Website

www.mathewlo.com

PDF Screenshots

Re-interpreted designs (drafts)

The Model

My Thoughts

The Silkeborg museum is a spectacular design which offers a unique artistic flair that does not overpower the surrounding buildings. I think it was a great idea to bury most of the extension three stories underground adding a whole new dimension to this extension. The building has a sculptural tendency that embodies art which I think is fitting since the purpose of this building is to house Asger Jorn’s paintings.
The ramps offer an amazing spectacle as they weave through the main area adding to the feeling that the whole building is a sculpture itself.
Paintings can be hung from these ramps to maximize the spatial quality adding a function to the form. The main materials that were to be used are concrete, steel and glass which are flexible in nature to help form the complex curves that make up this building.
I find that the design can lead the visitors on an engrossed journey which is stimulated by the various forms that make up the building including; the 3 chambers, ramps and the fact that the visitor is delving underground. From the outside the building is quite mysterious as I find myself asking questions like why is that there? What is the purpose of that? This is all part of the experience when you interact with this building.

Silkeborg Museum

At the time of the project Silkeborg town museum was housed in a low Neoclassical building organized in long wings around a courtyard. To one side the site is bordered by a busy road several meters above the lawn, to the other by a disused railway line. Utzon rejected Jorn’s idea of rising the building to capture a view, instead he proposed burying most of the extension three stories underground.
As in his own house in Hellebæk, the approach would face a long, single-storey blank wall, which links the building to the main museum and breaks to form a staff entrance.
The foyer, reception, cafe and terrace look out over the existing lawn through a stepped and staggered glass screen, made of V-shaped pre-cast concrete columns which support a grid of shallow, barrel-vaulted rooflights; these run over all the ground floor circulation areas and extend to form a generous entrance canopy.
The main galleries open as a three-storey deep cavern beneath a glazed, ribbed roof whose gently stepped, curving form resembles a horizontal version of the glass walls being designed at the same time for the Sydney Opera House.
The visitor is drawn down by an inviting and intricate ramp system. The glazing bars here, and over the crocus cone galleries, were to be provided with frequent suspension points to enable paintings to be hung from the ceiling; artwork might also hang from the underside of the ramp and suspended floor. The giant crocuses were designed to receive different qualities of natural light and major individual sculptures or paintings could be isolated and displayed there.

Website

Hi Jeremy just warning you that some of images are rollovers so dont miss them !!!