Museum of Ethnography

The Ethnography is a story, the diary of a journey, and of all that is wonderful we can be in the ‘get in touch with different populations and cultures. The healthy attitude that pushes the man to discover himself and others has made it so that every expedition, hiking, military campaign he could to treasure discoveries and knowledge of other cultures and places of natural habitat in a little while strangers. On the concept of travel and time and curiosity will focus our research. CONCEPT Citing Zeno, Fermat, and other prominent thinkers and scientists, we start from the paradox for which the shortest distance between two points is not necessarily a straight line. This paradox serves us to say how useless stubbornly pursue the shortest path. To this point our digression on the assumption that the common concept of distance can be questioned in favor of the way it covers the same. Such is the interest in the way that all of the secondary becomes the goal … getting lost is the real magic. That’s why our story will go to places by curious’ look bleak and frightening, to open in large “cabinet of wonders”, the content fantastic and fabulous, hard to understand, at the limit of reality. Here we would like to bring. The image that we want to give the body the building is that of an intricate system of pathways similar to a termite mound, a beehive, an image of a frenzied activity punctuated by pauses due to ‘open up the ventricles which mean that visitors can slow down its path and realize that he himself is the subject of the’ interest of passers‐by.

SITE RELATIONS The project area is located at the south east of the city park. This position requires consideration of the boundary between the park and the city and for this reason that our building will characterize this boundary. A stained glass barrier between the urban and the natural park. The intention is to create a balance between the inevitable need for costrure along the border, and the skyline of the park that characterizes the site. For this reason, the “barrier” will be a window, a window out of scale that allow you to enjoy different views of the park, and to create new ones. The building will mark this physical boundary between green and cerceherà city but to do so in order to “mix” these entities are so different.

OPERATIONS AND TECHNOLOGY • theca • paths • rooms THECA Conceived as a real machine the theca has the dual function of regulating the temperature and treat the air. The structure of the theca is composed of a metal cage which has a structural function. Given the great height, about 25 metres, it was necessary to create a suddivvisione internal structure, dividing it into two aisles, a thickness of about one meter ’s another 5 meters. Both aisles are enclosed by two glass boxes with one side in common with shutters that can allow communication between the two bodies of glass. The first body has a barrier function sensitive to ‘external environment will function display case and at the same time absorbing surface. The second body is designed to accommodate the deployment location of the museum, through a triple series of ramps and walkways, both of which can offer a comfortable path largely for people with disabilities. Along the way visitors to the museum will be able to have different points of view of both the city and the park, getting themselves both spectators who actors of a hectic life that takes place inside the building, seen from the outside as one “split “of social life. This dual perception of the spectator‐actor makes an interesting perception of the building, to the childish and tender image of people greet each other through a glass, the idea of being able to see the other mediated by the physicality ‘of this barrier is physical, but however transparent. Technologically these two glass cases adjacent have a very specific energy function, as already mentioned this double skin has the function of heat through the winter solar radiation, creating this buffer zone can exchange heat with the adjacent rooms. A different situation summer, for which the utility of the first theca is to trigger convective motions in order to “pull” the air outlet from the park and enter the indoor environment, purifying and cooling it at the same time. The air turbulence generated will be channeled through the gate in the second shrine in order to mitigate this air flow, the remaining flow will be expelled naturally through the gates placed at the upper end of the first theca, passing through the turbines, capable to regulate the flow and generating energy in doing so. The same system will be placed at the base of the first theca, exploiting the flow of incoming air and ensuring a continuous movement avoiding condensation phenomena also harmful to the imposing glass surface. The above glass surfaces will house solar panels so you can take advantage of the natural exposure of the case, these panels placed slla glazed surface with a alternanaza such as to perceive outside a kind of bar code will have the dual function of solar shading. The glass surface of the second glass case will instead be provided with digital media in a position to provide projections is visible by users outside of the museum by passers‐by, a phenomenon that will make the museum also active at night, creating the conditions for temporary cultural events.

PATHS The help of the case to focus much of the public path has made it to be able to avoid interference with paths useful to the technical staff of the museum. In fact, we have chosen a horizontal distribution functions for the exhibition , while technical services and stores sometimes are stacked in a vertical distribution , with the exception of technical services for entire floors of the museum there . Particular attention we wanted to provide the top floor , as there are functions in educational and commercial, this in order to make it even more interesting walk around the museum. The rest of the museum functions is spread over a huge ” gallery ” along which displace some smaller functions and for which there is provided a turnout that disturb the journey. The actual museum rooms , which we call rooms of wonders, with a clear reference to the origin of ethnography , known for Wunderkammer , fit on these balconies , in a seemingly disordered creating a fragmented image of the building organism that seen from the north elevation . This fragmentation creates the possibility of views and perspective views towards the park that make it more interesting museum that alternates between exposure and nature.

ROOMS The ” rooms ” are covered by a shimmering metallic skin to blend in with the surrounding nature , the skin is perforated with varying degrees of visual permeability , so we can also guarantee complete anonymity, especially in the rooms where they will set up exhibitions permanent. In other cases, the visual permeability allows you to never lose contact with the park. The glass surfaces towards the north are characterized by glass mirror , in mododa ensure a visual permeability from ’ inside to the outside , while the park is perceived by the reflection of the same. As already mentioned, the distribution of functions is reported to ’ outside in different ways: from the northern front , the park , you can see a fragmentary composition given by random , the only unifying element is the metal skin that covers a large part of this facade. Often these rooms are raised off the ground by denouncing the only concrete structure and creating a series of stories stilts often invaded by green , towards the east side of the park bends entering into the first basement creating another park underground useful to illuminate features of course open to the public. From the south , the city , the geometry is pure, a glass wall 25 meters high and spanning over 100. The perception of interior space is visible through ramps , depending on how the light hits the glass case are alternated moments of transparency in moments of reflection , the real internal distribution you begin to read at dusk and gradually emerges more and more the ’ coming of night and the light of a hectic life all inside of the museum. This was the result we wanted to achieve, a building characterized by two distinct faces, but in fact is the geometric definition of a path made of different times, full of dynamism and stasis, caracterise from monolithic structures suspended off the ground with the aid of a concrete structure on stilts and more slender structures of steel and glass that identify the connections.

SUSTAINABILITY Sustainability or Sustainable development is a complex term often used in an imprecise way. In its most general definition it can be defined as “development that meets the needs of the present without compromising the ability of future generations to meet their own needs” (the Bruntland report, 1987). But in order to implement sustainability in a project design one has to find a way of defining the term further. In this project the team started by doing a broad analysis looking at the general global issues regarding sustainability through the definition given in the Nature article; Planetary Boundaries. This gave some critical insight in the global questions that could then be related to Budapest and the site. Further the site was examined in regard to hydrology, ecology, social‐ and architectural values as well as cultural heritage in order to further inform the design process.

BREEAM In this proposal BREEAM was chosen as a way to provide that definition and scope of sustainability. Since a museum building is a so called non‐standard building type and must undergo a scoping and tailoring exercise to facilitate a BREEAM assessment and rating, the exact scope of a review is hard to foresee. Even so the team did a broad preliminary review to ensure that the proposal will have a very good chance to achieve the level Excellent.

GOALS Since the BREEAM‐system rather tell you what to look at rather than what to do a series of project goals was defined. The aim of the goals was to provide concrete list of proposals that could be implemented into the design process. They also served as a checklist in order to evaluate the proposal during the design phase and make sure nothing was overlooked. The goals were divided into four categories in order to narrow down the range of questions and make it more manageable. Each category was then used to synthesize the input form the different parts of BREEAM.

CONCEPTS In order to reach the appointed goals a series of concepts are defined. Concept is a collective name of a series of tools to solve one or more of the goals. Some concepts work by themselves and some are linked together. E. g. the implementation and design of a Storm water management concept will have a big impact on Micro climate‐, Biodiversity‐ and Recreation concepts.

TOOLS The final step is to implement the tools palette. Tools are specific objects or ideas that can be built or implemented in the design in order to fulfill the concepts and thereby reach the design goals. Some tools will have an impact on several concepts and can be very valuable in that aspect. A tree for example can be planted in order to provide en esthetical value to the design. However it will at the same time provide shade and cooling impacting the microclimate. It will also provide habitat for animals and other plants and thereby strengthen the biodiversity. This is the strength of using natural systems to solve the sustainability challenges in the city!