Offener Wettbewerb | 07/2014
Liget Budapest International Design Competition - New National Gallery and Ludwig Museum
Anerkennung
ALL - Atelier Lorentzen Langkilde
Architektur
Bauingenieurwesen
Erläuterungstext
The Trees
The Varosliget park is the first public financed park in the world with thousands of unique trees. The trees are beautiful sculptures creating spaces in the park and poetic patterns of shadow and a magic flickering light between the leafs. The trees forms small spaces under a single tree and frame large spaces with a soft gentle green wall. Trees are part of nature and life - and they are worth celebrating. Trees tells stories. Their growth rings are like layers of paint on a painting. They tell stories about the painting; how, when and who really painted it? The New National Gallery and Ludwig Museum will add a new layer of “paint” to the site.
We purpose to create an unique link between museum and park by celebrating and respecting the current layers of trees and by using their inherent qualities of position and poetic irregularity.
We purpose to use the current layer of trees as an underlaying watermark for the museum.
The existing trees are transformed into abstract sculptures that will generate the museum´s architecture and organisation. The trees in the park lives on - creating a museum that are unique and one of a kind in the world.
The frame
Art has always a frame. I literal sense as in the golden frame around a 18th century painting or as an abstract frame formed by the society and time in which its created. The architecture of an art museum also creates a frame around the artwork by its spaces and atmospheres. We purpose to create spaces and atmospheres closely connected and inspired by the spaces of Varosliget Park as a frame for the artworks.
The museum is formed as a precise frame around a small part of the park and its spaces are created by the layers and positions of the existing trees. Inside the frame you will find poetic spaces with trees standing close together and light coming flickering down or large open flexible areas for exhibitions end events. All formed by the simple and very poetic transformation of the trees trunks into columns at the same position and the tree crowns into voids of light and transparency.
Inspired by nature
We all learn and have been inspired by nature. Nature is both intelligent and beautiful – it shows us intelligent and beautiful compositions, forms, colours and constructions. With inspiration from nature architecture can also be unique, intelligent and beautiful. The position of the trees forms an irregular pattern where dynamic spaces and atmospheres are created. As in the park where large open green fields host many people during events and small forest like atmospheres between a group of trees forms private comfortable spaces.
The trees has apart from creating unique poetic differentiated spaces been the guiding principle for the organisation of functions in the museum. We have though the irregular pattern created a new simple order and hierarchy with a rational workflow, easy way finding and simple devisions of functions. The new hierarchy is created by mapping the trees position and value – large spans and short spans indicates large and small spaces; a row of trees indicates a corridor or devision of functions; a very large tree indicates an access point.
The context
The frame of the museum has a beautiful rectangular shape positioned at the south boundary of the site next to the large central greening. The building is large towards the large park greening and small towards the smaller spaces on the other sides. The size of the museum match the size of the surrounding landscape and gently add a new layer to the park.
The museum frame the large greening and becomes point de vue in the central green axis. From the greening the museum floats on a small podium with an open transparent ground floor inviting people inside and links the external trees with the interior landscapes of columns. Cafés and shops are placed towards the park creating an informal and active promenade.
Towards north the facade is partly covered by trees and therefor partly visible – it becomes a park museum - IN the park connecting architecture and nature. A beautiful series of spaces leading towards the entrance is created. Underneath the canopy of the existing trees you leave the hazel and buzzing city entering the world of art in an tranquil and respectful way on a new beautiful pavement that forms an organic shaped square underneath the trees. As you approach the museum it narrows down and guides you clearly towards the entrance.
The Hackberry tree
With the buzzing city behind you on Hermina Street the ground floor opens and guides you into the open courtyard with the entrance. The courtyard has only one tree – the most valuable and largest tree on the site - a large beautiful Hackberry. The Hackberry gives a space a quality that transcends history in the same way art can. Its the natural sculpture of the park museum both classic as The New National Gallery (NNG) and modern as the Ludwig Museum (LM).
One entrance hall - two museums
The Hackberry Courtyard is positioned at the axis of the park. The axis and the tree defines a clear devision between the two museum wings. Towards east you find the LM and towards west the NNG. Between the museums is the joint central entrance hall with central circulation space for all visitors and easy accessible public functions. The clear division creates good way finding and flexible access for all visitors whether they are visiting one or both museums. The Hackberry are mirrored by a large beautiful circular stair at the south entrance. The stair connects the entrance area with the exhibition spaces. Next to the stair is the public elevators. Together they form a cluster of sculptural trees under a crown of voids with beautiful soft roof light. The architecture generated form the park trees comes together and form a tranquil entrance hall merging park and museum.
The Section
Trees consist of routs, trunk and crown and are often most open and transparent at the level of the trucks. The crowns and routs tend to merge together and form a dynamic formation. In the same way the museum is divided into three parts: the underworld, the park level and the upper world with the park level being the open inviting level with public functions. The underworld with handling and temporary exhibition spaces, and the upper world – The Crown - with permanent exhibition spaces and offices. This simple and compact layout of the program creates a rational organisation of functions with short distances in the interests of staff as well as visitors. The compact layout also benefits the park by saving more trees.
The Clearing
Longitudinal the building is organised between the central entrance hall and the Clearing with Sculptures. The clearing occurs by a natural – to day existing – clearing. This creates a large flexible space with roof light for the sculptures. At the edge of the clearing a cluster of small column-trees contrast the large spans on the other sides. Here the poetic life of the museums construction becomes alive and can be seen. Small spans with small columns contrasting the large columns with large spans. The Clearing is a natural destination during a visit to the museum. With the cafés and shops towards the greening it forms an attractive informal exhibition space where the exhibited items, the beautiful greening and relaxation goes hand in hand.
The Allée of Voids
The Entrance Hall and The Clearing are connected by an existing allée of trees which are transformed into The Allée of Voids. The Allée has a poetic light that guides visitors between the two main spaces on park level floor. The Allée of Voids are lined with public functions as well as cloakrooms and toilets for the museums. Shops and cafés also have outdoor service towards the greening. In The Crown The Allée of Voids divides the museum between the public exhibition spaces and the office spaces. The exhibition spaces towards north and office spaces towards south with a spectacular view over the central greening. The museum becomes special and a great place to work.
The exhibition spaces
The exhibition spaces are large rectangular and flexible areas organised around the entrance hall. All exhibition spaces have a room height of 8 meters from floor to floor. The arrangement around the entrance hall makes it easy to have many different types of tickets allowing for access to all or only part of the exhibitions down to each single exhibition space. This is maximum flexibility.
The exhibition spaces can be design as small spaces with independent access from the entrance hall, large fluent spaces as well as in a traditional en suite configuration. Or a mix of different configurations depending on the exhibited items.
The exhibition spaces are neutral spaces framing the exhibited items. The ceiling and flooring will have a flexible design integrating light, acoustics and installations that supports the elasticity of exhibition layout.
Under the canopy of trees it can be very dark, but somewhere soft light will penetrate down a offering a light place to rest. In the same way the light in the exhibition spaces can be completely controlled and some places have voids and the Clearing with sculptures. Here the visitors can rest and exhibition items which tolerate a indirect natural light can be exhibited. This creates a beautiful variated light design for the visitors between art and park.
The positions of the permanent exhibition spaces allows for the possibility of adding either facade windows with a soft indirect light or a similar type roof light. This gives the possibility to make a special light design in parts of the exhibition spaces as a flexible or permanent solution.
The position of the temporary exhibition spaces gives simple and short distance between handling and workshops.
Cores of trees
The cores with stairs, elevators and installations are inspired by trunks of the grand trees. They form beautiful in-situ shaped columns with a organic circular cross section. The reference to trees merge them visual with the columns. Together they form a beautiful artificial landscape of small and grand concrete columns. The cores are positioned logically in accordance with fire regulative and support easy flow in the building for staff and visitors.
Visitors flow
The visitor flow is simple. Vertically its circulation is in the entrance hall and longitudinal its along the Allée of Voids. The organisation of visitor flow support simple, security zoning together with easy and beautiful way finding for visitors. The Gaia institute has it own entrance at the west side by the Allée of Voids.
Staff flow
The main staff flow are in the cores along the Allée of Voids. Here the offices are closely linked and has connections to art and goods handling. The offices of the NNG and LM are separated but can be linked and share office support functions. Art handling are separated between the two museums which support maximum flexibility for handling of art and minimal security issues. Goods handling are joint between the two museums to save space and can be accessed from both museums without entering secure art handling zones.
The Crown
The tree crown has a grand scale appropriate for a national museum. The grand scale gets a human scale and quality by a pattern mirrored and derived from the dynamic rhythm of tree trucks and the play of light between leaves. The facade has incorporated sun shading and could be illuminated by an artistic light underlining the abstract floating volume in the park. The facade is made of a high quality worked metal cladding with an embedded play of light and texture.
The Roof-scape
The Roof-scape is a grand art garden with a spectacular view over the park. Its partly covered with greenery which reduces rain water load during heavy rain fall and add to the biological diversity. The many voids of trees becomes abstract illuminated milk white volumes along with illumination of the former tree positions gives the roof-scape an abstract and artificial atmosphere contrasting the real park below. Art installations and sculptures makes the artificial landscape a continuously changing experience.
The Varosliget park is the first public financed park in the world with thousands of unique trees. The trees are beautiful sculptures creating spaces in the park and poetic patterns of shadow and a magic flickering light between the leafs. The trees forms small spaces under a single tree and frame large spaces with a soft gentle green wall. Trees are part of nature and life - and they are worth celebrating. Trees tells stories. Their growth rings are like layers of paint on a painting. They tell stories about the painting; how, when and who really painted it? The New National Gallery and Ludwig Museum will add a new layer of “paint” to the site.
We purpose to create an unique link between museum and park by celebrating and respecting the current layers of trees and by using their inherent qualities of position and poetic irregularity.
We purpose to use the current layer of trees as an underlaying watermark for the museum.
The existing trees are transformed into abstract sculptures that will generate the museum´s architecture and organisation. The trees in the park lives on - creating a museum that are unique and one of a kind in the world.
The frame
Art has always a frame. I literal sense as in the golden frame around a 18th century painting or as an abstract frame formed by the society and time in which its created. The architecture of an art museum also creates a frame around the artwork by its spaces and atmospheres. We purpose to create spaces and atmospheres closely connected and inspired by the spaces of Varosliget Park as a frame for the artworks.
The museum is formed as a precise frame around a small part of the park and its spaces are created by the layers and positions of the existing trees. Inside the frame you will find poetic spaces with trees standing close together and light coming flickering down or large open flexible areas for exhibitions end events. All formed by the simple and very poetic transformation of the trees trunks into columns at the same position and the tree crowns into voids of light and transparency.
Inspired by nature
We all learn and have been inspired by nature. Nature is both intelligent and beautiful – it shows us intelligent and beautiful compositions, forms, colours and constructions. With inspiration from nature architecture can also be unique, intelligent and beautiful. The position of the trees forms an irregular pattern where dynamic spaces and atmospheres are created. As in the park where large open green fields host many people during events and small forest like atmospheres between a group of trees forms private comfortable spaces.
The trees has apart from creating unique poetic differentiated spaces been the guiding principle for the organisation of functions in the museum. We have though the irregular pattern created a new simple order and hierarchy with a rational workflow, easy way finding and simple devisions of functions. The new hierarchy is created by mapping the trees position and value – large spans and short spans indicates large and small spaces; a row of trees indicates a corridor or devision of functions; a very large tree indicates an access point.
The context
The frame of the museum has a beautiful rectangular shape positioned at the south boundary of the site next to the large central greening. The building is large towards the large park greening and small towards the smaller spaces on the other sides. The size of the museum match the size of the surrounding landscape and gently add a new layer to the park.
The museum frame the large greening and becomes point de vue in the central green axis. From the greening the museum floats on a small podium with an open transparent ground floor inviting people inside and links the external trees with the interior landscapes of columns. Cafés and shops are placed towards the park creating an informal and active promenade.
Towards north the facade is partly covered by trees and therefor partly visible – it becomes a park museum - IN the park connecting architecture and nature. A beautiful series of spaces leading towards the entrance is created. Underneath the canopy of the existing trees you leave the hazel and buzzing city entering the world of art in an tranquil and respectful way on a new beautiful pavement that forms an organic shaped square underneath the trees. As you approach the museum it narrows down and guides you clearly towards the entrance.
The Hackberry tree
With the buzzing city behind you on Hermina Street the ground floor opens and guides you into the open courtyard with the entrance. The courtyard has only one tree – the most valuable and largest tree on the site - a large beautiful Hackberry. The Hackberry gives a space a quality that transcends history in the same way art can. Its the natural sculpture of the park museum both classic as The New National Gallery (NNG) and modern as the Ludwig Museum (LM).
One entrance hall - two museums
The Hackberry Courtyard is positioned at the axis of the park. The axis and the tree defines a clear devision between the two museum wings. Towards east you find the LM and towards west the NNG. Between the museums is the joint central entrance hall with central circulation space for all visitors and easy accessible public functions. The clear division creates good way finding and flexible access for all visitors whether they are visiting one or both museums. The Hackberry are mirrored by a large beautiful circular stair at the south entrance. The stair connects the entrance area with the exhibition spaces. Next to the stair is the public elevators. Together they form a cluster of sculptural trees under a crown of voids with beautiful soft roof light. The architecture generated form the park trees comes together and form a tranquil entrance hall merging park and museum.
The Section
Trees consist of routs, trunk and crown and are often most open and transparent at the level of the trucks. The crowns and routs tend to merge together and form a dynamic formation. In the same way the museum is divided into three parts: the underworld, the park level and the upper world with the park level being the open inviting level with public functions. The underworld with handling and temporary exhibition spaces, and the upper world – The Crown - with permanent exhibition spaces and offices. This simple and compact layout of the program creates a rational organisation of functions with short distances in the interests of staff as well as visitors. The compact layout also benefits the park by saving more trees.
The Clearing
Longitudinal the building is organised between the central entrance hall and the Clearing with Sculptures. The clearing occurs by a natural – to day existing – clearing. This creates a large flexible space with roof light for the sculptures. At the edge of the clearing a cluster of small column-trees contrast the large spans on the other sides. Here the poetic life of the museums construction becomes alive and can be seen. Small spans with small columns contrasting the large columns with large spans. The Clearing is a natural destination during a visit to the museum. With the cafés and shops towards the greening it forms an attractive informal exhibition space where the exhibited items, the beautiful greening and relaxation goes hand in hand.
The Allée of Voids
The Entrance Hall and The Clearing are connected by an existing allée of trees which are transformed into The Allée of Voids. The Allée has a poetic light that guides visitors between the two main spaces on park level floor. The Allée of Voids are lined with public functions as well as cloakrooms and toilets for the museums. Shops and cafés also have outdoor service towards the greening. In The Crown The Allée of Voids divides the museum between the public exhibition spaces and the office spaces. The exhibition spaces towards north and office spaces towards south with a spectacular view over the central greening. The museum becomes special and a great place to work.
The exhibition spaces
The exhibition spaces are large rectangular and flexible areas organised around the entrance hall. All exhibition spaces have a room height of 8 meters from floor to floor. The arrangement around the entrance hall makes it easy to have many different types of tickets allowing for access to all or only part of the exhibitions down to each single exhibition space. This is maximum flexibility.
The exhibition spaces can be design as small spaces with independent access from the entrance hall, large fluent spaces as well as in a traditional en suite configuration. Or a mix of different configurations depending on the exhibited items.
The exhibition spaces are neutral spaces framing the exhibited items. The ceiling and flooring will have a flexible design integrating light, acoustics and installations that supports the elasticity of exhibition layout.
Under the canopy of trees it can be very dark, but somewhere soft light will penetrate down a offering a light place to rest. In the same way the light in the exhibition spaces can be completely controlled and some places have voids and the Clearing with sculptures. Here the visitors can rest and exhibition items which tolerate a indirect natural light can be exhibited. This creates a beautiful variated light design for the visitors between art and park.
The positions of the permanent exhibition spaces allows for the possibility of adding either facade windows with a soft indirect light or a similar type roof light. This gives the possibility to make a special light design in parts of the exhibition spaces as a flexible or permanent solution.
The position of the temporary exhibition spaces gives simple and short distance between handling and workshops.
Cores of trees
The cores with stairs, elevators and installations are inspired by trunks of the grand trees. They form beautiful in-situ shaped columns with a organic circular cross section. The reference to trees merge them visual with the columns. Together they form a beautiful artificial landscape of small and grand concrete columns. The cores are positioned logically in accordance with fire regulative and support easy flow in the building for staff and visitors.
Visitors flow
The visitor flow is simple. Vertically its circulation is in the entrance hall and longitudinal its along the Allée of Voids. The organisation of visitor flow support simple, security zoning together with easy and beautiful way finding for visitors. The Gaia institute has it own entrance at the west side by the Allée of Voids.
Staff flow
The main staff flow are in the cores along the Allée of Voids. Here the offices are closely linked and has connections to art and goods handling. The offices of the NNG and LM are separated but can be linked and share office support functions. Art handling are separated between the two museums which support maximum flexibility for handling of art and minimal security issues. Goods handling are joint between the two museums to save space and can be accessed from both museums without entering secure art handling zones.
The Crown
The tree crown has a grand scale appropriate for a national museum. The grand scale gets a human scale and quality by a pattern mirrored and derived from the dynamic rhythm of tree trucks and the play of light between leaves. The facade has incorporated sun shading and could be illuminated by an artistic light underlining the abstract floating volume in the park. The facade is made of a high quality worked metal cladding with an embedded play of light and texture.
The Roof-scape
The Roof-scape is a grand art garden with a spectacular view over the park. Its partly covered with greenery which reduces rain water load during heavy rain fall and add to the biological diversity. The many voids of trees becomes abstract illuminated milk white volumes along with illumination of the former tree positions gives the roof-scape an abstract and artificial atmosphere contrasting the real park below. Art installations and sculptures makes the artificial landscape a continuously changing experience.