The Culture House
Within the previous chapters, an opportunity and need of attaching the additional function of an arts and crafts hub to the already defined function of the museum has been outlined. With consideration towards this statement, a short analysis into the typology of the culture center has been conducted. The culture center has been chosen as a typology due to its active program which characterizes our proposal as well. A sketch by the well known architect Le Courbousier reveals the true nature of the culture center. The sketch portrays the real protagonists of the drawing as the persons themselves, while the place is there to provide a scenic frame for a theatrical piece that portrays architecture not so much as something constructed, but something inhabited [Bione, 2009, p. 7]. When the concept of the cultural center first started taking shape, the objective behind the initiative was to promote the independence and responsibility of the citizen, with regards to social and cultural entertainment. Nonetheless, the creation and fruition of art have not been presented together until recent times. However, a first instance of a cultural center can possibly be traced back to
the renaissance courts when, for the first time, intellectual expression was freeing itself from the religious and the military [Bione, 2009]. Yet, Bione  still refers to the difficulty of defining an architectural typology when talking about the cultural center. This is based on the premise that cultural centers do not follow a specialized function, but are in fact an amalgamate of different experiences. Therefore, when looking into the compositional considerations of a culture center, one has to consider a fragmentary analysis ‘which touches upon different disciplines in order to describe this heterogeneous collective experience’ [Bione, 2009, p.11]. A common feature amongst modern cultural centers is the common, open space. In an article dated 1970 Alfonso Martinez described Ruben Pesci and Hector Rossi’s competing project for the cultural center in Mendoza: ‘if we propose to distinguish the dominant parts of this composition, we shall find that they correspond to the non-specified ones: the circular shapes, those spaces without a destination which serve as unifying elements for the areas in which specific functions are carried out‘ [Corona Martinez, 1987].
Around this central compositional element, the morphology of the spaces can follow different organizational principles. While in some cases, a wide open plan as in the Vladimir Kaspe Cultural Centre designed by Broissin and Hernandez in Mexico City is preferred, other designs favor the approach that dwells on a fragmentation of the plan, offering users the chance to choose between a variety of different scales and different levels of denseness. An example is the De Kunstlinie Theatre and Cultural Centre in Almere, the Netherlands designed by the well-known Japanese architecture practice, SANAA, which hosts spaces from as small as 20 sqm to large multi-purpose rooms. In either case, the cultural center as such needs to address and fully understand the needs of the users and of the context in which they are placed, such as in the example of the Information Centre for the Kalevala and Karelian Culturem Kuhmo, Finland which has the objective of increasing awareness of local traditions.
Architecture and Design Master's Thesis Proposal