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Museum of Underwater Antiquities
Museum of Underwater Antiquities
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Museum of Underwater Antiquities
YEAR
2012
SIZE
1,000,000 +
The main object of the competition is the conversion of an existing cereals stock house building facilities (SILO)into a Museum for Underwater Antiquities
and the regeneration of
part of the Piraeus Port Authority (OLP) Coastal Zone – and its transformation
into an open public space for outdoor activities. This abandoned building bares a distinct
industrial character as does the entire site. It resembles a once Giant,
shrugged by the years.
Our thesis is
that the effort of an existing
building to receive a completely different use from its previous one, is a painful one and cannot be done in a gently manner. By default this action will bring about, dramatic changes to the existing building (shell and interior). The task to fit in the existing shell a
new use without compromising the existing character of the building, however
intriguing, is futile. A mild treatment of the existing building with minimal modification sand changes will simply result
in a compromised new building that fails to accomplish its
objective as a Museum in the best possible way. A brave gesture is needed. One that
would regenerate the building, uplift it and possibly mutate its character in a
way that will allow the Museum to appear and the Industrial to coexist in the
background without competing with one another.
The basic elements that define the existing building are:
·
The bulk of the building or otherwise the "Box".
·
The “Box” is based on the “Pilotis”. Dense grid of
concrete columns.
·
The “Tower”, perhaps one of the highest points of
the coast of Piraeus.
·
The “Clock”, a unique example of metal
construction, which is a landmark for the entire port of Piraeus and sits upon
the tower.
·
The “Conveyor belt”, an extremely long and narrow
building accompanied by three mobile metal structures, the “Pylons”.
Our proposal
Step 1
The "box" is the container in which the treasures
found or will be retrieved
from the sea bed are transported, stored and exhibited.The “shipwreck” is the ultimate treasure that divers dive in great
depths to reach. It would be ideal if it was possible to cut a whole section of
the sea bed and have it transported intact inside the "Box" of the
Museum. In this case the lower level of the building would host the
“Shipwreck”. Visitors and researchers would enter
the building from the ground floor and would immediately reach the “Shipwreck”.
The problem with this model is that it negates the adventure of the prolonged dive.
For this reason we propose literally turning this model upside down.The visitor still enters (dives into) the building from
the ground level and starts ascending gradually moving into darker depths
(floors), ultimately to reach the “Shipwreck” on the top of the building lying
upside down. The “Shipwreck” of course in this case is not literal but a new
construction that replicates it. It's an upside down, deconstructed and
decomposed "boat" which hosts very important uses: the restaurant, the amphitheater and the library. This “Shipwreck” which
sits in the best location of the building will be a surprise for each guest and
also the key element that differentiates it from all other museums of this
kind.
This was the main concept for our proposal and every decision thereafter was
made to enhance this idea. For this reason it was decided
that in the main entrance lobby, replicas of old sunken ships were to be hung
upside down as exhibits.
Step 2
The most basic element that is introduced to the building and relates to
the museum is water and more precisely the Sea. The Sea, beautiful, untamed and
dangerous, could not leave the outer shell of the building unaffected. For this
reason we created a second skin that waves gently around the building,
sometimes protruding and others withdrawing from the original volume, hiding it
or revealing it subsequently. The secondary skin, called the “Wave” is made of
very lightweight recyclable cellular polycarbonate panels lined with highly
reflective aluminum. This surface reflects the surface of the main volume which
is lined with colored blue aluminum panels, creating an illusion of an
amorphous liquid building. The “Wave” also symbolizes the existing buildings
struggle to emit its new capacity as a museum from within its old shell.
The panels also function as sunshades for the building, increasing its
energy efficiency and they also scatter the light inside creating an
interesting game of light and shadows in the interior.
The building aluminum façade has a total of 6 colors, shades of blue, plus
the white. These form a wavelike mosaic across the surface. The intention was
to have the white color closer to the ground and to darken gradually the color
of the building towards the top. Thesameobjective is pursuedwith thewindows and their typology.There are 5types of window. They all have the same widthbut theheightdecreases the higher the
floor is. We try to be consistent with the notion that the deeper one dives
into the sea the less light there is.The windows also follow a wavelike motion not
being consistent in their position or height.Step 3
The “Pilotis” (ground level portion) of the building becomes the entrance.
It’s enclosed in a glass curtain wall placed in recess from the outer edge of
the building. This solution offers the excellent preservation of the character of
this element of the building, but allows it to be usable area in the same.Step 4
Since the “Tower” does not serve as a clock tower anymore, its proposed new
function is that of a “Lighthouse” or beacon that sends out the message of
civilization. For this reason, the height of the tower was amplified by 10m and
created a luminous observation post at the top.
Step 5
The “Conveyor belt” building receives new uses:Exhibits and a Bar-Restaurant.
The two long sides of the building now become completely transparent, like
a "tableau vivant" for those outside of the building, especially
during the evening hours. Also it provides unobstructed views to the vast
surrounding open public space adjacent to the museum.
Step 6
The
“Pylons” will be painted with vibrant colors (yellow, orange and green) that will make them look like large pieces of contemporary art, brightening the otherwise extremely dull colors of the harbor.
Step 7
Our guide for the design of the surroundings public open space was the
desire to create a truly special place that will become a magnet for all ages.
There are two very basic features missing from the majority of public places of
Athens and Piraeus:• large-scale green (grass and trees)• large scale water areasSo the starting point of our design was to create the
maximum possible surface of water and greenery. Therefore we wrapped the Museum in a large water area. All accesses to the
building are through water. So the Museum looks
like an island in a lake.Green occupies the entire waterfront. A second green belt
created in the border of the sirte where the monorail and the highway pass, aimed
to create an audio-visual isolation of the area.
and the regeneration of
part of the Piraeus Port Authority (OLP) Coastal Zone – and its transformation
into an open public space for outdoor activities. This abandoned building bares a distinct
industrial character as does the entire site. It resembles a once Giant,
shrugged by the years.
Our thesis is
that the effort of an existing
building to receive a completely different use from its previous one, is a painful one and cannot be done in a gently manner. By default this action will bring about, dramatic changes to the existing building (shell and interior). The task to fit in the existing shell a
new use without compromising the existing character of the building, however
intriguing, is futile. A mild treatment of the existing building with minimal modification sand changes will simply result
in a compromised new building that fails to accomplish its
objective as a Museum in the best possible way. A brave gesture is needed. One that
would regenerate the building, uplift it and possibly mutate its character in a
way that will allow the Museum to appear and the Industrial to coexist in the
background without competing with one another.
The basic elements that define the existing building are:
·
The bulk of the building or otherwise the "Box".
·
The “Box” is based on the “Pilotis”. Dense grid of
concrete columns.
·
The “Tower”, perhaps one of the highest points of
the coast of Piraeus.
·
The “Clock”, a unique example of metal
construction, which is a landmark for the entire port of Piraeus and sits upon
the tower.
·
The “Conveyor belt”, an extremely long and narrow
building accompanied by three mobile metal structures, the “Pylons”.
Our proposal
Step 1
The "box" is the container in which the treasures
found or will be retrieved
from the sea bed are transported, stored and exhibited.The “shipwreck” is the ultimate treasure that divers dive in great
depths to reach. It would be ideal if it was possible to cut a whole section of
the sea bed and have it transported intact inside the "Box" of the
Museum. In this case the lower level of the building would host the
“Shipwreck”. Visitors and researchers would enter
the building from the ground floor and would immediately reach the “Shipwreck”.
The problem with this model is that it negates the adventure of the prolonged dive.
For this reason we propose literally turning this model upside down.The visitor still enters (dives into) the building from
the ground level and starts ascending gradually moving into darker depths
(floors), ultimately to reach the “Shipwreck” on the top of the building lying
upside down. The “Shipwreck” of course in this case is not literal but a new
construction that replicates it. It's an upside down, deconstructed and
decomposed "boat" which hosts very important uses: the restaurant, the amphitheater and the library. This “Shipwreck” which
sits in the best location of the building will be a surprise for each guest and
also the key element that differentiates it from all other museums of this
kind.
This was the main concept for our proposal and every decision thereafter was
made to enhance this idea. For this reason it was decided
that in the main entrance lobby, replicas of old sunken ships were to be hung
upside down as exhibits.
Step 2
The most basic element that is introduced to the building and relates to
the museum is water and more precisely the Sea. The Sea, beautiful, untamed and
dangerous, could not leave the outer shell of the building unaffected. For this
reason we created a second skin that waves gently around the building,
sometimes protruding and others withdrawing from the original volume, hiding it
or revealing it subsequently. The secondary skin, called the “Wave” is made of
very lightweight recyclable cellular polycarbonate panels lined with highly
reflective aluminum. This surface reflects the surface of the main volume which
is lined with colored blue aluminum panels, creating an illusion of an
amorphous liquid building. The “Wave” also symbolizes the existing buildings
struggle to emit its new capacity as a museum from within its old shell.
The panels also function as sunshades for the building, increasing its
energy efficiency and they also scatter the light inside creating an
interesting game of light and shadows in the interior.
The building aluminum façade has a total of 6 colors, shades of blue, plus
the white. These form a wavelike mosaic across the surface. The intention was
to have the white color closer to the ground and to darken gradually the color
of the building towards the top. Thesameobjective is pursuedwith thewindows and their typology.There are 5types of window. They all have the same widthbut theheightdecreases the higher the
floor is. We try to be consistent with the notion that the deeper one dives
into the sea the less light there is.The windows also follow a wavelike motion not
being consistent in their position or height.Step 3
The “Pilotis” (ground level portion) of the building becomes the entrance.
It’s enclosed in a glass curtain wall placed in recess from the outer edge of
the building. This solution offers the excellent preservation of the character of
this element of the building, but allows it to be usable area in the same.Step 4
Since the “Tower” does not serve as a clock tower anymore, its proposed new
function is that of a “Lighthouse” or beacon that sends out the message of
civilization. For this reason, the height of the tower was amplified by 10m and
created a luminous observation post at the top.
Step 5
The “Conveyor belt” building receives new uses:Exhibits and a Bar-Restaurant.
The two long sides of the building now become completely transparent, like
a "tableau vivant" for those outside of the building, especially
during the evening hours. Also it provides unobstructed views to the vast
surrounding open public space adjacent to the museum.
Step 6
The
“Pylons” will be painted with vibrant colors (yellow, orange and green) that will make them look like large pieces of contemporary art, brightening the otherwise extremely dull colors of the harbor.
Step 7
Our guide for the design of the surroundings public open space was the
desire to create a truly special place that will become a magnet for all ages.
There are two very basic features missing from the majority of public places of
Athens and Piraeus:• large-scale green (grass and trees)• large scale water areasSo the starting point of our design was to create the
maximum possible surface of water and greenery. Therefore we wrapped the Museum in a large water area. All accesses to the
building are through water. So the Museum looks
like an island in a lake.Green occupies the entire waterfront. A second green belt
created in the border of the sirte where the monorail and the highway pass, aimed
to create an audio-visual isolation of the area.
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