Ten Textures

Metal



Sand



White Concrete




Rusty metal

Grass

Steel

Aluminium

Water

Sketches For My Reinterpreted Museum

- Rough ideas for the Main component



- Concept that can be related to the keys words with reintepretation.

-Further developement, more thinking in terms of interior space.

Our Group Model

Chosen 3 words

The three words I have chosen to become the basic concept for my re-interpretation of Utzon's Silkeborg Museum are:
- Monumental
- Symetrical
- Engaging

My Re interpretation

My redesign of the Silkeborg Museum aims to inherit Jorn Utzon’s basic concepts but refines his design by implementing my own interpretation formulated by inspiring researches.

The reinterpretation revolves around my three key words Symmetrical, monumental and engaging. One important aspect of the Museum being mysterious but monumental at the same is because of the idea of burying the opened four storey space, creating the sense of contrast and surprise in terms of space. It results in a significant spatial impact on the visitors. This notion of spatial impact is borrowed for my redesign of the Museum in a different approach.

My argument is that in order for an important site such as the Silkeborg Museum to become monumental, it is essential to have a striking and iconic external form and structure to convey that there is a distinctive functional purpose for this building which separates it from other ordinary buildings, as oppose to what Jorn Utzon has argued that “a multi-storey building on grade would be like a bull in a china shop.”

However, how can I use higher building forms without being intrusive but also harmonises with the surroundings? My second word symmetrical provides a solution for this question. Therefore, using Utzon’s “onion” structure based forms with more parts being exposed would definitely disturb the overall image as well as misleading the Utzon’s concept. My initial sketches try to continuingly use the organic shapes with more exposure but aligned on an axis. However, this design appeared to be messy and lack of emphasis.

Further researches were carried out to solve this problem. I was inspired by the National Grand Theatre of China by the French architect Paul Andreu, realising when using large scale curved geometrical structures, it is effective to use less number of complicated curved structures to clearly show emphasis as well as harmonising with the surroundings. Therefore, for my final design, I am using half of an elliptical structure as my main component which is aligned with a much smaller elliptical shaped component, connected through a long, narrow rectangular shaped corridor.

In terms of interior structure, I would like to keep Utzon’s concept of continuous walled open space that appeal to the visitors, thus the larger elliptical structure would have half of its body being buried underground. The small elliptical structure and the long narrow corridor would orientate and direct the visitors to a surprising large open space at the end. I would also like to metaphorically describe the process of making art works through this contrasting spatial arrangement. Finally, the word engaging is the most suitable word for such an idea.

By having such a structure, I am able to synthesis my interpreted ideas represented by my three words with Utzon’s original concept, ultimately formulating a hybrid version of a new design.

GROUP MEMBERS

- FIONA LEE
- DAVID SHI

- JUSTIN LO

- NICHOLAS SOUKSAMRANE

10 WORDS

- INSPIRATIONAL
- CURVES
- CLOSED
- MAJESTIC
- HUMBLE
- HARMONIC
- SPACIOUS
- MYSTERIOUS
- FLOWING
- IRREGULAR

Research Task And Analysis On Jorn Utzon

The research encompasses 3 stages.

1. Gathering information from both the internet and books from the library in terms of the Architect Jorn Utzon.

2. Gaining adequate knowledge of the Architectures that Jorn Utzon has done.

3. Specifically researches on the unconstructed project-The Silkeborg Museum. In this case, my information is solely based on books from the library.

Jorn Uzton is a Danish architect who is best known for his unconventional design of the Sydney Opera House which has become an iconic figure in the Architectural world.

According to my analysis on the works that Utzon has done, his early works emphasis more linear shapes such as his own house designed in 1950-1952 in Denmark. Whereas the works he has carried out later on exemplifies more focus on geometrical curves, such as the Opera House in Sydney, the interior of Bagsværd Church, Bagsværd, Denmark, 1968-1976 ，The Silkeborg Museum. I believe the reason for using geometrical curves is because;

- They convey a sense of freedom due to its irregular nature which shows much more variation than rectangular geometries, provoking imaginations for the observers. But most importantly, geometrical curves are different from free shaped curves, meaning that they can be controlled, calculated and constructed.

- They can also be repetitively produced so that the design is unified which is important for constructing large scale buildings, such as art museums.

In working with the curved forms in the opera house I have a great desire to continue with free architectural forms, but still by controlling the free forms with a geometry that makes it possible to build with mass-produced components.1.

In relation to the Silkeborg Art Museum, The basic concept for the building is to excavating the museum out of the earth that is similar to a cave. The building demonstrates a subterranean structure in which three quarter of the building is buried under ground, only one storey is exposed. The concept for this plan is to harmonise the new museum with the pre-existing parts, so that the new parts would not look overly dominating the surroundings.

Based on my studies of the space, this exteriorly seemed humble structure actually interiorly creates a feeling of majesty for its audiences. Jorn Utzon was inspired by the carved out structure of caves that can provide countless possibilities and imaginations for the visitors whom appreciating the Buddha sculptures.

A cave in its natural form without right angles, as opposed to a rectangular space, has a distinctive closed effect. Thus, Jorn Utzon suggests that a continuous wall connecting the floor with a single natural light source from above would draw significant amount of attention to the art work being displayed in the museum.

In terms of lighting, the advantage of having a curved continuing wall could provide less disturbing shadows. In addition with the adjustable natural light source, the intensity of the lighting in the museum is varied.

More surprises are created once one enters the building; a sudden change into a three storey tall space with a single light source above provides a dramatic switch and contrast that amazes the visitors. This unpredictable transition in spatial forms would result in change in lighting and spatial feelings which once again draw attention and different interpretations of the art works being exhibited.

In terms of circulation, the Silkeborg Museum provides a way for the visitors to tour around the museum with a series of ramps, so that there is less wastage in space. The ramps are designed to be continued and curved around, meaning that there are less visual obstructions as opposed to traditional rectangular stairs would make.

However, due to economical considerations and other human factors, the building was not successfully built.

reference:

Roy, S 2008. The Psychology of the Body. Retrieved May 7, 2008, from, http://www.buzzle.com/articles/the-psychology-of-body.html
Craven, J. The Silkeborg Museum of Fine Arts. Retrieved May 7, 2008, from, http://architecture.about.com/library/blutzon-silkeberg.htm
Intent 2006. Retrieved May 7, 2008, from, http://dictionary.reference.com/browse/intent

1. Martin and Kim Dickinck-Holmfeld, The Utzon Library: Utzon and the new tradition (UNSW Library 2006), 142