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SARA HILDEN ART MUSEUM

Location: Tampere, Finland
Project type: Culture
Client: Sara Hilden Art Museum
Project year: 2021
Construction area: 7500 m²
Land area: 4000 m²
Status: International competition, Participant

Project team: 
Kemal Bal, Nil Bıçak, Erol Kalmaz, Kerem Bostan, Ergin Kalmaz, Demet Satı, Dilan Özdemir, İdil Bayar,

 What the place says:

The project area, with the factory and support structures, is a typical riverside example of the European industrial revolution. The first factory started production in 1823, and the campus enlarged by time with the articulation of new structures according to its spatial needs. Although the industrial campus, which is clustered on both sides of the river, with its factories, dams, schools, kindergartens, hospitals, libraries, palaces and churches was born in the industrial age, the structuring pattern shows a medieval character. It is passed from courtyard to courtyard by passing under the buildings at street level. The structures bend over these passages and intertwine. These complicated clusters of spaces are covered with complex roof patterns.

 

Street Level and New Passage

The design focuses on the ground level continuity provided by under-building passages (thresholds) that are formed over time in this early industrial campus. The passage from Finlaysoninkatu to Finlaysoninkuja is the threshold of the transition from avenue scale to street scale. The passage from Patosilta, which cuts the blue of Tammerkoski, to the green of Kirjastonpuisto, is a threshold from the river to the landscape. The Kelloportinkatu passage opening from south to north, with its delicate iron columns, and the jack arch running in the opposite direction of the walking direction, is the threshold of instant atmosphere change from sun to shadow. All these thresholds have come up with the idea of creating a similar value in the ground level of the design. A new route has been proposed between the Palatsinraitti bridge and Finlaysoninkatu street. This route joins the axle from Nasi park in Wilhelm Von Nottbeckin park and passes through the project area and reaches Finlaysoninkatu. This new route divides the museum into two parts at ground level. On one side of the passage are functions such as a cafe and a gift shop that can work even when the museum is closed, while the museum entrance and foyer are located on the other side. (Under the necessary climatic conditions, these two function clusters have been ensured to work together in a single closed space.) Another determinant of the ground floor space boundaries is the transition route to the construction of the factory area of ​​Finlayson, which is an important focus of the socio-cultural life of the city around the project area. The eastern volume of the ground level is retracted towards this route and the western volume to open towards Kuuinkaankatu. After the entrance, information desk, cloakroom, café, gift-shop, staff entrance, art collection entrance functions, which have to connect with the street, are arranged at the ground level and the remaining area has been deprivatized to create an inviting openness. 

Six trees in the middle of the project area have been preserved in the center of the route leading to the passage. Basement track is determined within the boundaries where trees will not be damaged.  The volume of the first floor, which expands the entire project area between Finlaysoninkatu and the park, brings the trees into the focus of the open plan scheme by surrounding these trees.

 

Neighbors and the Museum

The mass language of the design was determined by the tension between the clearance height of neighboring buildings and visibility in the urban silhouette. The first floor mass, which covers the partial spatialization determined by the ground, passage and other routes, starts at the elevation of the first floor molding of the building on the east side and ends at the roof level of the Finnish church which is on the west. Brick was preferred for the facade material of this first floor mass surrounded by buildings with brick facades on the east-west and south facades, in order to maintain the urban texture at eye level.  The contemporary face of the building has been shown by preferring the spaced array when placing the brick material depending on the functions of the spaces it surrounds. The first floor mass rises above the blue mosaic "mushroom shaped columns" that covers reinforced concrete. 

On this first floor mass, which finds its place according to the clearance height of the surrounding structures, the main exhibition volumes are added to the mass by retracting on the east and south facades. This high ice cube, which will be visible in the urban silhouette, displays a massive façade character as it contains introverted exhibition volumes that do not need natural light or want to receive light indirectly. During the daytime, it joins the urban skyline as a white ice cube on a red brick bed. At night, it lights up like a lantern with the lighting system behind the semi-transparent exterior material. At the roof level of the brick mass, the areas outside the exhibition mass have been designed as a landscape area with various viewing potential.

 

Garden of the Palace and Museum

The museum builds a strong relationship with the Wilhelm Von Nottbeckin park, thanks to the new passage. At the ground level, both the cafe-gift shop space and the entrance-foyer area open directly to the park. While the cafe and gift shop are spread over the garden under tall trees on one side of the passage, the foyer has an outdoor amphitheater that locates naturally on the other side. In the upper levels, an inner terrace axis is designed along the entire facade on each floor. The corridor between the vertical circulation, fire escapes, elevator, storage space and toilet functions and the exhibition spaces opens to the facade corridor which is open to this garden view through some passages. These corridors, unlike the closed surfaces of the exhibition spaces, reach fresh air and natural light at each floor and open to the tranquil landscape of the palace garden. They are intermediate spaces that provide a sensual and spiritual purification during the museum tour. In this context, the design shows a transparent and interactive character on the facade of Wilhelm Von Nottbeckin park in the north direction as opposed to the massive appearance of Finlayson's facade.

 

Service

In the design, the west facade was preferred as the entrance of the loading space. The artwork acceptance area was designed after being checked by vehicle maneuver simulation. All procedures regarding collection delivery and pre-exhibition are set up on the basement floor. Natural light is provided to the working areas in the basement with a light shaft from the ground level. The collection elevator is constructed continuously between the artwork acceptance point, the basement floor and all exhibition areas. Personnel rooms, accessible from inside and outside, were located on the mezzanine with an independent staircase and elevator. while the technical areas were positioned in the basement and rooftop. Emergency service niche is located on Finlaysonin street facade.

In the design, the southern part of the project area has been designed as a landscape area where access to the planned underground parking system is provided and the museum drop-off point is arranged.

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