BAP: Odunpazari Museum of Modern Art

ODUNPAZARI MUSEUM OF MODERN ART Kengo Kuma & Associates DESIGN TEAM Kengo Kuma and Associates: Kengo Kuma, Yuki Ikeguchi - Partner in charge; Yasemin Sahiner - Project Architect; Man Wai Yiu and Anteo Taro Sanada Consultants: Structural Engineer: SIGMA Facade Engineer: Ateknik Structural Design Mechanical engineer: TEMA Engineering and Consulting Trade Ltd. General contractor: Polimeks Holdings, INC. Client: Polimeks Holdings, INC.

ARCHITECT

Kengo Kuma & Associates: Kengo Kuma was born in Yokohama in the Kanagawa prefecture. in 1987 he founded the spatial design studio (now Kengo Kuma & Associates). His design vision expresses the emotional content of materials, linked to intrinsic characteristics in construction and the teachings of Japanese traditions. In addition to wood he enjoys other materials like stone, ceramics, bamboo, plastic, and vinyl, rather than concrete architecture.

For Kuma, studying the site is essential to integrate a project within its surroundings, so that it will not disturb the balance ans also appears naturally derived. As Kuma himself stated, the construction therefore becomes a total environment in which everything dissolves, where there is no fragmentation of spaces, where boundaries disappear”.

PROJECT BACKGROUND

The Odunpazari Modern Art Museum is to exhibit the owner’s collection of Turkish modern art.

This museum was built in the city of Eskisehir which is a university town, with a young and lively population, where the owner was born and raised. The owner wanted to make a cultural contribution to the city. The site is between newly developed urban area and small scale town-scape. The institution is about 4500 square meters and contains about 1000 pieces of modern and contemporary art.

The museum has 3 floors and each has different goals. The ground floor is a larger exhibition space with a style that tries to mimic the rhythm and scale of the surrounding town. And then the upper floors have smaller rooms all designed for smaller scale artwork.

There is a central atrium that connects all the floors and sheds light into the entirety of the building. Their aim was to reflect the street-scape and make the volume in aggregation; stacking small boxes to create the urban scale architecture. The stacked boxes match the houses and then rise up to greater heights to match the urbanscape.

REFLECTION

The choice of repeatable elements is extremely useful once examining their design intention to blend both the residential to the city, the little elements allow for the space to adapt to both scales. However the color palette and materials still seem out of place in the context. Mainly in the exterior views, it almost does not feel like it is a part of either the city or the residential when the design intention is supposed to be for both.

Without exploration, visually it seems there is a big focus on sunlight and casting shadows in order to make beautiful interiors and moments. And I think Kengo Kuma and Associates succeeded in creating breathtaking moments within the building, however it does not seem like there was a huge concern for sustainability purposes, including sunlight, ventilation, natural light without artificial.

Ophelia Chiang & Ryan Lew | ARCH 341 | Studio Toker | Fall 2020

02 | SITE ANALYSIS SITE CONTEXT & HISTORY The Odunpazari Moern Museum is located in the Odunpazari district of the Eskişehir province, which is in the Central Anatolia region of Turkey. The district is classified as in between a suburban and urban context because of its placement is at the threshold between a small town with traditional Ottoman wooden housing and a newly developing urban area. The name “Odunpazari” means “wood market” in the Turkish language; the area has a rich history with timber as it used to serve as a wood-trading market. Situated in an architecturally transitional area, the OMM strives to maintain the traditional street scape and the area’s history with wooden structures while incorporating modern and contemporary elements to serve as a new cultural landmark in the area.

PUBLIC TRANSPORTATION Eskişehir is a pedestrian-friendly city and has implemented contemporary light rail systems. The city has integrated sustainable transportation systems with cycle tracks. The OMM is in close proximity with the majority of the city’s neighborhoods and is easily accessible by walking and is also situated on both city bus lines as well as the light rail lines.

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OCT 21

FEB 21

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4'

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16'

scale: 1/64” = 1’-0”

DEC 21

32'

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MAR 21

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3

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APR 21

6

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SEP 21

MAY 21

02 | CLIMATE DATA

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CLIMATE TYPE Odunpazari, 828 m above sea level, is classified as a temperate climate.

WIND DIRECTION Winds in Odunpazari primarily come from the Northeast direction year-round.

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EAST

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TEMPERATURES There is a large temperature variation between day and night, and it may also vary by approximately 21 degrees Celcius throughout the year.

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PRECIPITATION The summer has the least amount of rainfall, averaging at 0.4 inches, while winter months have significantly more precipitation with an average of 2 inches.

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17 %

< 32

67 %

32 - 68

8%

68 - 75

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TEMPERATURE RANGE 0 A.M.

DESIGN HIGH

110

AVERAGE HIGH MEAN

2 A.M.

100

AVERAGE LOW DESIGN LOW

4 A.M.

SUNRISE

80

8 A.M.

70

10 A.M.

60

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50

2 P.M. SUNSET

90 COMFORT ZONE

6 A.M.

4 P.M. 6 P.M.

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REGIONAL RESOURCES WATER SOURCES Eskişehir sources its water from the Porsuk Dam, which draws water from the Porsuk River. The Porsuk Dam is constructed of concrete and is 49 meters in height with a total storage volume of 431 cubic hectometers. The total storage surface area is 23.4 kilometers, and the dam supplies a total of 206 cubic hectometers of fresh water annually.

Ophelia Chiang & Ryan Lew | ARCH 341 | Studio Toker | Fall 2020

HOURS

03 + 04 | STRUCTURE - ANALOG

Due to the site being in Turkey we were unable to find any documents related to the structure, and after contacting both the structural engineer as well as the architect in both English and Turkish (thanks to Umut) we were still unable to get a response. So using only the section it looked as if it is mainly concrete or structural walls and large girders that span the opening with some

sort of decking for the floor plates. Using this information we assumed it was a slab foundation because it is in an urban site that already was graded and looked as if the ground floor is also the foundation. So they chose the common slab, that blends the exterior plaza space into the interior very easily.

05 | STRUCTURE - DIGITAL

Due to the site being in Turkey we were unable to find any documents related to the structure, and after contacting both the structural engineer as well as the architect in both English and Turkish (thanks to Umut) we were still unable to get a response. So using only the section it looked as if it is mainly concrete or structural walls and large girders that span the opening with some sort of decking for the floor plates. Using this information we assumed it was a slab foundation because it is in an urban site that already was graded and looked as if the

ground floor is also the foundation. So they chose the common slab, that blends the exterior plaza space into the interior very easily.

Further examination of the section shows a variety of girder sizes depending where in the building it is, it seems to have a large variety of sizes though which was interesting and wish to get more information on.

Sometimes small beams are extremely close and parallel to much larger ones which was interesting.

Ophelia Chiang & Ryan Lew | ARCH 341 | Studio Toker | Fall 2020

WOOD CONFIGURATION

MASS AND GLASS

BUILDING PERFORMANCE (EUI)

Ophelia Chiang & Ryan Lew | ARCH 341 | Studio Toker | Fall 2020

06 | MECHANICAL SYSTEMS Roof ExhaustThe air in the ventilation system thats gets used rises and exits the building through the roof which has vents and systems on the perimeter.

Floor Vent CoolingVentilation is achieved through vents on the ground and the air rises, this is common in the area.

Hydronic HeatingHeating is provided to the building through the floor, water is heated and runs through the wiring/piping in the ground that allows heat to dissipate into the room.

07 | EGRESS AND CIRCULATION

MASSING & EGRESS PLACEMENT The OMM has 2 elevators and 2 sets of egress staircases for safe exit.

CIRCULATION Several staircases are able accessible from the exterior and lead to exterior terraces or into the building.

Egress System Floors Staircases

Ophelia Chiang & Ryan Lew | ARCH 341 | Studio Toker | Fall 2020

08 | AXONOMETRIC INTERACTION WITH THE SITE Located at the threshold between a suburban and urban area, the OMM interacts with the site through its materiality and orientation as well. The museum is oriented towards the main street but is also accessible through many small side roads around the neighborhood.

08 | SECTION STORY AND SPACE Although there is no official indication of the program distribution, we assumed based on pictures and entourage in the plans and sections that most of the space is designated to art display. Other portions underground are used for storage and an office space is located near the top floor.

The structural system is mainly composed of concrete shear walls and steel I-beams.

The mechanical system is assumed to be a hydronic system for heating and mechanical ventilation from the floor. The used air is circulated out of the building through a roof exhaust system that has vents along the perimeter of the building.

PROGRAM loading dock

office/admin

stairwells

storage/other

arts/public

center atrium

steel beams

roof exhaust

floor vent system concrete shear walls

Ophelia Chiang & Ryan Lew | ARCH 341 | Studio Toker | Fall 2020

09 | STORY - FINDINGS REFLECTION/EVALUATION This project was especially challenging because the Odunpazari Modern Museum was completed just a bit over a year ago. With little to no information released to the public about the construction details of the building, we resulted to making lots of assumptions based on what was common in the area. For example, since concrete load-bearing walls were often used as a main structural system, we assumed that was the case for the OMM with the addition of steal beams. With the help of our professor, we also learned that typical mechanical systems in Turkey include radiators or heating from the ground to circulate hot water as well as hydronic systems for heating. AC is also commonly used during the summers because forced air would be pricey. It seemed to us that a lot of what was used in the building, for both structural and mechanical systems, were heavily influenced by the local climate as well as what is typical for Turkish construction.

While it was difficult to complete many of these assignments with limited information, we learned a lot more than expected about what is common for buildings for Turkey and, in turn, our project. The OMM seemed different from the buildings in the United States that we were typically discussing and learning about, and we believe that it’s heavily influenced by the climate, site, as well as the culture in Odunpazari. Although we had hoped to be able to get in contact with the architects about the building, our attempts to reach them weren’t successful, and while it would have been more ideal to be able to analyze the museum with more information, there was certainly a lot of value in working with what we have and being able to infer a lot of the information from the available drawings. We paid a lot more attention to whatever details that were provided in the plans and sections that we may have likely overlooked had we received construction drawings from the architects.

Overall, despite being quite a challenge, we definitely learned a great deal and gained useful skills for the future.

Ophelia Chiang & Ryan Lew | ARCH 341 | Studio Toker | Fall 2020