NEW MUSEUM SYSTEM DEVELOPE NEW SPATIAL SEQUENCE
TYPE: Urban transformation
TEAM: ZHONGXIMING XUPENGHUI LINJING
CATEGORY: Architecture -built environment – interiors
This article attempts to reconstruct the relationship between Naviglio Grande and its surrounding diverse elements in the evolution of urban Milan, shaping a spatial sequence that emphasizes “past, present, future”.
Based on the research background, the cross-sectional sequence of the public space perpendicular to naviglio grande was redefined. Piazza Tirana, which represents the spirit of the contemporary Milanese city, will be lightly intervened, emphasizing the connection to the texture of urban fabric and giving the sequence a directionality. The design of bridge is not only the physical connection between the rails and the canal, but also the reproduction of the naviglio infrastructure memory. The “past” links present and future and gives more possibilities for integration between divers elements.
The main body of museum that represents the “future” has been proposed by us as an open relationship between architecture and landscape. The main language of the slash is the contemporary continuation and interpretation of the texture of the old city, emphasizing the centripetal relationship in the axial direction. Local elements such as water and plants are reproduced again. From Piazza Tirana to the new main museum it can considered as a holistic museum systemarticle.
Reshapes spatial associations.
Frederick and Tarkovsky. (Caspar David Friedrich, the main landscape painter in the German Romantic period, Takovsky, the great Russian director)
Start with an abstract operation, strip away useless things, aim at key landscape and environmental characteristics, and reshape the space relationship of the Grand Canal design. Return architecture to reality, and reality cannot be revealed through a simple montage, it can only be presented through a montage guided by a lens that records those measurements of the earth. Through the montage lens, we will create a new spatial and historical order by using the texture of the buildings around the canal, history, artificial landscape, natural landscape, time memory, and the film used as the connection lens.
Reconstruction of buildings and landscapes is linked to real life and replaced in the background, creating a “slightly warm” landscape. Director Takovsky reconstructed the old church and life in his hometown into a non-existent square. This square is warm and remembered by his hometown. In this way, the physical space collage method is used in the design. The trees in the square The concrete steps, even sunlight and water, have become a fragment of our rearrangement. Using scale as a rule we are reborn into this city.
Boundaries and reshapes, old borders, reshape links.
The museum building is like an urban camera that captures the scenes of the museum and the water through the reconstruction of the physical space of the building, and uses this landscape as part of the museum elements.
Architecture and landscape construction are linked to real life, the latter being depicted in the background, creating a “slightly warm” landscape. I approach the Grand Canal project the same way. The newly involved architectural space is more like a picture frame depicting the architectural background, creating order on the two axes of the Grand Canal. An axis connects the people on both sides of the Grand Canal, and an oblique axis intervenes in people’s living space. Through the drawings we can see the texture relationship between the building and the sky and the ground and the Grand Canal and the water.