© Jure Živković

• Architects: Saša Randić , Idis Turato
• Location: Mali Losinj, Croatia
• Project Year: 2015
• Photographs: Jure Živković

© Jure Živković

From the architect. Museum of Apoxyomenos is a building specifically converted to house one single exhibit: The Athlete of Croatia, a famous 192 cm high bronze sculpture made most likely in 2nd or 1st century BC in a Greek foundry. The sculpture was raised from the sea in the vicinity of the island Lošinj in Northern Adriatic in 1999. Statue is one of few remaining Greek bronze sculptures from Hellenistic period and one of the best preserved.

© Jure Živković

Discussion where to display the sculpture has involved different cities, but at the end the choice fell on city of Mali Lošinj. This decision was in line with the Croatian cultural policy from the 1990’s, favoring construction of museums in smaller communities. Museums have demonstrated capacity to generate social interaction and become true public spaces, so it made perfect sense to display the sculpture right next to the place it was discovered.

© Jure Živković

Chosen location for the museum was Pallazo Kvarner, an existing building forming the historical waterfront and the city’s facade, the “Riva”.

© Jure Živković

Two elements of this narrative were important for the architectural approach. The first one was that the sculpture found in the sea had actually no connection with the surrounding and it clearly belonged to a very different time and place.

The second one was a curious decision not to build a new building for it, but to use the interior of an existing house instead. Conditions from the Conservation Department even prohibited any intervention on the façade, demanding it to be restored in the original shape. It seemed odd that one of the most magnificent finds from Hellenistic period had to be displayed inside a carefully restored not-so-significant building.

© Jure Živković

For that reason museum was conceived as a completely independent metal casing, inserted inside the perimeter walls of the existing building. Display in the interior of a building also implied a more intimate presentation of the sculpture.

© Jure Živković

The inserted element is an exhibition device, dividing the area in 3 different spaces: exhibition space, residual space (service space) and public space.

Exhibition space is created froma predetermined exhibition concept, defining enclosed area of the museum. The outer shape of it is a wrap-up of these spaces.

© Jure Živković

The residual space, between the metal casing and the walls, is used as administrative and auxiliary space of the museum.

© Jure Živković

Third is the public space. Ground floor is conceived as a covered extension of the waterfront promenade, open for different uses, from exhibitions to various events.

Section

Exhibition space, leading gradually to the sculpture, was conceived as a path.

Dynamics of the waterfront, particularly during the summer months, are not creating the most appropriate background for the museum. Waterfront is a vibrant public space, full with attractions, that are at the same time distractions.

© Jure Živković

The competition brief mentioned purification and decontamination of visitors in technical description of air-conditioning and ventilation requirements. It became apparent that the location required a sort of emotional purification as well, to prepare the visitors for the encounter with the sculpture.

© Jure Živković

One of most common ritual forms of purification is a procession. Visitor is led, through a succession of the spaces and gradually prepared for the contact. Architectural space is seen as a “architectural promenade”, as Corbusier used to call it, as a personal journey through space. Sequence of different spaces creates enough distance between the sculpture and the street but it also creates a sense of anticipation and discomfort, liberating the senses for the encounter. 

© Jure Živković

Journey starts with an escalator, that brings group in the first room with exhibition displays about the sculpture and the find. The second room is a soft room covered with thick carpet, where the visitors watch the movies. From there a narrow staircase leads to a periscope room, where one sees the sculpture from below, and in enlarged details on the screen. The path continues in the olive-tree cladded corridor with displays exhibiting organic material found in the sculpture. From there the group finally enters the exhibition room with the sculpture. Journey ends in the last room in the attic, mirroring the view of the bay. 

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© Philippe Ruault

Sunlight has proven to be an excellent formgiver, with which architecture can create dynamic environments. The lighting design pioneer William M.C. Lam (1924-2012) emphasized in his book “Sunlighting as Formgiver” that the consideration of daylight is about much more than energy efficiency. Architects have now found numerous ways of implementing sunlight and the questions arises whether a coherent daylight typology could be a valuable target during the design process. However, many daylight analyses focus mainly on energy consumption.

Siobhan Rockcastle and Marilyne Andersen, though, have developed a thrilling qualitative approach at EPFL in Lausanne. Their interest was driven by the spatial and temporal diversity of daylight, introducing a matrix with 10 shades of daylight.

Above: Renderings of 10 typological Models from high spatial contrast and temporal variability to low spatial contrast and variability. Image © Siobhan Rockcastle, Marilyne Andersen

Observing daylight, we encounter the possibility of two extremes: direct sunlight, with clear blue skies and the diffuse cloudy sky as a counterpoint. They both lead to very different feelings and associations. Direct sunlight creates an intense modelling with harsh shadows and its direction during the course of the day has a major impact. Hence, our environment seems to be very diverse with the duality of light and shadow. Simultaneously the brightness of the blue sky has a very activating effect on us – which is why many people spend their holidays at destinations that guarantee sunshine in order to seek happiness.

Matrix showing spatial contrast and temporal variability for 60 architectural spaces. Horizonatl axis from high spatial contrast and temporal variability to low spatial contrast and variability. Image © Siobhan Rockcastle, Marilyne Andersen

But when clouds appear and fill the sky, the brightness decreases significantly and we lose the modelling due to the lack of clear shadows. Subsequently we encounter a dimmed situation of uniformity and calm. Such conditions settle our mind because we are not stimulated by diverse and dynamic surroundings.

Within the EPFL research study Siobhan Rockcastle and Marilyne Andersen analysed numerous examples of contemporary architecture with regard to the spatial and temporal variability of daylight. Their conclusion led finally to a typological categorization with 10 categories ranging from direct exaggerated patterns to indirect and diffuse spaces. In this way an analogy occurs to the two extreme weather situations of direct sunlight and cloudy sky. For a brief overview, here we will explore the three major groups of high contrast, medium and low contrast rooms.

A dramatic and even exaggerated daylight pattern design emerges with top- and side-lit spaces like Norman Foster‘s Kogod courtyard at the Smithsonian Institution, the Seattle Central Library by OMA or the Zollverein School by SANAA. The distinct façade structures create intense shadow patterns which move constantly during the day. The large, clear glass elements in the façade create high brightness levels that seem almost as bright as outside. When the façade openings are smaller, a screen façade leads to similar effects but with a finer pattern design. The Louvre Abu Dhabi by Ateliers Jean Nouvel is an excellent example of a screen technique with the characteristic Arabic Mashrabiya.

Terms Vals (1996). Architect: Peter Zumthor. Image © Wikimedia user kazunori fujimoto licensed under CC BY-SA 3.0

The medium contrast category uses partially or selectively direct light in combination with indirect daylight. These spaces avoid both extreme contrasts over time and a dull atmosphere. Mies van der Rohe worked with large side-lit glass panes for his Farnsworth House with minimal obstructions in the forms of additions like louvers. The changes over the day are clearly visible, but they stay away from striking shadow patterns. Peter Zumthor’s Therme Vals represents a remarkable compromise of selectively direct light. The powerful grazing light effect contributes a characteristic contrast but the pattern does not change that much during the day like at the Seattle Central Library. Daniel Libeskind’s Imperial War Museum is a similar example of playing with lines of daylight in the interior space to build up a certain mood.

Naked House, Saitama, Japan, 2000. Architects: Shigeru Ban Architects. Image © Hiroyuki Hirai

The third category comprises modes of indirect diffuse lighting and thereby eliminates intense contrasts and changes over time. Steven Holl’s daylight softly elevates the Chapel of St. Ignatius into a sacred space with several bottle-shaped tubes dispersing the light. A more deliberate solution regarding indirect lighting has emerged with buildings where the entire roof consists of daylight scoop grids against direct sunlight, such as in Renzo Piano’s High Museum in Atlanta. However, the ultimate example of a diffuse atmosphere derives from projects like Shigeru Ban’s Naked House. Here the diffuse walls stretch from ground to ceiling and grant the feeling of floating in a cloud. Due to the large luminous vertical surfaces hardly any shadow is left for modelling.

Above: Line diagrams of 10 typological Models from high spatial contrast and temporal variability to low spatial contrast and variability. Image © Siobhan Rockcastle, Marilyne Andersen

The value of the daylight typology by Siobhan Rockcastle and Marilyne Andersen with their two factors of contrast and dynamic impact lies in emphasizing daylight as a spatial quality beyond energy-driven metrics. This approach could evolve into a useful classification to reflect the qualities of daylight in daily design work. The three main groups, ranging from direct exaggerated to indirect and diffuse, enable a quick overview for the concept stage, whereas the 10 categories allow a more differentiated evaluation for the advanced design process. Additional simulations with simplified spatial models even open a path to generate year-round renderings in order to study the variability over time in more detail. Thereby, we would speak less about average values but more about the dynamic composition of light and shadow in the space.

Annual renderings for two top-lit spaces in Boston: Direct and exaggerated (left) and indirect (right) with a vertical axis from sunrise to sunset and horizontal axis from January to December. Image © Siobhan Rockcastle, Marilyne Andersen

Find out more about Siobhan Rockcastle and Marilyne Andersens study by reading their paper: Celebrating Contrast and Daylight Variability in Contemporary Architectural Design: A Typological Approach. Ecole Polytechnique Fédérale de Lausanne (EPFL). Lux Europe, 2013.

Light matters, a monthly column on light and space, is written by Thomas Schielke. Based in Germany, he is fascinated by architectural lighting and works for the lighting company ERCO. He has published numerous articles and co-authored the books “Light Perspectives” and “SuperLux”. For more information check www.arclighting.de or follow him @arcspaces.

© Siobhan Rockcastle, Marilyne Andersen

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© Steve Montpetit

• Architects: Les Architectes FABG
• Location: Sutton, QC J0E, Canada
• Project Year: 2016
• Photographs: Steve Montpetit

© Steve Montpetit

From the architect. This residence located on a large wooded lot near Sutton in the Eastern Townships region is conceived as a bi-generational family cottage for a financier now based in Asia and his parents still living in Montreal sharing it for family holidays in summer and winter.

© Steve Montpetit

Common areas, kitchen, dining room and living room occupy the ground floor open space as well as the private rooms of the parents on its west end.

© Steve Montpetit

Plan 1

© Steve Montpetit

The second floor is reserved for the son, contains a living room, guest rooms, a terrace and a bedroom offering unobstructed views of Mount Sutton.

© Steve Montpetit

Plan 2

© Steve Montpetit

The two wings are disposed at right angle to minimize noise transmission between floors for occupants living on a different daily rhythm and having to adapt to twelve hours of time zone separation.

© Steve Montpetit

The house, sitting on a podium with a swimming pool and a lawn terrace, is clad with black lacquered aluminium panels and white cedar accents. The hybrid structure is made of wood, steel and concrete floors with radiant heating while the glazing of the curtain wall and windows include a low-e coating.

Via v2com.

© Steve Montpetit

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© Beauty & The Bit

Schmidt Hammer Lassen Architects has been awarded first prize in the competition to design the Student Center and Library for the Wenzhou-Kean University in Wenzhou, China. Set on 500 acres of land in a rural mountainous region, the 25,000 square meter project will provide learning and living space for 8,500 students.

Wenzhou-Kean University is cooperatively run by Wenzhou University, in China, and Kean University, in New Jersey, USA, and aims to merge Chinese and American teaching methodologies. Thus, the new Student Center and Library is focused on embracing diversity, interaction, and the sharing of knowledge.

© Beauty & The Bit

Located in the heart of the university, the new building will connect the educational facilities in the south and student residences in the north.

At the ground and first level, the building will house a student activity center designed as a central marketplace, which will feature a café, theater, dance and music studios, exhibition space, sport and games areas, and spaces for informal gathering. The third to ninth floors of the building will be occupied by the library and study spaces, which are organized around a central book stack. The book stack culminates in a large reading room on the top level.

Courtesy of Schmidt Hammer Lassen Architects

The exterior of the building is inspired by Wenzhou’s mountainous terrain and local bamboo constructions, and is thus wrapped in a semi-transparent glass covered in an abstract fritted pattern.

Courtesy of Schmidt Hammer Lassen Architects

Courtesy of Schmidt Hammer Lassen Architects

• Architects: Schmidt Hammer Lassen Architects
• Location: Wenzhou, Zhejiang, China
• Area: 25000.0 sqm
• Photographs: Courtesy of Schmidt Hammer Lassen Architects

News via Schmidt Hammer Lassen Architects.

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Courtesy of Niall McLaughlin and Yeoryia Manolopoulou

Losing Myself, a collaborative exhibition by Níall McLaughlin and Yeoryia Manolopoulou, will be presented at the Ireland Pavilion at the 2016 Venice Architecture Biennale. Focusing on Alzheimer’s Disease, the exhibition highlights the process of “designing and revisiting buildings for people who have dementia.” The exhibit contains two main components: a website that arranges a series of drawings, stories, and research on dementia; and an installation in the pavilion, which contains drawings that explore a building designed for people with dementia.

Courtesy of Niall McLaughlin and Yeoryia Manolopoulou

The installation allows visitors to experience the Alzheimer’s Respite Center in Dublin, Ireland as it is experienced by patients and their caregivers. Since patients don’t have the ability to situate and navigate themselves throughout the building, they lack the ability to understand and remember architectural spaces and processions. The installation uses time-based projection to draw the navigating experience of sixteen patients during a single day. The effect of dementia on an architect’s fixed plan “produces a fragmentary world; and, because there is still recourse to deep memory, a world that is filled with a phantasmagoric and unbidden procession of other spaces and times.”

Courtesy of Niall McLaughlin and Yeoryia Manolopoulou

The website, www.losingmyself.ie, serves as a documentation of conversations with experts across a range of fields involved with patients, as well as family and friends of those with dementia. These interactions are useful to architects and scientists alike. The site also records how this research formed the immersive installation.

Courtesy of Niall McLaughlin and Yeoryia Manolopoulou

Ireland at Venice is an initiative of Culture Ireland in partnership with the Arts Council.

Supported by Culture Ireland, the Arts Council; the Department of Arts, Heritage and the Gaeltacht; the Royal Institute of the Architects of Ireland and the Bartlett School of Architecture at UCL.

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