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.
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.
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.
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.
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.
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
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.