Ampliamento dell'Ordrupgaard Art Museum di Copenhagen
di Zaha Hadid Architects
Il progetto di Zaha Hadid ha vinto, con una decisione unanime della giuria, il concorso per la progettazione dell'ampliamento dell'Ordrupgaard Art Museum di Copenhagen. Il concorso, indetto dal Ministero Danese della Cultura e dall'Ordrupgaard Museum, prevede l'ampliamento del museo per un'area di 1.150 metri quadrati. L'ampliamento sarà realizzato entro il 2004. Di seguito è riportata la descrizione del progetto gentilmente concessaci da Zaha Hadid Architects che ringraziamo per la cortesia.
The growth of the institution presents an opportunity and further requires a new attitude to unite the buildings of the Museum from different generations and gardens into one single entity.
At once a discrete feature in the landscape and an addition to the existing garden topography. This ensemble separates the flat terrain of the approach to the building from the slope of the garden at the rear of the site.
Contours have been studied and abstracted, then lifted and twisted to form a shell that becomes the museum enclosure. A formal language of gently lifted contours, which are lifted again to form walls roof and other contour form outside the structures of the extension.
Views are set up both from the ouside in and vice- versa. Visitors encounter art in the garden, art upon approach to the new extension and art within the building.
Art can be seen from different vantage points on the grounds; works of different scales. Interior landscapes within the building's galleries are at once a counterpoint to the exterior as well as in direct scale or thematic connection to one another.
Rooms in this proposal are transformed into a series of flowing connected spaces diplaying works from the permanaent and temporary collection.
The mansion can be seen as a part of the curatorial plan. Ordrupgaard has a fledgling policy of land- art displays, or installations. A relationship is established between the interior and garden vistas - as exemplified in it's permanent collection.
We propose that this reputation is built upon, or exploited, by a sequence of inter- connected suites, salons, open chambers and galleries wherein visitors can examine the relationships with art pieces.
Furthermore, invited furniture makers, sculptors and other artists alike can bring a new attitude to aspects of the interior providing a thematic contrast to the traditional view- point of the museum's function; henceforth, that the mansion does not represent 19th and 20th century attitude to it's collections and displays.
The adopted local planning strategy positions the new extension on an east- west line, effectively completing the bisection of the site with an ensemble of garden and building enclosures, from the tall mini- forest to the front and the sloping ‘english' garden at the rear.
The Mansion will return to it's domestic context and concentrate it's display on contextual and original furniture and original period features separate from the art displays.
Theoretically, the use of the Mansion can be considered as part of the curatorial life of the Ordrupgaard entity, the Ordrupgaard ensemble. Installations of furniture, art and sculpture could well enhance the ‘curatorial programme'.
The proposed staff- use of the existing entrance bulding will physically split the buildings, and divide the entity.
Proposal for the Extension
Earthworks and embankments bring the building into the ground at key points around the plan. One such embankment, a ramp, brings visitors to the Foyer.
Minimal excavation is required to accommodate the Temporary Gallery space.
A small basement is cut into the ground to house a kitchen, service area, passenger lift and visitor facilities.
An internal ramp brings visitors from the Foyer and Temporary display area to the Permanent Collection, café and multi- purpose area.
The visitor's orientation through the galleries exploits the gentle sloping topography of the site. The canvas- like shell, which is supported on the network of walls, is curved in section and cut to admit indirect natural daylight into the interior.
The new building proposal is, in greater area, physically separated with a courtyard from the existing long French gallery building.
A Foyer looks west to the courtyard and the long wall of the existing Gallery. The galleries are aligned north suth behind the Foyer and shop area.
A thick serviced wall of Lift, stairs and storage divides tha Foyer from Gallery spaces. A long sloping ramp divides the Temporary and Permanent Gallery spaces and leads to the Multi- purpose Hall and Café which face out to the garden.
Rather than specific and familiar proportioned rooms, zones and enclosures are proposed.
Tighter enclosures are provided for those collections which demand total artificial lighting. Others enjoy skylighting provided through slits cut into the ‘shell' roof.
The Lighting slits act as orienteering devices to the visitors. Natural light is filtered and moderated as it passes through the building shell, the roof.
At the heart of the building composition are the galleries for the Danish and French collections. A new gallery is physically connected to the existing Gauguin Gallery at the garden end closing off a narrow courtyard. This in turn is connected to the Foyer and Danish collections.
Temporary Exhibitions & Installations
We anticipate that ‘new' works displayed in the Temporary area may require a taller space, particularly to exhibit larger sculptural works and canvases. Works can be directly transported and moved from the Loading area adjacent to the driveway, into the space.
This gallery is seen as the largest single space within the proposed building. Views can be exploited to the bush areas, paddock-like garden beyond facing east.
From this area visual connections can be made across to other galleries spaces and out to the cloister- like spaces of garden against the eastern boundary of the museum site – in one direction – and southwards to the sloped garden beyond in the other direction.
Visitor areas – Foyer – Café – Gardens – Multi- Purpose area
The new entrance is accessed from a narrow courtyard running alongside the long wall of the existing French Gallery. The foyer runs parallel ‘pointing' visitors in each direction to the galleries north and south in the plan.
The cafe is located at the southerly tip facing the garden with the Multi- Purpose area adjacent.
Visitors can get to the Cafe from an independent ramped passage descending from the Foyer to the Café, without ever having to pass through the galleries. Terraces are designed to connect the new to the existing Mansion garden terraces ; again providing visitors with a visual connection from one to another facility.
Vehicles Access and Storage
The design of the expanded Car Park takes it's design cue from the Gallery extension design.
Art trucks use the existing approach road, by- passing the car park access and straight to the pull- in area adjacent to and in front of the new public Foyer. Full height and width doors admit works at wheelbase height to the un- loading floor.
Le immagini dei progetti di Zaha Hadid
La biografia di Zaha Hadid
Zaha Hadid Architects. Madrid Civil Courts of Justice [Madrid]
Zaha Hadid. Architecture and Design
Centro Commerciale a Dubai firmato Zaha Hadid
Il progetto di Zaha Hadid della nuova stazione AV Napoli - Afragola
Il trampolino da salto progettato da Zaha Hadid
Zaha Hadid e il Center for Contemporary Art
Ampliamento dell'Ordrupgaard Art Museum Copenhagen
La stazione dei pompieri del Vitra Museum di Weil am Rheim
Il nuovo centro delle arti contemporanee di Zaha Hadid
A Roma "Zaha Hadid. Opere e Progetti"
Zaha Hadid è la prima donna a ricevere il prestigioso premio di architettura Pritzker Prize
Zaha Hadid vince il concorso per il Museo dell'Arte Nuragica e dell'Arte Contemporanea