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.
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