Case study for Guggenheim Bilbao museum and Kalmar Museum of Art
- Introduction
- Details
-Concept
- Materials and structure
- Floor plans
- Facilities
- Reference
Apologies as I am unable to share the actual presentation as my laptop crashed. I have received quite a few requests so I just wanted to clear it up.
Thanks for your interest
Case study for Guggenheim Bilbao museum and Kalmar Museum of Art
- Introduction
- Details
-Concept
- Materials and structure
- Floor plans
- Facilities
- Reference
Apologies as I am unable to share the actual presentation as my laptop crashed. I have received quite a few requests so I just wanted to clear it up.
Thanks for your interest
A synthetic overview of spatial layout of museumsPritam Roy
The major issue in the designing of any exhibit space involves how the layout of the space interacts with the layout of the objects: ‘To realise a specific effect, express the intended message or create a rich spatial structure’.
Based on the literature study of previous researches in the same the field, this paper intends to verify their observed spatial structure against a paired case study done on two of Bhopal’s museums. It will be showcased- if the main dimensions of variations of spatial layout and display strategies derive from a set of basic principles.
Though the paper is restricted to designed museums in a specific city, it would objectively help reveal the structure of presentation of exhibits in modern Indian museums.
Udaan School (Amrita Public School) CasestudyOmkar Tattu
Architecture Casestudy of primary School. Study about planning,construction method,architecture style,climatic challenges for designing. Helpful for architecture student as well as any school related designing.
Module 2- Byzantine Architecture | KTU | Semester 4 | History of Architecture Gary Gilson
Byzantine Architecture:
Centralized church typology:Spatial planning, construction and other features
Greek cross and Latin cross
Knowledge of placing a dome over a regular polygonal plan with preventives
Example- Hagia Sophia, Constantinople.
EH202-HISTORY OF ARCHITECTURE III
Santiago Calatrava Valls is a Spanish architect, structural design and analyst engineer, sculptor and painter, particularly known for his bridges supported by single leaning pylons, and his railway stations, stadiums, and museums, whose sculptural forms often resemble living organisms
Date of Birth: 28th July, 1951
Country: Spain
Education: He pursued undergraduate studies at the Architecture
School and Arts and Crafts School.
Following graduation in 1975, he enrolled in the Swiss Federal Institute of Technology (ETH) in Zurich, Switzerland, for graduate work in civil engineering.
In 1981, after completing his doctoral thesis,
"On the Foldability of Space Frames", he started his architecture and engineering practice
Santiago Calatrava Valls is an internationally recognized and award-winning Valencian Spanish architect, sculptor and structural engineer.
Gained international celebrity for structures that suggest the shapes and the motion of organic entities
SANGATH IS THE OFFICE BUILDING OF THE WORLD FAMOUS ARCHITECT AND THE 2018 PRITZKER PRIZE WINNER, AR.B. V. DOSHI.
SANGATH IS THE COLLABORATION OF THE IDEAS AND PHILOSOPHY OF ARCHITECTURE OF THE ARCHITECT BALAKRISHNA V. DOSHI.
A synthetic overview of spatial layout of museumsPritam Roy
The major issue in the designing of any exhibit space involves how the layout of the space interacts with the layout of the objects: ‘To realise a specific effect, express the intended message or create a rich spatial structure’.
Based on the literature study of previous researches in the same the field, this paper intends to verify their observed spatial structure against a paired case study done on two of Bhopal’s museums. It will be showcased- if the main dimensions of variations of spatial layout and display strategies derive from a set of basic principles.
Though the paper is restricted to designed museums in a specific city, it would objectively help reveal the structure of presentation of exhibits in modern Indian museums.
Udaan School (Amrita Public School) CasestudyOmkar Tattu
Architecture Casestudy of primary School. Study about planning,construction method,architecture style,climatic challenges for designing. Helpful for architecture student as well as any school related designing.
Module 2- Byzantine Architecture | KTU | Semester 4 | History of Architecture Gary Gilson
Byzantine Architecture:
Centralized church typology:Spatial planning, construction and other features
Greek cross and Latin cross
Knowledge of placing a dome over a regular polygonal plan with preventives
Example- Hagia Sophia, Constantinople.
EH202-HISTORY OF ARCHITECTURE III
Santiago Calatrava Valls is a Spanish architect, structural design and analyst engineer, sculptor and painter, particularly known for his bridges supported by single leaning pylons, and his railway stations, stadiums, and museums, whose sculptural forms often resemble living organisms
Date of Birth: 28th July, 1951
Country: Spain
Education: He pursued undergraduate studies at the Architecture
School and Arts and Crafts School.
Following graduation in 1975, he enrolled in the Swiss Federal Institute of Technology (ETH) in Zurich, Switzerland, for graduate work in civil engineering.
In 1981, after completing his doctoral thesis,
"On the Foldability of Space Frames", he started his architecture and engineering practice
Santiago Calatrava Valls is an internationally recognized and award-winning Valencian Spanish architect, sculptor and structural engineer.
Gained international celebrity for structures that suggest the shapes and the motion of organic entities
SANGATH IS THE OFFICE BUILDING OF THE WORLD FAMOUS ARCHITECT AND THE 2018 PRITZKER PRIZE WINNER, AR.B. V. DOSHI.
SANGATH IS THE COLLABORATION OF THE IDEAS AND PHILOSOPHY OF ARCHITECTURE OF THE ARCHITECT BALAKRISHNA V. DOSHI.
Estratto referenze Seppelfrcike SD ed.07.2013 - 20 anni di successiSeppelfricke SD
Per ricordare i molteplici successi di Seppelfricke negli ultimi 20 anni, dall'anno della fondazione ad oggi, abbiamo realizzato questo strumento che raccoglie le principali opere di interesse pubblico, artistico, civile, sportivo, commerciale ed industriale nelle quali sono stati scelti ed installatii nostri prodotti.
CO : Règlement Sécurité incendie ERP Construction - CO 34 à 56.
Établissements Recevant du Public Articles CO Construction dispositions constructives dégagements issues de secours
Isolation acoustique des façades : Guide technique et administratif pour le traitement des Points Noirs Bruit.
CEREMA - Direction technique Territoires et ville
Architects : Nuovostudio (Gianluca Bonini, Francesco Muti, Emilio Rambelli).
Designation : DUE VILLE URBANE E UNA GALLERIA D’ARTE IN EMILIA ROMAGNA , Italy.
“Ex-Piacentini” greenhouse of the Exhibition Hall in Rome
Kalmar Museum of Art by Tham & Videgård Hansson Arkitekter
1. Progetti
108
Projects
Tham & Videgård Hansson
Arkitekter
Kalmar Museum of Art
text by Marcello Marchesini
Località Location Kalmar, Sweden
Progettisti Architects Bolle Tham and Martin Videgård Hansson
Collaboratori Collaborators Lukas Thiel, Tove Belfrage, Erik Wåhlström,
Johan Björkholm
Committente Client Municipality of Kalmar
Progetto Project time 2004 competition
2008 completed
Superficie complessiva Total floor area 1,600m2
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3. 110
Projects Kalmar museum of Art Progetti Museo d’Arte Kalmar
2
Ake E:son Lindman
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30-07-2008 11:14:04
4. 1 Il museo progettato dagli architetti svedesi se Sven-Ivar Lind. L’idea concettuale di par-
Vista dal basso della scala a
spirale in cemento armato Tham & Videgård Hansson è molto di più di tenza legata alla totale apertura del museo, ha
2 un edificio costruito per ospitare mostre e influenzato l’architettura nella sua immagine
Scorcio del cubo rivestito divulgare la cultura dell’arte moderna e con- generale e tutti gli spazi interni per le attività
in legno nero temporanea: la posizione strategica nel cuore connesse al museo: l’open space dei piani dedi-
3
Vista frontale del volume verde della città, circondato dal lago, dal centro cati alle esposizioni permanenti e temporanee,
principale con la grande abitato e dal castello rinascimentale di Kalmar, garantisce la massima flessibilità dello spazio
vetrata che si apre sul lago rende questa architettura uno strumento attra- il quale può essere modificato e trasformato
verso il quale ogni visitatore può sperimentare per soddisfare facilmente le esigenze specifi-
esperienze visive e spaziali nuove e sempre di- che di ogni mostra o evento.
verse. Un grande cannocchiale aperto sul mon- Il museo, di circa 1600mq, è distribuito su
do pensato per esplorare a 360 gradi la città e quattro livelli caratterizzati ognuno da altez-
per cercare, con la città, un dialogo singolare e ze diverse. Al piano terra, oltre all’ingresso,
inconsueto. Un misterioso, severo “cubo nero” troviamo degli spazi in cui i ragazzi possono
che nasconde un’anima capace di suggerire disegnare e partecipare a workshop di studio
nuove e suggestive percezioni spaziali. e approfondimento. Il primo piano è stato de-
Una piattaforma dalla quale osservare indi- stinato alle mostre temporanee, mentre al se-
sturbati “il fuori” e studiata per garantire il condo piano troviamo gli uffici amministrativi
massimo della flessibilità degli spazi interni. per il personale e la biblioteca pubblica. Infine
Il nuovo museo di arte di Kalmar, in Svezia, è al terzo ed ultimo piano abbiamo la collezione
il progetto risultato vincitore ad un concorso permanente del museo. La copertura di questo
internazionale del 2004. La realizzazione si è livello è caratterizzata da tre grossi shed (sot-
conclusa all’inizio del 2008 e l’inaugurazione tratti alla vista dall’esterno prolungando il mu-
è avvenuta il 10 maggio scorso. Accanto, una ro di facciata oltre il colmo) realizzati con una
preesistenza: un padiglione-ristorante proget- struttura leggera in acciaio e intonaco acustico
tato nel 1939 dall’architetto modernista svede- la cui forma particolare consente di illuminare
Ake E:son Lindman
3
108-117 THAM.indd 111 5-08-2008 15:28:47
5. Progetti Museo d’Arte Kalmar in modo indiretto gli spazi del museo facendo verso il castello, ora in direzione del lago o del 4
Pianta piano terra
entrare, radente, la luce naturale proveniente parco. Una delle caratteristiche architettoniche 5
dall’esterno. principali del progetto è la scala in cemento ar- Scorcio laterale con
L’intero volume, realizzato tutto in cemento mato gettato in opera che, attraverso la sua par- l’ingresso al museo
armato, è stato rivestito con delle scandole di ticolare conformazione a spirale, sembra quasi
legno scuro disposte in modo irregolare e “co- contorcersi come un serpente che cerca di ar-
strette” all’interno di guide verticali costituite rampicarsi su un albero girando intorno al suo
da lunghi listelli che attraversano in altezza tronco. Un turbine che si attorciglia nel vuoto
tutte le facciate disegnando una texture che creando un vero e proprio mulinello che spinge
consente di far vibrare l’intera superficie, al- in su e in giù in modo osmotico, chiunque vi si
trimenti piatta e monotona. Su questa superfi- trovi a percorrerlo. Come un climax inarresta-
cie nera trovano spazio delle grandi vetrate e bile che per S.T. Coleridge rappresenta il prin-
delle piccole finestre la cui dimensione e posi- cipio dell’architettura gotica cioè quello “(...)
zione è stata scelta in funzione dello sguardo dell’infinito reso immaginabile”.
da indirizzare, della luce da filtrare in risposta L’architettura realizzata da T&VH è per certi
alle esigenze espositive interne e soprattutto versi gotica: misteriosa e affascinante, cupa
per selezionare il paesaggio esterno offrendo ma aperta, infinita ma essenziale, precisa, mi-
al visitatore ora, uno scorcio verso la città, ora surata.
112 B B
A A
Projects Kalmar museum of Art
0 1 3m 4
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6. Ake E:son Lindman
5
1 The new art museum in Kalmar Sweden de- spaces for art-related activities. For example,
View of reinforced cement signed by the Swedish architects, Tham & the open space of the floors for permanent and
spiral staircase, from below
2 Videgård Hansson, is much more than just a temporary exhibitions gives the space a great
View of wood-clad black building made for exhibitions and to promote degree of flexibility, allowing it to be easily
cube modern and contemporary art. modified to meet each exhibition or event’s
3 This architectural work’s strategic location specific requirements.
Front view of main
structure with large amidst a green park in Kalmar, surrounded The museum is about 1600sqm covering four
window overlooking the by a lake, the town center and its Renais- floors, each of which is a different height. Af-
lake sance castle, render it a tool that offers visi- ter the entrance on the ground floor, there are
4 tors ever-shifting visual and spatial experi- spaces for kids to draw and take part in edu-
Ground floor plan
5 ences. It’s like a great spyglass pointed at the cational workshops.
Side view with museum world, designed to explore the city from every The first floor is for temporary exhibitions and
entrance angle, seeking to forge a wholly new kind of the second floor holds administrative offices
dialogue with the city. and the public library.
The museum is a mysterious, austere “black The third and top floors hold the museum’s
cube”, concealing within a world of new, permanent collection.
stimulating spatial perceptions. The roof of this level has three large shed-
It’s a platform from which to observe, unfet- head light shafts, hidden from sight from the
tered, the “outside”, planned to give optimal outside by the façade’s extension beyond the
flexibility to its interiors. The museum is the peak. The shafts are made with light steelcon-
winning project of a 2004 competition. The struction with acoustic plaster whose special
construction was completed in 2008 and it form makes it possible to indirectly light the
was inaugurated on the last 10 May. Next to museum spaces, bringing in radiant natu-
it is a restaurant pavilion that the Swedish ral light from outside. The entire volume is
Modernist architect Sven-Ivar Lind designed made in reinforced concrete and clad with ir-
in 1939. The original conceptual idea of the regularly arranged dark wood shingles “con-
museum’s total openness influenced the stricted” within vertical guides of long lists
building’s overall image and all the interior that cross all the façades, creating a texture
108-117 THAM.indd 113 5-08-2008 15:29:05
7. Progetti Museo d’Arte Kalmar 6
Pianta del secondo piano
con la biblioteca
7
Pianta piano terzo:
collezione del museo
8
Sezione trasversale A-A
9
Vista interna della
copertura a shed
all’ultimo piano
6
Ake E:son Lindman
0 1 3m
10
114
Ake E:son Lindman
7
6
Plan of second floor with 9
library
7
Third floor plan: museum’s
collection
Projects Kalmar museum of Art
8
A-A cross section
9
Interior view of the shed
roof on last floor
8
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8. Ake E:son Lindman
0
that makes the entire surface vibrate rather stairway whose unique spiral configuration
than flat and monotonous. makes it look like a snake climbing a tree by
Large and small windows are set on this black wrapping around its trunk.
surface in positions and proportions deter- It’s like an eddy twisting in the empty space, a
mined according to the gaze to be directed, whirlpool carrying anyone on it up and down,
the light to be filtered for internal exhibition as if by osmosis.
requirements and, most importantly, the se- Like an unstoppable rise, which according
lection of views of the outside environ to be to S.T. Coleridge, is the principle of Gothic
offered to visitors: a glimpse of the city here, a architecture, “(…) infinity made imagina-
view of the castle there, then in the direction ble”. T&VH’s building indeed has something
of the lake or park. Gothic about it.
One of the museum’s defining architectural Mysterious and alluring, dark yet open, infi-
features is a cast-in-situ reinforced cement nite yet simple, precise, calibrated.
108-117 THAM.indd 115 30-07-2008 11:15:12
9. 116
Projects Kalmar museum of Art Progetti Museo d’Arte Kalmar
11
Ake E:son Lindman
0
108-117 THAM.indd 116
1
3m
12
10
14
30-07-2008 11:15:26
10. 10
Sezione B-B
11
Vista del sacello al piano
espositivo
12
Particolare tecnologico
esecutivo dei nodi
solaio-parete-copertura
13,14
Scorci dal basso della scala
a spirale
Ake E:son Lindman
13
10
B-B section
11
View of sacellum on
exhibition floor
12
Technological detail of the
floor-wall-roof connections
13,14
Views of spiral staircase,
from below
Ake E:son Lindman
0
0,25
0,5m
12 14
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