PRIMITECA / ANTIQUE COLLECTION & GLYPTOTECA / ARISTOTHEKE EUTECTONICS

Primiteca: Antique Collection & Glyptotheca, Island of Tinos, Cyclades.

This is an entry for an invited competition requesting the design of a medium-sized private exhibitions venue and setting emphasis on the display of three-dimensional artifacts as well as archeological findings. Planar organization is established here on the basis of an ancient symbol, the tetraskelion, a Cycladic iteration of the primordial cross and geometric archetype for the labyrinth. Centripetal and symmetrical, the tetraskelion is a composition of four identical wings each revolving around a central axis and bending about themselves. Its four helicoids, as segmented and rotating walls of the plan, evolve here into an elaborate enclosure system of alternating voids and solids set on a regular grid. In the interior, the increased wall thickness – normatively connoting stone masonry – is instead entirely reworked into an innovative system of display niches for sculptural objects, artifacts and findings. All building perimeters are thus hugged and shelled by the filigree curtain of exhibits, a vertical mosaic of artworks; the purpose and reason of existence for the building. The flowing sectional outset of the project escapes conventional divisions of buildings into entirely separate floors-zones; it imposes and presupposes half-floor differences between all consecutive levels, a split-level iteration based on a ‘radiating’ scheme, the helix or spiral, understood here as vertically ascending revolution around the symmetry axis.

Planar Concept + Tectonic Pattern: As shown in the referenced photographic documents, the tetraskelion is considered in relevant bibliography as prime figure, characteristic of the regional prehistoric cultures of the Cyclades; and is viewed as geometric archetype for the labyrinth and as bearing unique metaphysical substance. The simple decision to adopt this pattern and at first extrude it vertically as the figure-ground outline of main walls for the project, ultimately translated to an absolutely rigid tectonic organization that is here optimized for the operational question of displaying sculptural works. If the overall planar diagram is composed of five squares (out of a nine-square archetype), the central square houses all vertical movement while the other four are freed as usable space. Thus, individual serviced and servant zones are absolutely legible in the organization of the edifice, yet remain spatially intertwined with each other and seamlessly integrated into a single spatial experience. The complex is topped by an independently operated cafeteria taking advantage of three accessible terraces at various levels and offering views to the archipelago as well as the rural context.

Massing: The building was intended as a paradigm for a small-scale museum that relates to its context through its five individual yet identical cubical masses (four freestanding wings and the higher center-piece). Vertically, the central prism, the service core and central segment of the planar cross, starts to emerge and reveal itself as a visible and distinctive volume, as a lighter crown while the building reaches its top and ultimately terminates. A light-frame timber structure makes this taller central shaft readable to the exterior offering unique cross-views. All terraces are accessible and become alternative destinations in lieu of interior galleries towards the apex of the structure. In that way, the peak of the building is both experientially and architecturally animated. Through this top transparent lantern sunlight beams deeply into the building center, also made possible due to the continuously shifting levels.

Wall Assembly + Exteriors: The tetraskelion helicoids, the four segmented and bending walls of the plan, evolve into an elaborate masonry system of alternating voids and solids set on a regular grid. The exterior impression is a subdivision of the wall perimeters into openings and opaque panels of equal length and full-floor height. The pattern shifts at each level therefore the solid/void pattern is also evident in the vertical dimension. In this light, the rigid original geometry of even brutalist oeuvre, while maintaining its initial volumetric scheme, is then fully evaporated and dissolved into distinct repetitive elements; into planes; into a systematic pattern of shadow and light reconstituting the notion of a beehive, while also being true to the modernist ‘slab versus wall-panel’ visual subordination. The repetitive openings feature active sun-shading systems, incorporating shades and mainly wood shutters in the exterior. The intention is to maintain continuously direct eye contact with the archeological site beyond, the excavations and the local topography and landscape while not sacrificing the display qualities of interior space.

Siting: In plan also, the vertical void between the four tectonic entities, i.e., the four individual segmented walls, is sealed by a continuous vertical glass surface that seals this widened slit. These glass inserts are understood as four large-scale reveals in-between the wings, identifying the entry points that operate in the four directions and are accessible from the exterior at different levels due to the steep topography.

Access: The building is planted onto the steep slope with no further adjustments; as an object in an untouched and unmodifi ed found terrain. The extremities of the natural topography allows for exit/entries at multiple levels, offering a simple yet critical answer to fi re regulations and allowing for multiple fi re egress routes, thus avoiding requirements for individual fi re compartments or additional service/escape stairs.

Movement Pattern:Individual stairs in-between levels remain open yet are visually detached from main gallery spaces. This split-system revolving around a central axis of vertical movement constitutes an absolutely clear pattern of organization that at one hand imposes a slower speed of circulation for visitors and on the other end accommodates and eases fast ascending as νecessitated for practical reasons. Distances from one stair to the next (and the introjections of the individual gallery modules that mediate) mean that ultimately, vertical circulation is not felt as an act separate from the visit of exhibition units, therefore any vertical division of the building into individual floors and sectional entities, is evaded: visitors circulate flawlessly and move between levels without experiencing the conventions of a normative building. Each full circle of vertical movement (traced in plan) translates to two floors of height difference. The center point, the heart of the plan, is occupied by a single square-shaped glass elevator that features four entries/exits and therefore serves all levels from each of its sides. This central lift is accessed through corridors linking to each fl oorplate and running in parallel to the stair system. It is absolutely feasible, for the physically restrained, to move from level to level by elevator only, following a pattern of movement closely resembling the walkup path; the architectural scheme is however meant primarily as an indoor pedestrian stroll.

Exhibition Concept + Interiors: In the interior, impressions are reversed: The increased wall thickness that normatively connotes stone masonry is entirely reworked into a system of display niches for three-dimensional objects, artifacts and fi ndings. Vases, idols, standing sculpture, and architectural parts of buildings are here aligned at a regular grid, each at its separate closet. The objects under display are thus protected from visitor crowds, and are separated into entities that compose a sequential, linear narrative, encompassing the entire building through all levels. Closer to the center of the building, at the circulation core, the niches are fit for smaller objects, becoming half-floor tall, as individual building wings intersect, interconnect and interweave. The actual poché of these thick yet hollowed walls is finally minimal; building organization is absolutely transparent, thus imposing a very demanding architectural and technical resolution. The real poché is consistent throughout, as thin linear dashes set perpendicularly to the façade. In that way, the circulation pattern becomes self-evident: it follows the poché through all levels. As an effect of this rigor, the structural scheme is unexpected: an intricate iteration of the balloon-frame type; of metallic elements, steel posts and beams in a light-gage steel system with supports coinciding with the step of the façade grid. Exhibition spaces are units repetitive and thus identical in terms of size and tectonics, only the orientation and location within the context changes. Focal point of the interior is the three-storied cubical void that emphasizes views towards the infinity of the blue sea.

Factoids > Property Size: 8180 m2. Total mixed area of building: 2780 m2. Sum area of three accessible terraces: 390 m2. Building footprint area (figure-ground): 500 m2. Total number of individual gallery units: 15. Average net size of gallery unit / level: 120 m2.

Credits: Aristotheke Eutectonics – Office of Architecture, Research and Design. Design, texts, renderings: Aristotelis Dimitrakopoulos (A.Ph.D). Associate: Froso Vetta. Drawings: Vaso Gkioka, Marina Antolović. Angela Giannakopoulou, Nicol Karambela. Axonometrics: Giacomo Bernardi. Collaging: Maria Roussaki, Ivana Bosnjak.

Πρωτοθήκη: Κτίριο αρχαιολογικής συλλογής και γλυπτοθήκης, Τήνος, Κυκλάδες.

Το έργο αποτελεί υποβολή σε ιδιωτικό διαγωνισμό με πρόσκληση για το σχεδιασμό μικρού μουσειακού συγκροτήματος με έμφαση στην έκθεση τρισδιάστατων ευρημάτων και γλυπτικών έργων. Η οργάνωση της κάτοψης βασίζεται στο πρότυπο του τετρασκέλιου, αρχαίου συμβόλου, Κυκλαδικής εκδοχής του αρχέγονου σταυρού, και γεωμετρικού αρχέτυπου του λαβύρινθου. Συμμετρικό και περίκεντρο, το τετρασκέλιο αποτελεί σύνθεση τεσσάρων όμοιων πτερύγων: καθεμία περιστρέφεται γύρω από τον ενιαίο κεντρικό άξονα του μοτίβου και αναδιπλούται στο άλλο άκρο της. Τα τέσσερα ελικοειδή αυτά σκέλη, ως συντετμημένοι και στρεφόμενοι συνεχείς τοίχοι σε κάτοψη, έχουν αναχθεί σχεδιαστικά σε ένα τεκτονικό σύστημα εναλλασσόμενων κενών και πλήρων επί κανονικού καννάβου. Στο εσωτερικό, το επαυξημένο πάχος των τοίχων που συνήθως συνδέεται με το πρότυπο της πέτρινης λιθοδομής, έχει σχεδιαστικά ανασυγκροτηθεί ως καινοτόμο σύστημα εκθεσιακών κογχών για τρισδιάστατα αντικείμενα και ευρήματα. Όλες οι κτιριακοί περίμετροι αγκαλιάζονται και περικλείονται από το διάτρητο πέπλο των εκθεμάτων, ένα κατακόρυφο μωσαϊκό έργων τέχνης, την αιτία και λόγο ύπαρξης του κτιρίου. Σε τομή, τίθεται διαφορά μισού ορόφου μεταξύ όλων των συνεχόμενων επιπέδων βάσει κεντρομόλου και σπειροειδούς σχηματισμού, του διαγράμματος της έλικος, αντιληπτό εδώ ως ανοδική κατακόρυφη κίνηση περί ενιαίου άξονα. Οι επισκέπτες περιπατούν κυκλοτερώς, μεταβαίνοντας με σύντομες κλίμακες από επίπεδο σε επίπεδο απρόσκοπτα, ενώ έτσι αποφεύγεται η συμβατική δομή διαχωρισμού ενός κτιρίου σε μεμονωμένους ορόφους.

Στοιχεία Έργου: Επιφάνεια οικοπέδου: 8180 m2. Σύνολο εμβαδού εσωτερικών χώρων: 2780 m2. Επιφάνεια τριών προσβάσιμων δωμάτων: 390 m2. Επιφάνεια περιγράμματος κτιρίου έδαφος: 500 m2. Αριθμός χωρικών μονάδων εκθεσιακής χρήσης: 15. Μέσος όρος επιφάνειας χωρικών μονάδων: 120 m2.

Αριστοθήκη Ευτεκτονικής – Γραφείο Αρχιτεκτονικής + Σχεδιασμού. Μελέτη, κείμενα, τρισδιάστατες απεικονίσεις: Αριστοτέλης Δημητρακόπουλος (ΑΦΔ). Συνεργάτις: Φρόσω Βέττα. Σχεδιαστές: Βάσω Γκιόκα, Άντζελα Γιαννακοπούλου, Marina Antolović, Νικόλ Καράμπελα. Διαγράμματα – αξονομετρικά: Giacomo Bernardi. Φωτογραφικά Κολάζ: Ivana Bosnjak, Μαρία Ρουσσάκη.

Archisearch - Primiteca Antique Collection & Glyptoteca [Aristotheke Eutectonics | Αριστοθήκη Ευτεκτονικής]

PRIMITECA ANTIQUE COLLECTION & GLYPTOTECA [ARISTOTHEKE EUTECTONICS | ΑΡΙΣΤΟΘΗΚΗ ΕΥΤΕΚΤΟΝΙΚΗΣ]

Archisearch - Diagrams, Primiteca [Aristotheke Eutectonics | Αριστοθήκη Ευτεκτονικής]

DIAGRAMS, PRIMITECA [ARISTOTHEKE EUTECTONICS | ΑΡΙΣΤΟΘΗΚΗ ΕΥΤΕΚΤΟΝΙΚΗΣ]

PRIMITECA ANTIQUE COLLECTION & GLYPTOTECA [ARISTOTHEKE EUTECTONICS | ΑΡΙΣΤΟΘΗΚΗ ΕΥΤΕΚΤΟΝΙΚΗΣ]

Archisearch - Concept Reference, Primiteca [Aristotheke Eutectonics | Αριστοθήκη Ευτεκτονικής]

CONCEPT REFERENCE, PRIMITECA [ARISTOTHEKE EUTECTONICS | ΑΡΙΣΤΟΘΗΚΗ ΕΥΤΕΚΤΟΝΙΚΗΣ]

PRIMITECA / ANTIQUE COLLECTION & GLYPTOTECA / ARISTOTHEKE EUTECTONICS

RELATED ARTICLES

Casa Castelar in Madrid, Spain | by SOLAR

Three Peaks house | by Twobytwo architecture studio

Hotel Hello in Plovdiv, Bulgaria | by Simple Architecture studio