A Peaceful Collision

// WAR + FASHION A PEACEFUL COLLISION

1:100 Paraline

STATEMENT “A Peaceful Collision” explores the coexistence of a war memorial and high fashion. A dialogue between the Yugoslavian of blood-

float weightlessly above the ground. A commentary on the fragility

Being a space of reconciliation, rather than testament to Yugoslavia,

Patrons end their journey with peace and celebration. Whether that

and weight of violent topics.

the building takes a soft Brutalist approach. Particularly adapting

be in the stark McQueen runway or modest memorial prayer space.

Lina Bo Bardi’s asymmetry and colour. Sun passes through a red

Lit gently with perforations and candles burning in images of restitution.

shed of WWII and Alexander McQueen’s brutal approach to fashion.

Inspired by my heritage; the Brutalist architecture of Yugoslavia and

Taking note of the Kolumba Museum small perforations in the facade

pond encased in red glass, an unsettlingly beautiful pattern of red

the obscure and unknown ‘Spomeniks’ (Memorials to the former

correlate with the Memorial program, whilst large gaping windows

ripples run down the side of the interior.

SFRY).

open to the McQueen program. Exposed to the public, inviting pa-

The programs are intertwined through a series of crushed stained

trons into the commercial and public world of fashion. Small perfora-

red glass between mezzanines. The glass embodies the loss of re-

tions along the memorial create a sense of seclusion and intimacy.

ligious freedom during the SFRY and keeps the patrons of the Mc-

Alexander McQueen’s style highlights the discussion of aestheticized violence. McQueen’s gory 1998 ‘Joan’ collection; based on

Queens in touch the realities of violence. Combining Libeskind use

the dark life of the Saint of War, Joan of Arc. Common ground exists

A space of reconciliation and truths. Patrons must enter the building

of high contemplative ceilings with my concept model, the 20m high

between her and Yugoslavian civilians.

through the first floor dedicated to the museum. Studying the Depor-

memorial intersects the building visible at each floor. Fit with falling

tation Martyrs Memorial, the ground floor was designed into a laby-

concrete, holding on by threads.

Studying the contrasting materiality of concrete and red rayon found

rinth, which reveals and conceals from various viewpoints, through

a metaphorical connection between material and program. This pro-

planar walls and slits. Mapping Movement through my plans aided

The service basement invites refuge. A reflective pond and warming

moted designing an imposing bunker-like structure which appears to

in creating an effective traffic flow, yet disruptive.

skylights staff and patrons can process their day in tranquility.

Lauren Cvetko 490477566

1. Runway 2. Prayer/ Reflective space Roof Boundaries 1 Water Feature (Glass Bottom)

LEVEL 3 MCQUEEN & MEMORIAL: EXPOSING PRAYER ROOM

2

A

A B

1. Runway 2. Model Green Room Roof Boundaries 1 Water Feature (Glass Bottom)

LEVEL 3 MCQUEEN & MEMORIAL: EXPOSING MODEL GREEN ROOM

2

1. Clothes 2. Cashier 3. Changing Room 4. Shoes 5. Broken Stained Glass

3

4

5

1

LEVEL 2 MCQUEEN

2

FIRST FLOOR

CLARENCE ST

1. Exhibition Space 2. McQueen “JOAN” 1998 Collection Display 3. Broken Stained Glass 4. Memorial

2 3

4

LEVEL 1 1

MCQUEEN & MEMORIAL

N 1. McQueen “Joan” Display 2. Slavic Art Exhibition Space 1:100 @ A4

1

1.Entrance 2.Exit 3.Exhibition Space 4.Memorial

3 4

Skylight Boundaries

Water Feature

GROUND MEMORIAL

BASEMENT MCQUEEN & MEMORIAL

2

CLARENCE STREET

1:00 PLANS

B

1.Mens 2.Womens 3.Shared Staff Room 4. McQueen Storage 5. Yugoslavian Archives 6. Staff Toilet

1

5

4

Skylight Boundaries 3 2

Water Feature

N

6

Lauren Cvetko 490477566

DESIGN PROCESS

SECTION A-A 1:100

SECTION B-B 1:100

The design progress began with understanding the obvious to the more obscure connections between programs. Was it possible to find a common aesthetic which gives each program its identity whilst still forming a cohesive space. The collage explores this early idea, the collage particularly helped in forming a colour and material palette for the space.

Early Models and Renders allowed for experimentation with red light to create a juxtaposing relaxing and unnerving space.

Early Concept Model Interior Perspective

Prayer Space Perspective

Collage

Main Intersection Space

Entrance rendering Entrance Portal

Lauren Cvetko 490477566