website

www.justin-lo.net

unfinished pdf's

some renders..

research

Model progress + 10 Textures

About my re interpretation

My re interpretation of the silkeborg museum tries to adhere to the aims of John Utzon when he started the design of the building. It involves the structure being monumentous, yet still "at one" with nature. One aspect of this building being organic and natural is its being submerged underground. Although underground, the shape and form of the silkenborg museum is consistent whether is is above or below ground. This allows the building to retain it's significant visual appearance yet not be intrusive to its surrounding environment. My interpretation inlcudes a structure that is "strict on shape and form" as Utzon stated. I plan to use the concept of the Golden Ratio.
The proportions of the Golden Ratio was practiced by many artists and architects during the Renaissence. It relates to the natural element because of how the proportions of this ratio can is expressed in the arrangement of branches along the stems of plants and of veins in leaves. The ratio was further explored and was found to be a universal law in skeletons of animals and the branchings of their veins and nerves, to the proportions of chemical compounds and the geometry of crystals. Adolf Zeising, who was involved in this area of research states

"The Golden Ratio is a universal law in which is contained the ground-principle of all formative striving for beauty and completeness in the realms of both nature and art, and which permeates, as a paramount spiritual ideal, all structures, forms and proportions, whether cosmic or individual, organic or inorganic, acoustic or optical; which finds its fullest realization, however, in the human form."

Seeing this ratio as nature's actual interpretation of beauty, i have decided to incorporate it into the Silkenborg Museum. The ratio is able to create forms such as the golden spiral. I plan to use these spirals to continue Utzons intention of creating a cave-like atmosphere but also maintaining his dynamic curves and natural flow within the structure. These spiral will mimic Utzon's bulbous cone walls which allow the entrance of light. The spirals will also be porcelain white in colour to allow reflected light to illuminate the interior.
I also intend to improve upon Utzon's circulation within his interior space. Especially the spaces which are not affected by the ramp. Another aspect i wanted to incorporate is vegetation within the building. The green should contrast with the white of the walls but also acts as a path in which people can follow subconsciously throught the building.

Chosen 3 words

The three words i have chosen to become the basis of the rerepresentation of the silkeborg museum are :

-Subterranean
-Harmoniously
-Organic

10 words

-Suprise
-Desire
-Glide
-Curving
-Subterranean
-Harmoniously
-Natural
-Ambitious
-Flow
-Organic

Silkeborg Museum - personal thoughts

The Silkeborg Museum presents itself as a ambitious structure that lets its user experience the interior space with maximum ease and flow. To me, the intention of the building was to create a structure that is monumentous, yet natural and flowing. The interior should provide the user, an uninterrupted path that guides them through each artwork displayed. In my opinion, the idea of being mostly submerged underground coincides with the building being "one with nature". Inspired by the Tatung caves, west of Peking, the building's curves and lines sits harmoniously with its surrounds. Yet looking at its interior space, there still seems to be unnecessary movement. However, the winding ramp does provide a very smooth and natural navigation and resembles a root like structure. The notion behind the building is evident through its design. To further enhance the spacial experience, the interior walls curve to a similar gradient to the exterior wall. Another intention that a believed Utzon envisioned is the structure to revolutionalise architectural form and function of its time. With my own interpretation of the Silkeborg Museum, i will adhere to the aspects in which John Utzon aimed for, however create a more efficient and structurally complete version.

Group Members

-Nicholas Souksamrane
-Justin Lo

Silkeborg Museum information

Alot of information about the museum found on these sites:
http://architecture.about.com/library/blutzon-silkeberg.htm
http://www.arcspace.com/architects/utzon/silkeborg.htm

Research

“The world of the curved form can give something that cannot ever be achieved by means of rectangular architecture. The hulls of ships, caves and sculpture demonstrate this.”

“It will be with a sense of surprise and a desire to penetrate down into the building that the visitor for the first time sees the three-storey building open beneath him. Unconcerned - by stairs and corridors, which normally disturb - the viewer will glide almost effortlessly down into the museum via the ramp, taking him through the space.
Strict geometry will form the basis for a simple constructional shape. The vible curved external surfaces are to be clad with ceramics in strong colors so that the parts of the building emerge like shining ceramic sculptures, and inside the museum will be kept white.”

Jørn Utzon


Excerpt from http://www.arcspace.com/architects/utzon/silkeborg.htm

At the time of the project Silkeborg town museum was housed in a low Neoclassical building organized in long wings around a courtyard. To one side the site is bordered by a busy road several meters above the lawn, to the other by a disused railway line.

Danish artist Asger Jorn, instrumental in the formation of the radical COBRA group, had established a world-wide reputation by the 1960’s as Denmark’s leading modern artist. Having lived in Silkeborg with his family since 1929 he donated a substantial amount of his own work, as well as his collection by other COBRA artists, to the Silkeborg Museum in the late 1950’s with the understanding that a wing would be added to house it.
After meeting Utzon Jorn wrote the Museum director indicating that he had “come to the conclusion that it would be contrary to the entire spirit of the collection to announce an architectural competition for the building.”

To ease the process he offered to pay the architect’s fees, provided the commision was given to “The only Danish architect of my day who is of decidedly International outlook... I cannot see any other Dane at the moment who would be able to create a building that has an intimate relationship to the artictic form of expression represented by the collection.”

Jorn received Utzon’s proposal in 1964 and declared them “Brilliant, Fantastic”.

Website URL

http://justinarch1390.ueuo.com/

its on some crappy hoster. probaly lags. will get better hoster soon.

final website screenshot

References:
Template: http://templateyes.com/ (template edited to suit my design)
pdfs :
Futagawa, Yukio, ed. GA Architect: Renzo Piano Building Workshop.Tokyo: ADA Edita, 1997.
Piano, Renzo and Richard Rogers. Du Plateau Beauborg au Centre Georges Pompidou.Paris: Centre Georges Pompidou, 1987.
Centre Georges Pompidou.Dir. Richard Copans. Films for the Humanities and Sciences, 1997.
Renzo Piano Building Workshop (www.rpbw.com)
Richard Rogers Partnership (www.richardrogers.co.uk)
Insecula Guide (www.insecula.com)
British Broadcasting Co. (www.bbc.co/uk/dna/h2g2)
Wikipedia Encyclopedia (www.wikipedia.com)
Famous architects (http://architect.architecture.sk)
Books:
Robert Torday / Richard Rogers Partnerships, Richard Rogers, Spain: Loft Publications, 1992
Kenneth Powell, Architecture of the Future:Richard Rogers, Switzerland : Birkhauser, 2006

Models, Animations and Peer Review

Exporting into 3ds max for higher quality renders.

The animation does not stream on the website, therefore i will post here. Trying to figure out how to fix this.

draft web layout

sketchup progress

Pompidou research images

The Centre was designed by the Italian architect Renzo Piano, the British architect couple Richard Rogers and Sue Rogers, the British structural engineer Edmund Happold (who would later found Buro Happold) and Irish structural engineer Peter Rice. The project was awarded to this team in an architectural design competition, whose results were announced in 1971. Reporting on Rogers' winning the Pritzker Prize in 2007, the New York Times noted that the design of the Centre "turned the architecture world upside down" and that "Mr. Rogers earned a reputation as a high-tech iconoclast with the completion of the 1977 Pompidou Center, with its exposed skeleton of brightly colored tubes for mechanical systems. The Pritzker jury said the Pompidou “revolutionized museums, transforming what had once been elite monuments into popular places of social and cultural exchange, woven into the heart of the city.