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PermMuseumXXI architectural
competition
For new museum center building for Perm Art Gallery, Perm, Russia
One of 8 Special prize holders : Acconci Studio
PERM MUSEUM XXI: CONCEPTUAL APPROACH THE MUSEUM THAT FALLS
AWAY, THE MUSEUM THAT FALLS BACK, ETC

A. NARRATIVE DESCRIPTION.
1. Prelude: The Call Of The Wild.
Everybody knows the museum should be on the high ground, at the top of
the slope. But this museum doesnt know; even before its a
building, even when the museum is only a vague idea of a museum, it cant
stay where it should, on flat level land, it starts to slip it
cant resist the slope, the slope is the call of the wild, the museum
cant say no, the museum loses its foundation and slides down the
slope, toward the river
Sloping slanting swaying bias oblique
divergent devious askew -- askance crooked --

2. Pre-Building, Para-Building.
As we start the museum, lets not think of a building, lets
not assume a building, lets not get stuck in the convention of a
building. Instead, lets start by thinking of nothing: lets
think of the museum as nothing, nothing but the slope itself
But
thats not possible anymore, the slope is already occupied: as soon
as we start thinking of the possibility of a museum, before we have even
an inkling of any specific museum, theres something there, on the
slope the temptation of a museum, the foreboding of a museum, the
wishful thinking of a museum as thin, as transparent, as evanescent
as it might possibly be
Overlay -- overlap coating veneer film screen
-- curtain cloak camouflage armor --
Begin the museum as a carpet laid down over the slope.

3. From The Bottom Up.
Begin the action of building the museum from the bottom of the slope,
at the water. In the beginning (at the bottom of the slope), the museum
is underground, its hidden under its own skin
Peel pare -- uncover lay bare unveil --
Pull the skin of the museum up and inflate it like a balloon, the body
of the museum builds up, out in the open. As the rising museum gains space
above ground, it loses space underground
Wave undulate -- swell surge peak rise &
fall ebb & flow --
Pull the body of the museum out into the water and then up the slope
Twist & turn veer sheer sway cut across
zigzag wind in & out --
Then stretch the skin again, away from the body of the museum, and fold
the skin back on itself and arc it over the train-racks. The stretched-over
skin makes the museum lobby, with a train-station inside.

4. From The Top Down.
Or start the action of building the museum in the other direction, from
the top of the slope: fling the skin out into the air, over the train-tracks,
then pull it back down onto the ground, let it roll down the slope
Drop fall free-fall slide glide coast
skim -- sprawl out swoop down
The slope forms the museum by de-forming the museum, the museum loses
shape, takes the shape of the slope, the museum is a flow whose goal is
the river
Slip flow run out run its course subside
sag slump sink submerge --
As the museum sinks underground, it loses all the space it had above-ground.

5. Folding: One Surface Into Multi-Surfaces.
Scale plate slice sliver slab
The surfaces are transparent, translucent, reflective, opaque, prismatic,
clear, colored, convex, concave, thick-lensed, thin-lensed
Weave woof nap pile shag feel
touch

6. Folding: Folding The Surface Into Facets Divides Waves Into Particles.
Face facet
Flake scale shaving paring particles
parts part & parcel bits specks flecks
dots motes grains granular -- grains of sand
pixels
Cells capsules

7. Folding: Folding Surface Into Structure.
Turn turn over turn under -- doubling -- doubling over
ply -- fold fold over -- fold on itself -- origami
Crease tuck gather ruffle frill flounce
buckle pleat
Wrinkle corrugation ridge furrow crimp
pucker crinkle knit knot
Furrowed grooved scored incised cut
gashed gouged striated slotted slit
split -- strip strip away shear slip off slough
off unwrap undo
8. Folding Structure Into Display.
The walls of this museum are used to bring in light, & views; walls
arent needed here to hang paintings the paintings in this
museum hang in mid-air, on cable-systems stretched within the structure.
9. Split, Strip, Strip Away: Splitting Into Strips & Folding Back
To Make Floors.
10. Splitting & Folding Back To Make Entrances.
11. Folding Landscape With Building.
The edges of the building are blurred as the landscape grows onto the
building. (The building can be folded in, punched in, sucked in, here
& there throughout, making private sculpture-gardens for museum-goers.)
12. Folding Public With Private.
Passageways like tubes, like highways, like tangled hairs
take you through the museum without having to pay & enter the museum.
13. Folding The City Within The Museum, & Vice Versa.
As a local train comes into the station, inside the lobby, as other trains
pass the station by, they pass through other parts of the museum
the childrens museum, a gift-shop, a restaurant
.
14. Folding The Museum Within The Ground, & Vice Versa.
These underground places, with no natural light, are media-rooms, and
theaters. Around the corners, further inside the ground, is storage.
B. TECHNICAL DESCRIPTION.
The skin is envisioned as a hybrid shell-like system with two-way
spanning characteristics that exhibit both robustness and efficiency.
Folded-plate trusses span along the first principle axis. The
complementary span is facilitated with cable tendons. As the surface
geometry transitions from convex to concave curvature along the
longitudinal ridgeline, a transition of structural hierarchy also
occurs. When the surface is convex, the truss elements provide the
dominant load-carrying capacity. In this scenario the cables provide
secondary stabilization and essentially lock the geometry in place.
This hierarchy changes, however, when the surface inverts and becomes
concave. Here the cable tendons become dominant as they act in
catenary and the folded-plate trusses become secondary structural elements.
In
this way, the folded plate elements and cable elements express or
achieve maximum structural performance. Central A-frame supports
provide both gravity and lateral support and serve to balance asymmetric
loading conditions. These supports are loosely organized within the space
and
provide a convenient means of installing the roof as a series of
pre-fabricated ladder elements to be assembled and erected on-site.
Organiser C:CA / Center of Contemporary Architecture, Moscow
In collaboration with Union of Russian Architects
1st & 2nd prizes shared ($100,000 & $70,000):
Bernaskoni + Valerio Olgiati
3rd prize ($50 000):
Zaha Hadid Architects
8 Special prize holders ($ 10,000 each)
Acconci Studio, New York, USA
Asymptote Architecture PLLC, Hani Rashid and Lise Anne Couture, New York,
USA
Esa Ruskeepaa, Helsinki, Finland
Søren Robert Lund Arkitekter, Copenhagen, Denmark
Meili, Peter Architekten AG, Zurich, Switzerland
A-B, Moscow, Russia
Alexandr Brodsky bureau, Moscow, Russia
Totan Kuzembaev Architectural workshop, Moscow, Russia
Acconci Studio Credits:
Preliminary structural consultation has been provided by Matthew Melnyk
at Buro Happold.
Design team members include: Vito Acconci, Ezio Blasetti, Nathan DeGraaf,
Adam Elstein, Eduardo Marques, Dario Nunez
Russia Tower
Crystal Island Tower
City Palace Tower
Russian
Architecture Competition
Moscow house
Gazprom Tower Russia
Moscow Buildings
World Architecture : e-architect
- a guide to key buildings across the globe
Project Orange Moscow
Perm Museum
Entry architects : Acconci Studio
Comments / photos for the Perm Museum Architecture Competition page
welcome:
info@e-architect.co.uk
Perm Museum Competition :
page - adrian welch / isabelle lomholt
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