point in the overall interior artistic activities. If the prison needs to be repurposed after a period of time, than the initial scheme can evolve to the point that The Cube becomes something else and responds to the needs of the needs that given condition.

GENERAL SETTING

Location in the country/region

E R B

? ! ? DA

regional identity values

E R B

? ! ? DA

regional identity values

”De Koepel”

Location in the city

NS Station

Kasteel Breda Valkenberg Park ”De Koepel” Grote Kerk

MOTI Museum

Pathe Breda

De Niewe Veste Chasse Theatre

Fosta garnizoană

Chasse Terein/ OMA Masterplan Mezz Concert & Dance

Location NEXT TO THE CITY CENTER - RELATIONSHIP WITH THE OLD MEDIEVAL CITY

mapping the location of the prisons that will be closed by 2016

WHY THE PRISON?

strange monumentality

personal fascination - issues of monumentality, bigness, symmetry, IMAGE WITHING THE CITY

impressive dimensions large scale dome

the image in the city

personal fascination - issues of monumentality, bigness, symmetry, IMAGE WITHING THE CITY

monumental gates impenetrable limits

Neoclassical facade - staff house ~ 1890 brick facade red Waal facade brick

the image in the city

the image of the prison matches the neoclassical image of the nighbourhood

Chasse Terrein - used as a training ground

memory value

old footage with the prison standing at the edge of the city ~ 1940

the interior

monumental

personal fascination - issues of monumentality, symmetry and feeling overwhelmed

simmetrical

personal fascination - issues of monumentality, symmetry and feeling overwhelmed

surprising

personal fascination - issues of monumentality, symmetry and feeling overwhelmed

A PANOPTICON PRISON?

efficient control

the panopticon principle of organisation - efficient surveillance from the centerpoint

no escape

the panopticon principle of organisation - constant surveillance

a ring of cells

a guardâ&#x20AC;&#x2122;s post

the panopticon principle of organisation APPLIED ON THE PRISON OF BREDA

CELLENGEBOUW SERVICEGEBOUW ADMINISTRATIEGEBOUW

a historical set of three the prison complex - the historical axis (1882-1886)

GROTE KERK 1480

OMA MASTERPLAN 2000

+ HOTEL & CINEMA 2007

+ OFFICE BUILDING 1980 + RESTAURANT 1960 + TEMPORARY PRISON 1890 CELLENGEBOUW SERVICEGEBOUW ADMINISTRATIEGEBOUW

+ COURTHOUSE 1890

+ STAFF HOUSES - 1883

new neighbours

the prison complex - the historical axis (1882-1886) + neighbours

PANOPTICON MUTATIONS

no “tower” anymore

PANOPTICON MUTATIONS - from the guard’s tower to camera surveillance

basement makeover PANOPTICON MUTATIONS - added basement

modern conditions PANOPTICON MUTATIONS - added basement

THE PANOPTICON AND THE CITY

alone on the edge

between neighbours

the prison coMPLEX EVOLUTION- 1950 TO 2015

1910

1860

new land available

the fortified city

2010

1960

oma masterplan

the division of the chasse terrein

urban mutations

the most important urban mutations since the prison was built

empty & quiet

THE PRISON’S NEIGHBOURS - THE CHASSE PARKING - all calm & quiet

loud & crowded

THE PRISON’S NEIGHBOURS - THE CHASSE PARKING - the fair & festival

party venue

THE PRISON’S NEIGHBOURS - THE CHASSE PARKING by night

modern emptiness

THE PRISON’S NEIGHBOURS - THE CHASSE MASTERPLAN/ OMA - modern emptiness

modern emptiness

THE CHASSE MASTERPLAN - OMA - overview of the different types of buildings

modern emptiness

THE CHASSE MASTERPLAN - OMA - panoramic views - modern emptiness

DE KOEPEL

GROTE KERK 1480

transparency

47 THE CHASSE MASTERPLAN - THE GREEN PROMENADE ALONG THE RIVER & ENOURMOUS TRANSPARENT OPEN SPACE

green promenade

48 THE CHASSE MASTERPLAN - THE GREEN PROMENADE ALONG THE RIVER & ENOURMOUS TRANSPARENT OPEN SPACE

green promenade pedestrian walkable neighbourhood URBAN LEVEL DEVELOPMENT SCHEME

THE PANOPTICON TODAY THE DUTCH ATTITUDE

church >> library

the built heritage being reused - the old churches study

church >> theatre

the built heritage being reused - the old churches study

old steel factory >> office the built heritage being reused - the old factories study

dock buildings>> innovation campus the built heritage being reused - the old factories study

public space applications transforming old ship fans into benches

THE PANOPTICON TODAY FORMER STUDIES

prison>> housing & park ROTTERDAM’S PRISON - NOORDSINGEL - 2010 PROPOSAL

prison>> hotel

HET ARRESTHUIS, ROERMOND - PRISON TRANSFORMED INTO A HOTEL, 2011

prison>> modernized prison

oma’S STUDY FOR THE PANOPTICON IN ARNHEM - CROSSING THE INTERIOR WITH “INTERNAL STREETS”

prison>> modernized prison

oma’S STUDY FOR THE PANOPTICON IN ARNHEM - “THE HISTORICAL RELIC ON A PODIUM OF MODERNITY”

THE PANOPTICON TODAY WHAT CAN WORK WELL?

”Possibly, the Dome Prison will dissapear form Breda”

2012: closing announcement ORIGINAL ANNOUNCEMENT THAT THE PRISON WILL BE CLOSED

”Managing director visits the endagered prison”

”Letter from Breda to the Secretary of State”

2013: the staff is protesting the staff began protesting against the decision

â&#x20AC;?4300 Facebookers see the Dome as a party venueâ&#x20AC;?

2014: the local people reacted the party people of breda saw this as an opportunity

similar conversions

AND COMAPARED IT TO THE WESTERGASFABRIEK IN AMSTERDAM

a flexible event container flexible venue for different events

the prison vs. the theatre

THE PANOPTICON TODAY PERSONAL APPROACH

ambitions

l a t i p a c e r u t l u c l a visu

THE city’s AMBITION OF BECOMING THE VISUAL CULTURAL CAPITAL OF THE WORLD

l a t i p a c e r u t l u c l a visu

unconventional ways of using the public space - the chasse parking as an exhibition space

fa r

ity

current art distrct

visual artists studios in breda - the northern part of the city, in an old 1980â&#x20AC;&#x2122;s factory

r e p

a m

e n

t n

e n

o g

t a i c

n io

f o

current art distrct

current condition of visual artists studios in breda

e c a p s

artistsâ&#x20AC;&#x2122; ambitions

traditional studio

representative space

making use of the existing cells

11 m2 cell light flexibilty

{

shared studio (2 - 3 cells)

live & work (1 cell)

ambitions

shared studio

live & work unit

types of studios

the atrium?

what can the atrium become? the space that connects everything back together

the need for a visual arts forum

or a grand exhibition hall artists need specific spaces for exhibiting their work

THE REUSE OF INDUSTRIAL SPACES artists need specific spaces for exhibiting their work

large atriums for art installations site-specific art installation by james turell in guggenheim museum. ny

the current scale of art

Challenges the buildingsâ&#x20AC;&#x2122;s capacity of generating a good and vibrant atmosphere inside

the art vs. the building

aros museum, aarhus - schmidt hammer lassen architects, denmark

shift in perception

contemplative

overwhelming

the different ways we approach art nowadays

shift in interaction

caution

submission

the different ways we interact with art nowadays

scale of BUILDING

scale of art

CONCLUSION FOR the ATRIUM

half empty for art installations

the tate modern as a success example

”that’s how we won the competition, we decided to leave that space totally empty”

”a real public space for people of all kinds of social classes to hang out”

jacques herzog on the tate modern competition (potentials in architecture lecture, 20.05.2013)

THE CUBE

HOSTEL

±0.00

EXPO GALLERY

±0.00

SCULPTURE GARDEN

EXPO GALLERY

B -4.60

EXHIBITION/ AUDITORIUM

EXPO GALLERY

LARGE SCALE ART EXHIBITION AREA

EVENT HALL

±0.00

±0.00 YOUNG ARTISTS STUDIOS

positioned only on one half PLAN COTA ±0.00, SC. 1:200 FLOOR PLAN ±0.00, SC.1:200

THE CUBE

HOSTEL

±0.00

EXPO GALLERY

±0.00

SCULPTURE GARDEN

EXPO GALLERY

B -4.60

EXHIBITION/ AUDITORIUM

EXPO GALLERY

LARGE SCALE ART EXHIBITION AREA

EVENT HALL

±0.00

±0.00 YOUNG ARTISTS STUDIOS

POSITION - END OF AXIS

PLAN COTA ±0.00, SC. 1:200 FLOOR PLAN ±0.00, SC.1:200

the cubeâ&#x20AC;&#x2122;s evolution

1. a small and shy box on one half the auditorium for the animation studios

2. sunken box in the existing basement

3. two expo platforms on top of an auditorium bold but segregated option

4. the cube - keeping the auditorium on 1st level + 2 expo platforms - cleaner, clearer option 95

tests on overall perception

essential qualities

REPRESENTATIVE

THE CUBE BECOMES A REPRESENTATIVE ANCHOR POINT IN THE OVERALL RANGE OF ARTISTIC OEUVRE

essential qualities

CONECTIVITY & hierarchy

THE CUBE IS CONNECTED WITH THE EXISTING GALLERIES OF THE PANOPTICON

VIEW from the new entrance THE VIEWS ON THE CUBE FROM THE NEW ACCES FROM SOUTH

exhibition on platform 1

THE LOWEST PLATFORM CAN BE USED BOTH AS AN AUDITORIUM OR AN EXHIBITION PLATFORM

100

exhibition on platform 2

A MORE TRADITIONAL EXHIBITION ROOM - THE LOWEST CEILING AND THE LARGEST SURFACE

101

bring back the panopticon

THE PUBLIC EXPERIENCES THE INTERIOR IN THE SAME WAY THE PRISON’S GUARD WOULD HAVE DONE

102

KITCHEN

HOSTEL

+7.00

±0.00

+7.00

THE BAR IN THE ATTIC

+4.00

EXPO GALLERY

±0.00

SCULPTURE GARDEN

EXPO GALLERY

EXHIBITION/ AUDITORIUM

B -4.60

EXHIBITION/ AUDITORIUM

EXHIBITION SPACE

LOOKOUT PLATFORM

+7.00

+10.00

EXPO GALLERY

STUD S=11 IO MP

LARGE SCALE ART EXHIBITION AREA

±0.00

+4.00

+7.00

EVENT HALL

±0.00

ART IN THE ATTIC

YOUNG ARTISTS STUDIOS

+10.00

PLAN COTA ±0.00, SC. 1:200 FLOOR PLAN ±0.00, SC.1:200

PLAN COTA +4.00, SC. 1:200 FLOOR PLAN +4.00, SC.1:200

PLAN COTA +7.00, SC. 1:200 FLOOR PLAN -7.00, SC.1:200

PLAN COTA +10.00, SC. 1:200 FLOOR PLAN +10.00, SC.1:200 stud. Alexandra Epure, sesiunea martie 2015

Floor plans

103

SECTIUNI, SC. 1:200 SECTIONS, SC. 1:200 +38.05 08

SECTION CC', SC. 1:200 SECTION CC', SC.1:200 +17.60 +13.60 +9.90 +6.60 +3.30 ±0.00 -4.60

+38.05

SECTION CC', SC. 1:200 SECTION CC', SC.1:200 +14.88

+5.65

+38.05

SECTION AA', SC. 1:200 SECTION AA', SC.1:200

+13.60

±0.00 -4.60 stud. Alexandra Epure, sesiunea martie 2015

sections

104

MODEL IMAGES

105

106

107

108

109

Special thanks to Print3dBucuresti (http://www.print3dbucuresti.ro/), Bucharest, Romania, & Blueprint Studio (https://www.facebook.com/BlueprintStudio), Bucharest, Romania for their collaboration on the model making process. March, 2015