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Brancusi Museum Paris
Brancusi Museum Paris
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Brancusi Museum Paris
Brancusis Curvilinear
Presence
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.
Presence
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.
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