SPAN wins the Brancusi Museum Competition, Paris

 Within Constantin Brancusis body of work is one specific characteristic that emerges on a regular basis: the application of constrictions as specific leitmotiv. These constrictions can be read in various ways, reaching from the definition of rhythmically repeating volumes, as in the Endless Column, or as description of curvilinear bodies, as in La Negresse Blonde and the notoriously famous Bird in Space series. This curvilinear bodies, voluptuous components and undulating elements, are seamlessly and continuously formed into beautiful waistlines, radiating in erotic tension. The design of the new Atelier Brancusi picks up the characteristics of constrictions and explores the opportunities, in terms of architectural space, provided by this technique of spatial formation.

Cafe

The main motif of seamless space and constrictions does not only circumfence the actual museum building but expands into the plaza to stress a continuous evolution from the present pattern of the plaza into the topological surface of the Brancusi museum. Furthermore the interior of the museum evolves into a complex topological surface providing the programmatic and morphological qualities of the new museum. The issue of topology, the issue of seamless continuous space which can be read as a constant presence in Brancusis work, yields opportunities and possibilities not only for uninterrupted continuous spaces but simultaneously creates an environment of dialog between the envelope, the building, and the volumes of the exhibited sculptures.

Birdeye_view

The main quality of the sites topography is the slanted hardscape, descending into the Centre Pompidou’s direction, resulting in a wedge shaped step exactly on the premises of the Brancusi Museums site. This given height difference was used as a main design aspect for the museum. Instead of stressing the difference between hardscape and Museum-building, the museum is embedded into the hardscape forming a seamless connection between the two different levels of the site.

Inside1

As the new museum creates a seamless connection between the two levels of the Centre Pompidou’s plaza, it also replaces the stairs that are present in the actual hardscape. Ramps connect in a continuous manner the two levels, creating an incessant flow between both of them. On the upper level a new, semi open, cafe creates a point of departure for both, the Brancusi Museum, and the Centre Pompidou. The Café provides brief visual encounters with the work on exhibition within the Brancusi Museum. The museum impeccably blends into the hardscape, forming a gradient transition between hardscape, Brancusi Museum and Centre Pompidou. Despite the Mass of the Brancusi Museums Volume, its emergence out of the hardscape ensures a subtle presence within the Centre Pompidou’s plaza.

Plan

The programmatic sequence of the museum follows the underlying logic of the continuous topological surface; the constrictions mark the differentiation between the programmatic components. The result is an intertwined space, where all the spaces are connected and provide opportunities to experience Brancusis sculptures not only from one perspective, but from a multiple variety of them, low viewpoints, high viewpoints, and arbitrary points of observation open novel points of view for Constantin Brancusis body of work.

SectionB-B

 The sunken nature of the entire museum opens up the opportunity to exhibit also Brancusis graphic work in a controlled environment, as the design provides also spaces with no natural light. An additional profit of the lower level is the opportunity to create a direct connection to the parking garage level, in order to create a loading dock for exhibition pieces or  delivery for the café, without disturbing the flow of visitors.

In order to provide the museum with diffused daylight the lighsources are striving into the north direction, stretching and twisting the museums body into this direction. The buildings along the museums site are used as a natural secondary light diffuser, increasing the scattered lights input into the exhibition spaces. The main sculpture exhibition space possesses a vaulted ceiling that performs as high efficiency light diffuser. The effect of scattering is achieved by the surface articulation as well as by the coating, which can change its reflectivity. This behavior is controlled by computational power relying on data of light conditions within the exhibition space.

Fabrication Strategy

Fabrication

The complex curved geometry of the building unfolds out of a rigorous topological source, thus facilitating possible advanced fabrication methods. The envelope of the building forms simultaneously the structural system. As opposed to the adjanced Centre Pompidou the structural system in this case is at the same time the superfice of the building, as well as the climatic barrier. The structural integrity is enhanced by the use of doubly curvilinear surfaces, providing the building with a rigid exterior shell. The manifold nature of the building, and its tessellation, provide opportunities for a very specific formulation of the panelization. On the right you can see the entire roofscape and a number of components to visualize the size of the components. The prefabricated components are assembled on site; mirroring the construction systematics of the Pompidou in the environment of 21st century technologies.