pdf - aman architecture

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MUSEUM BRIDGE IS A FOOTBRIDGE CONNECTING THE EAST AND WEST BANKS OF THE AMSTEL RIVER AT THE
HERMITAGE AMSTERDAM MUSEUM. IT IS POSITIONED TO ALLOW A BROAD VIEW OF THE MUSEUM FOR A PEDESTRIAN
OR CYCLIST TRAVERSING WEST TO EAST.
ROOF
THE SKY-FACING SIDE OF THE STEEL
ROOF STRUCTURE IS COVERED WITH
CUSTOMIZED THIN-FILM PHOTOVOLTAIC CELLS TO PROVIDE ELECTRICITY
FOR THE LIGHTING OF THE BRIDGE AT
NIGHT.
THE STRUCTURAL BASE OF THE BRIDGE IS COMPOSED OF REINFORCED CONCRETE. A PATTERNED STEEL ROOF
PROVIDING PARTIAL ENCLOSURE COVERS THE BODY OF THE BRIDGE AND PARTS OF THE PROGRAM LOCATED ON
BOTH BANKS. UNHINDERED BY THE NECESSITY OF A FULL ROOF, THE ROOF GESTURE IS FREE TO BE A SCULPTURAL
ELEMENT. THUS THE PATTERNING OF THE STEEL WAS INSPIRED BY FERNAND LEGER’S STAINED GLASS WALL AT THE
LIBRARY OF THE CITY UNIVERSITY OF CARACAS, VENEZUELA.
CONCRETE
ALL CONCRETE WILL BE LOCALLY
PRODUCED. IT WILL INCLUDE RECYCLED AGGREGATE. FLY ASH, SLAG
CEMENT AND SILICA FUME WILL BE
USED WHEN POSSIBLE INSTEAD OF
CEMENT. ALL REINFORCING STEEL
WILL BE RECYCLED.
CARLOS RAUL VILLENUEVA DEVELOPED THE MASTER PLAN AND DESIGNED MOST OF THE BUILDINGS AT THE CITY
UNIVERSITY OF CARACAS. VILLENUEVA DEVOTED HIS CAREER TO THE CREATION OF SPACES IN WHICH ART AND
ARCHITECTURE COULD BLEND HARMONIOUSLY AND WITH MUTUAL ADVANTAGE. AT THE CITY UNIVERSITY, VILLENUEVA
CREATED AUDACIOUS ARCHITECTURAL FORMS, CONCEIVED AS CONCRETE SCULPTURES, TO COUNTERBALANCE
THE BOLDNESS OF THE PAINTINGS AND SCULPTURE HE COMMISSIONED FOR THE INTERIOR AND EXTERIOR SPACES.
UNESCO HAS CLASSIFIED THE UNIVERSITY AS A WORLD HERITAGE SITE STATING THAT “ITS PARTICULAR QUALITY
IS IN THE SKILL OF INTEGRATING NEW ARCHITECTURAL FORMS AND CONTEMPORARY ART INTO A SPATIAL AND
ENVIRONMENTAL WHOLE, SATISFYING THE FUNCTIONAL AND IDEOLOGICAL REQUIREMENTS OF THE INSTITUTION.”
GREEN
TREES, GRASS AND OTHER GREENERY WILL BE PROVIDED IN PARKLAND DEVELOPED ON BOTH BANKS.
PERVIOUS MATERIALS WILL BE USED
FOR SIDEWALKS IN PARK AREAS.
AT THE UNIVERSITY, VILLENUEVA EMPLOYED THE WORK OF OVER TWENTY ARTISTS. IN ADDITION TO LEGER THESE
ARTISTS INCLUDE ALEXANDER CALDER, JEAN ARP, ANTOINE PEVSNER, VICTOR VASARELY, BALTHAZAR LOBO,
OSWALDO VIGA, MATEO MANAURE, ARMANDO BARRIOS, HENRI LAURENS, FRANCISCO NARVAEZ.
DUE TO THE NATURE OF THE COMPETITION AND, MORE SPECIFICALLY, TO OUR BUDGETARY CONSTRAINTS, WE
ARE OUR OWN LEGER IN THIS PROPOSAL. THE POINT HOWEVER IS THAT THE RELATIONSHIP BETWEEN ART AND
ARCHITECTURE SHOULD BE LOOKED AT ANEW. SINCE VILLENUEVA’S TIME, NEW ART FORMS HAVE DEVELOPED AND
MULTIPLIED. THE PLASTICITY AFFORDED BY MODERN TECHNOLOGY ALLOWS FOR MYRIAD KINDS OF ART, NOT JUST
PAINTING AND SCULPTURE, TO BE INCORPORATED INTO ARCHITECTURE AND URBAN DESIGN.
EQUALLY IMPORTANT IS THE DESIRE TO DO SO. THE BOLDNESS AND OPTIMISM THAT DROVE MUCH ARCHITECTURAL
DESIGN IN THE MID-CENTURY PROVIDED THE GROUNDWORK FOR DESIGNERS TO SEEK ELEVATION WITH ART. WHILE
THE TENOR OF OUR TIMES MIGHT BE LESS EXUBERANT WE SHOULD ALWAYS CONSIDER A ROLE FOR THE ARTIST IN
THE LARGER DESIGN TEAM.
PR
OG
RA
M
IE
V
W
PR
OG
RA
M
1. DIRECT LINK
TO BOTH BANKS
OF RIVER
2. EXTEND VIEW TO
MUSEUM BY SHIFTING ACCESS POINTS
3. EXTEND PATH
TO CONNECT
WITH STREET
4. INSERT PROGRAM,
WRAP PATH TO PROGRAM SPACES
5. WIDEN PATHS
FOR ADDITIONAL
PROGRAM SURFACE
AREA
THE PATTERNED STEEL ROOFING FOLDS
OVER THE FAÇADE OF THE EAST BANK ACCESS RAMP
PHOTOVOLTAIC CELL
CAFE
LASER-CUT METAL ROOF
STRUCTURE
TEAK DECK
REINFORCED CONCRETE
OM
O
HR
T
A
B
L.E.D. LIGHT
KER
LOC
OM
HRO
BAT
ADM
N
TIO
TRA
INIS
AN EXPANSIVE VIEW OF THE MUSEUM
IS AVAILABLE AT ALL POINTS ALONG THE
BRIDGE
/
AGE
TOR
ES
YCL
BIC ARI
REP
ROOF PLAN
LONG ELEVATION
PLAN
THE GRAVITY OF THE CONCRETE FACADES ARE COUNTERBALANCED
BY THE LIGHTNESS AND FLUIDITY OF THE STEEL
MUSEUM BRIDGE, AMSTERDAM
NIGHT VIEW OF MUSEUM BRIDGE
HOMAGE TO CARLOS RAUL VILLENUEVA