Technology

Flexibility, extensibility

Building .is both an intellectual and a material process. Where as the intellect- planning and reshaping-is constantly astir, the materials remain fixed in the form imposed upon them. Present-day building techniques have for the first time made it possible to keep pace, to a certain extent, with the ever-acceler- ating operations of the human mind. There undoubtedly exists a relation-the origins of which remain unexplained-between the stability of a building, that is the expenditure of energy required to effect the transformation in question, and the duration of human needs, that is the validity of the form established. On the one hand, technology has the task of ensuring that the currently required specifications are such as to provide ‘workable material’; on the other hand, it is at the same time áhvanced technology which has stimulated the intellect to carry out unending modifications and experiments. It is precisely in the field of museum construction that a new philosophy has developed con- currently with the new operational methods available to architecture, including the latitude they afford for imaginative innovation. In the planning of each particular museum, it is accordingly essential to clarify at the very outset whether, and if so what, modifications are necessary and what limits can be

The reasons for this uncertainty have already been indicated in the foregoing chapters; in the present chapter we shall take them for granted. They are of three kinds: (a) practical, relating to the exhibits themselves, and involving for example, the extension or modification of the collection (purchases, donations, functional extension); (b) conceptual, deriving from a reappraisal or a new approach (involving new correlations and focal points); (c) technological, relating for example to new possibilities of conservation or interpretation, including architectural possibilities (all too easily forgotten). The considera- tions which act as a check upon unbridled extension include: (a) the scienti- fically proven limit to man’s receptivity; (b) the alienating effect and the in- human scale of major complexes; (c) the need to anchor the object in some spatial or temporal continuum. The concept of an infinitely expanding museum is as frightening as that of a hypermarket stretching on and on. The primary phenomenon of locality, rooted in the philosophical consciousness, must be taken into consideration and the stability it implies must be brought step by step into a dialectical relationship with the dynamics of development.

The properties that make it possible to modify the function of an existing space to meet a new requirement-which must be organically integrated with the over-all utilization of space-are adaptability and extensibility. These two terms can be distinguished as follows: a building is considered (a) adaptable if it is specially designed to allow its functions to be modified with a minimum of technical resources and organizational work; (b) extensible if its design principle is such as to enable structural uniformity to be preserved as the building grows. (Fig. 14~).

Adaptability and extensibility are thus inseparable; in other words, a coherent extension of the museum may be accompanied by a modification of the uses to which it is put. The following possibilities may accordingly arise: I. The museum can be enlarged without any major modification of the existing

building. For the purpose of this relatively simple process of ‘adding on’

I drawn.

2 3 8 Technology

146 Extensibility. Simplified ground plan: (a) continuation of existing forms and structures is not to be recommended unless the building work can be done quickly and the over-all architectonic effect has been carefully structured in advance; (b) a new building on the reserved site.

it is necessary merely to reserve additional building land and to justify the appropriateness of the extension in architectural terms.

2. It must be possible to enlarge the museum in such a way as to allow its content and structure to be reorganized and integrated into a unified whole; in other words, the new additions must be properly planned so as not to disrupt existing relationships, while the exhibits are rearranged and re- attuned to their new setting.

3. The museum is not enlarged, but the arrangement of the exhibits is con- stantly modified so as to allow the focal points to be shifted and new rela- tions to be established between the exhibits and their setting.

W i l e in the first case a new, independent structure can be selected, in the second and third cases an over-all structure is required which must be suffi- ciently neutral and adaptable to lend itself fully to the modified uses to which it is put.

Moreover, a basic distinction must be drawn according to whether these modifications affect the museum as a whole or only sections thereof. For example, the different sections of the display area are more or less prone to change depending on whether their content forms a finished whole or is in process of development. The decision reached on this question is of consider- able bearing, since it has the effect of diminishing or extending the range of architectural possibilities. The problem of adaptability is one that dominates modern architecture as a whole; in the case of museum architecture, however, it is particularly acute, since: (a) the future uses vary considerably and are difficult to anticipate; (b) requirements with respect to space and light are particularly high as regards both the public and the exhibits.

Examples of possible forms of spatial modification and extension are as follows:

I. A new collection forming a coherent, independent corpus is added to the existing collections-or made up from them, as they grow in size-without impairing the structural integrity of the old building. The link-up with the existing circuit must proceed either from the central area of access or from one of the main arteries of circulation; a reorganization of the traffic paths in the old building does not necessarily entail the alteration of its structure.

Flexibility, extensibility 23 9

To house the new collection, the design of the old building may be extended without interruption, though in cases where the extension operation is spread over a number of years, such a solution is fraught with difficulties, as the former design is generally antiquated and the building materials are no longer obtain- able (differences in ageing, and so forth). Alternatively, the architecture of the new building may be designed to contrast harmoniously with the old building (Figs. 146~ 147).

2. Provision is made at the initial planning stage for the autonomous growth of the specialized departments which must remain in the same relationship once and for all. When the content of the future additions is more or less known beforehand, the extension can be planned in several stages. The main difficulty lies in the fact that a central or radial system offers the best guarantee of easy access; on the other hand, the nucleus round which extension develops must itself be able to develop consequentially. In other words, the advantage of a centralized entrance area must be weighed against the resulting check upon the growth of the centralized installations (information, communication and activity sectors accessible from the centre). This inevitably restricts the extensibility of star- and fan-shaped layouts (Figs. 148, 149).

The less centralized the layout, the easier it becomes to effect an extension of individual sectors. A linear ‘distributor belt’ offers a greater number of starting- points and more independence vis-à-vis the ground-plan. This central path can be either rectilinear (for example in the comb layout) or annular (as in the chain layout). The individual sectors, whose design will reflect the nature of their respective holdings, can be planned and extended independently. This is a point of major importance for the museum as a whole; however, it does imply that the pavilion-type sectors will remain fixed and will not subsequently encroach or overlap upon one another. Such an assumption is not always a very safe one (Figs. 110, 1~1).

3. The focal points and scale of the future growth of the collection cannot be extrapolated from the existing situation; in other words, a major shift in the use made of the existing premises may possibly occur. In such a case, a structure must be chosen that is as uniform and neutral as possible, designed to answer variable requirements, and that can be enlarged as the need arises-like an

147 NEW MUSEUMS BUILDING, Cambridge. A building complex which is divided into sections can be built in separate stages in a way which is technically as well as visually acceptable. Architects: Arup Associates.

148 Extension of a building with a clearly defined centre is only possible to a limited extent as the central nucleus itself cannot be extended in an architectonically convincing manner. The figure shown here is a five-pointed star. Simplified ground- plan.

,

240 Technology

I49 JURONG SINGAPORE SCIENCE CENTRE. Extension in several stages. Individual extension of the various departments. Site-plan: I. Main entrance; 2. Public and student entrance; 3. Staff and service entrance; 4. Control gate for ecological zone and V.I.P. entrance; 5 . V.I.P. entrance; 6. Teachers and staff entrance; 7. Workshops entrance; 8. Loading and unloading area; 9 . Life-science gallery; IO. Science and

. technology gallery; I I . Bridge; I 2. Work- shops; I 3. Special exhibits gallery; 14. Void; I 5 . Cafeteria facing ecological zone; 16. Future extension of the gallery; 17. Future courtyard; 18. Future extension of store; 19. Park for 150 cars; 20. Park for IOO motorcycles; 21. Future extension of car parks; 22. Staff car park; 23. Ecological *! zone; 24. Jurong Lake; 25 . Boundary line; 26. Future road to town centre. Architects: Raymond Woo & Associates.

IJO Extension of a comb-type system. A linear axis of distribution makes it possible to extend individual areas (to increase their contents) or to add on other sections without having to keep to a fixed system of arrangement. Simplified ground-plan.

III Extension of a chain layout on a site reserved for museum use from the outset. Independent design (or extension) of individual buildings whose style matches their content: I. Exhibition, old; 2. Lecture room, new; 3. Exhibition, new; 4. Research, new; 5 . Catering, new; 6. Administration, new.

24 -

26

industrial plant-using the same elements at different intervals of time. The system of presentation is made flexible so that it can be adapted as appropriate in line with the structural extensions. The crux of the problem is that the technical constraints-particularly the regular repetition of the elements as in a crystalline aggregate-may be detrimental to the free-ranging quality of the presentation. For this reason, it is advisable in every case to space out the supports at as wide intervals as possible and to design adjustable ceilings. With this system there are no visual difficulties about subsequent extensions (even after fairly long intervals of time) provided one has a fluid ground- plan comprising projections and recesses (Fig. IJZ).

4. The growth of the collection is contained by a process of selection and rotation. From the architectural point of view, extensions take place within a pre-established framework providing functional adaptability over the entire area (‘open plan’). The advantage of this over the crystalline structure (see 3 above) is that all the load-bearing pillars can be located outside the ‘main stage’, in or in front of the outside wall of the building, thus making available a ‘landscape, which can be adapted at will. Should an extension nevertheless prove to be necessary, the approach taken should be that outlined in our first example, since the system of supports is located on the periphery of the build- ing and forms a self-contained whole.

j. In the case of continued growth, the exhibits can be split up and divided among smaller museums in the region in question, for example in newly-built satellite towns. This gives the subsidiary museums the opportunity to fill the ‘cultural vacuum’ created by new housing estates or which may exist through- out a particular province. Since there is not likely to be the same shortage of land in such newly-planned estates, these satellite museums can be incorporated into a wide-ranging programme of environmental development for cultural and leisure purposes. A further advantage is that they will not be encumbered with special sectors such as major storage rooms, or research and administra- tion departments; in addition to display areas they will, however, need premises for practical and other activities, workshops and amenities for visitors, if they are to fulfil their task adequately. This method of extension can also be com- bined with the process of ‘rotation’, which has already been discussed in its various aspects in the chapter concerning conservation.

Flexibility, extensibility 24 1

It should be pointed out once more that we are dealing here again with the extension of large museums according to the principle of decentralization and not with museums relating to a particular site whose establishment and operation are governed by quite different factors.

6. The extension of the special (non-display) sectors or areas gives rise to Werent problems to those posed by the display area in that the framework within which they must be tackled is not by and large very flexible. Given the specific spatial qualities of these areas, it is very difficult to make any change in the use to which they are put. The trend towards expansion is limited to the individual sector and to the development of its particular functions. This autonomy of development makes it advisable to separate the premises devoted to practical activities, lectures and classwork, rest and refreshment, etc., from the display area as such and to develop them as separate units, with their own architectural forms which may serve to enhance the rest of the museum by providing a contrast.

When the special sectors are housed predominantly in the centre of the museum complex, provision must be made at the planning stage for adequate reserve space into which to expand. It must also be taken into account in this respect that a subsequent raising of buildings located within the ground-plan is fraught with major technical difficulties and that non-built-up areas must accordingly be kept free from the start.

Should the special sectors continue to expand, it may be found expedient to

I. By erecting on the available building plot self-contained, extensible pavi- lions, and at the same time grouping together the presentation (Figs. 1j3,

2. By foregoing all idea of spatial proximity and siting the special sectors in another area of the town or of the region, where they will be able to develop freely. This solution could be adopted whenever the building possibilities of the plot have been exhausted. It should, however, be stated that such a

envisage complete spatial separation, which can be done either: I Jz Extension of an ‘open plan’ system based on square units. Simplified ground-plan.

1/41.

b ‘I3 WESTERN AUSTRALIAN MUSEUM, Perth. Building offering great flexibility in the of the premises, although optimum adaptation to a particular function is difficult.

use

242 Technology

I I 4 Extension by establishing a ‘branch’ in a different area of town. Plan of siting.

IJJ MUSEUM OF NATURAL HISTORY, Tokyo. The research department is an extension built approximately three miles from the old museum.

solution means the end of the pluralistic, integrated museum as outlined in the foregoing chapters (Figs. IJJ, 1~6).

In all considerations with regard to extensibility, a basic distinction must be drawn between those relating to content and those relating to technical factors. The collection can to a certain extent grow ‘organically’ through the incor- poration and exchange of ‘cells’. By contrast, the building process is always one of addition, in which new ‘crystals’ accrete to the old structure. Even the so-called flexible building remains stable and limited as a construction, although lending itself to a variety of different uses.

It is also to be noted that a master plan must be developed at the outset with a view to possible future expansion of the museum (however unlikely this may at first appear); such a plan should not go into too much detail, but should at least establish the broad outlines of future extension.

It may further be noted that the various alternative layout systems are to a greater or lesser degree conducive to extension depending on how far they are compatible with a ‘neutral’ design. A museum whose architecture possesses a considerable symbolic value will find it more difficult to expand than one with a neutral structure.

sy s t ems of construction

The building of a museum consists in the twin processes of arranging the materials of the collection and ordering the materials used in its construction, the aim being to bring the two into harmony with one another. With the self- confidence which was natural to an age not given to constant self-doubt, as is the present age, earlier museum builders solved this problem with sovereign authority. Our faculty for ‘total recall’ has become so perfected that individual convictions are accorded only minimal importance on the diachronic scale. It is for this reason that museums in particular, whose activities bear upon

. Flexibility, extensibility 243

periods and intellectual spheres that are quite remote from one another, ‘must be on their guard against all rigid formalization of the type characteristic of whatever is constructed. Museum architecture is thus torn between two contrary requirements: (a) it must be as well suited to the exhibits as possible (space, lighting and exhibits all forming a single unit); (b) it must make it feasible to scrap existing units and replace them by others.

If architecture is understood in its strict sense, that is to say as relating to the fixed structure, not the interior arrangement which can always be modified, it becomes clear that it cannot meet both requirements in full at one and the same time. The choice of the construction system will accordingly oscillate within these two extremes, tending towards either a closed or an open system. In order to make clear what are the advantages and drawbacks of these two systems, we shall in what follows present them in the ‘pure state’.

C L O S E D S T R U C T U R E

The closed structure is a self-contained, clear-cut system, such as is (judged to be) best suited to a specific task at a particular moment in time. Architec- turally, it is represented by specific, individual forms, which may be strongly charged with a precisely modulated expressive value. Until quite recently, it remained the sole mode of architectural thought. Not only was it the result of a iertain technical incapacity of past ages; its conscious aim was to formulate its own conception in all matters great and small, and to bequeath it as a legacy to posterity. Similar aims may still be valid today in the field of museum architecture and lead to the adoption of a closed system. Since by its very nature such a system admits of a great number of individual variations, a general technical description of it is not possible. We shall accordingly do no more than illustrate it with a few examples (Fig. 1~6).

The architecture is suited to the chosen system of arrangement (see the chapter on functions) and ideally embraces the object in a differentiated environment (with respect to space and lighting). As each object finds its echo in the architecture, everything goes to favour the dialogue between visitor and exhibit. The psychological effect derives from the definitive character of the constructed (realized) form, whose impact is thereby increased. The spatial dimensions are determined in relation to the object, the constituent architec- tural elements being perceived as primary constructions in their own right; in other words, the vision of the architect is reflected in every detail, right down to the immediate surroundings in which each object is placed. R-evelation of the static forces at work is the most important and most characteristic ‘medium of communication’ at the architect’s disposal. The visual link between con- struction and expression confers a convincing authenticity on the ‘original’ atmosphere of a treasure-house of ‘original’ items (Fig. 117).

Accordingly, the walls and ceilings will be designed so as to ensure their structural harmony with the exhibits, and their static function will be empha- sized. The walls should be designed so that they are both suited to the exhibits and also recognizable as stress-bearing structures, while the ceilings must be constructed in such a way as not only to provide a protective canopy for the exhibits but also to retain, visually, the character of supporting structures. The building materials used in a museum do not serve merely as a back-drop; they are also a determining factor in ensuring its cohesion. Masonry tends to find expression in plane surfaces, steel lends itself best to linear structures, while reinforced concrete possesses the property of linking horizontal and vertical forces in a monolithic block. Thus each different building.materia1 bears a different relationship to the object exhibited. An intractable brick wall, for example, does not respond in the same way as a light concrete wall which can be moulded at will (Fig. 118).

Solid-wall and skeleton construction processes are both quite feasible, depending on the content of the collection. The former provides a subdued,

I J 6 Simplified ground-plan for a closed structure.

244 Technology

r/7 NORTH JUTLAND FINE ARTS MUSEUM, Alborg. Here expressive forms and lighting make the architecture striking, but they also determine the space and presentation possibilities. The ceiling sections are made of a light material and could, theoretically, be changed. Architects: Elissa and Alvar Aalto and Jean-Jacques Baruël.

118

Modular system applied to a concrete wall. WILHELM LEHMBRUCK MUSEUM, Duisbourg

hermetic surface as back-drop, the latter thrusts into the visitor’s field of vision-when it is systematically left visible-supporting pillars and props as massive elements which may detract from the visual impact of the exhibits. Generallg. speaking, the delimitation of space requires that recourse should also be had to light elements whose role is visibly one of jointing and bonding. The closed structure thus tends to find expression in walls rather than in pillars, and the choice of the mzterials already constitutes a certain decision as to the form.

In the actual construction process, conventional techniques tend to be applied, the finishing work being done by craftsmen in a more or less durable form. When the closed structure is used to maximum advantage, flexibility becomes, in principle, of secondary importance. In practice, however, a variety of intermediate solutions are encountered whereby partial modifications are feasible: I. Relatively large, high-ceilinged rooms, as are to be found in old mansions:

experience proves that these allow considerable scope for alterations, since the load-bearing elements are spaced far apart from each other.

2. Alterations involving areas which do not bear any static load, using for example light-weight structures that can be erected on the spot and taken down at no great cost: the advantage of these, from our present point of view, is that, thanks to their jointless, uniform surface, they appear to be more permanent than they are.

3. Commutable sections, for example detachable ceiling panels and inter- changeable transparent or opaque domed roofs.

All in all, the closed-structure system makes it possible to design a complex which is custom-built. The ground-plan and elevation are worked out in

Flexibilitv. extensibilitv 24 s

considerable detail; a direct, optimal relationship between lighting and object is also secured. Lastly, this system affords scope for an architectural interpreta- tion of the collection which is not merely superficial, but penetrates to the very structure of the building (Fig. 1j9(a), (b)).

The difficulty of this conception lies in the fact that the individual relation- ship between exhibit and architecture must necessarily be reflected in a design that is unobjectionable both in static and in functional terms. Since he is also working for posterity, the architect bears a considerable responsibility. There is a great temptation to give free rein to personal interpretations or to take the structural medium as an end in itself. In order to prevent any misunder- standing, it should also be stressed that we are not heie speaking of the creation of a complex reflecting historical development, or of any kind of formalism, but only of a conception which embodies the structural affinity between the exhibit and architecture. Nor is this at all the same thing as over-emphasizing

-- /-----

A I\

‘19 This original design in the form of ascending pyramids was developed to solve the problem of displaying carpets of varying length. Here large carpets can be examined from galleries at various levels: (a) section; (b) model. Design for Government Museum of Decorative Arts, Frunze, Kirgiz Republic (U.S.S.R.). Architects: A. Marin, I. Michailev and B. Revjakin. Engineer: B. Levinstein.

1/9 (It) any particular elements of the building (for example the girders) as ‘structural motives’, as this would run counter to the whole psychology of perception as applied to museums.

O P E N S T R U C T U R E

The open structure does not have as its starting-point the differentiation of functions and the careful study of individual sectors, which are finally inte- grated into an equally complex, architecturally closed system, but derives rather from a general building principle which is made to subsume all func- tions, including those that will become known only at a later date. In order to achieve this diachronic character, it is essential to be able at any moment to

246 Technology

review and readjust the available space in accordance with fixed architectural and technical criteria. As a result, the conception itself is not based upon any particular system of arrangement of the content of the collection, but upon an empty, neutral cube, which ideally should be provided with power supplies only (and the mains and other installations needed for this purpose should as far as possible have no impact on the architecture).

The displays which succeed each other on this ‘stage’ involve predomi- nantly the use of interior design features similar to the wings of a theatre. The requisite unity of space and exhibit is accordingly secured at the decorative level, while the structure proper manifests an attitude which ranges from passivity to ‘tolerant goodwill’. In accordance with the view that architecture is primarily the search for forms that come to terms with the earth’s gravity, no attempt is made to bring the object and the building into harmony with one another-a harmony which is in any case unattainable since all true structures are primarily fixed and can be flexible only secondarily in so far as they can be put to a number of different uses. The relationship between the object and space is therefore necessarily based upon contrast, which is particularly effective in fine arts and archaeology museums, where it can be raised to the level of an architectural principle, while in technical museums as also in ‘museums of modern art it need be emphasized less strongly.

This system makes it possible to match the interior architecture more or less perfectly to the exhibit. By means of lightweight elements which can be quickly put together, it is possible to adjust the spatial dimensions, the mood and colours, as also the lighting-albeit only to a certain degree in the case of natural lighting. In many cases, such an arrangement will prove satisfactory,

.and even highly desirable; it is not suitable, however, in the case of exhibits of outstanding value or aesthetic appeal. The more dynamic the ‘on-stage’ action, the less ‘solid’ must be the wings-not in the sense of their actual fabrication but in their impact as judged from the standpoint of the psychology of perception. For example, forms reflecting historical development cannot be accommodated in a closed system, but can be accepted perfectly well as tem- porary arrangements and aids to interpretation. Moreover, desirable though the establishment of a dialogue between visitor and object may be, in the case of ‘major’ exhibits there is a danger of its becoming non-committal and superficial.

‘Open plan’ designs without pillars

The architectural conception of adaptable ‘open plan’ design is based on broad spans whose downwards thrust, concentrated on as few fulcra as possible, is absorbed vertically. In order to avoid any reduction of the available area, the load-bearing elements are placed in the vertical plane of the external boundaries, or better still, outside the area demarcated. According to the same principle, the trusses can also be situated above the roof, on the outside, in order to free the entire area in the vertical as well as horizontal planes. This approach has proved particularly effective in cases where it is desirable to avoid the visually segmenting effect of shadows cast by beams or girders on a luminous ceiling (Fig. 160).

Where multistorey buildings are designed without pillars but with ceilings which are required to bear a relatively heavy useful load, the resulting sup- porting structures are likely, when the spans involved are considerable, to reach storey height. These intervening storeys can be used for the purpose of housing installations, which may just as well be situated relatively unobtru- sively between the main storeys, since all the lower display areas will in any case need artificial light. This will, however, appreciably detract from the desired vertical continuity (see the chapter on psychology). It can therefore be stated that the ‘open plan’ arrangement without pillars lends itself best to the single-storey type of construction.

Flexibility, extensibility 247

From the functional point of view, maximum flexibility is obtained with a modular system, which operates best when it embraces all three dimensions. There are several reasons for this: (a) the neutral design is quite unrelated, architecturally, to the objects; which are in any case interchangeable; (b) the structure is self-sufficient and can as a result be erected in complete indepen- dence, from the rational and technical points of view; (c) the exhibits’ environ- ment is made up of mobile components which can be handled most easily and rapidly of they are modular; (d) the standard nature of the components facilitates their assembly and fitting in place, as also their maintenance and servicing.

If the modular system is to be used to the best advantage, it is essential that the ground-plan and elevation be split up into units of equal size, and that no ‘odd‘ sections be left over. For this purpose, the following continuous geo- metric systems may be used: the square grid with sub-components (for example, the isosceles triangle) (see Fig. IJZ), or the hexagonal grid with sub-components (equilateral triangles) (Fig. 161).

Modules of other shapes might also conceivably be chosen; by and large, however, they result in over-complex structures.

Even if it is not considered practicable to divide up the whole interior into equal units, an ‘open plan’ design can still be achieved by use of other stereo- metric forms, since the building’s shell is in any case of secondary importance only in the architectural presentation of the objects (Fig. 162).

With this type of design there should also be maximum flexibility in the lighting arrangements. This gives rise to particular difficulties as regards natural light, which should in principle be available at all points and from every direction if one is to get the specific lighting desired in each case. Ideally, therefore, the cube should be ‘glassed in’ on all sides, like an enormous show- case, in order that all possibilities may be left open. At a later stage, the hori- zontal and vertical fields that are not used would be blocked out as conserva- tional or psychological requirements necessitate or regulated by means of appropriate mechanisms. Reference has already been made to the technical difficulties which arise in this connexion. The problem becomes much simpler in the case of artificial lighting, which is available everywhere and can be installed as required. It may therefore be concluded that an adaptable museum, depending on natural lighting, will logically be open on all sides, while the artificially-lit museum will be a closed structure.

With regard to the building materials, reinforced concrete or steel suggest themselves for the main structure, and glass or lightweight materials for the external partitions. The same or similar materials are used for the internal divisions; for such purposes, prefabricated components such as those used in department stores may suitably be employed. Two considerations should, however, be borne in mind, particularly when a high artistic level of pre- sentation has to be achieved: in all assemblies of prefabricated components the joints are apparent, and may detract from the visitor’s aesthetic enjoyment: the contrast with the everyday world or with trade-fair architecture should be preserved.

I 60 Large open space with no pillars. Simplified ground-plan. The wide bays mean that the building can be enlarged in two directions. The large area of available surface ens’ures great flexibility and there is no problem in adapting it to different functions as the quality of the space remains the same. See Figure 121.

I 61 Extension of a hexagonal ‘open plan’ arrangement. Simplified ground-plan.

I 6.2 ‘Open plan’ arrangement in a circulai- area, the boundary walls of which support the whole structure. Inside this neutral space the exhibition can be arranged with a minimum of constraint. Glass may be used in the construction or not, as preferred. Simplified ground-plan.

248 Technology

A system must therefore be devised which avoids these dangers or gives the impression of being specifically designed to serve permanently for museum purposes even though it may thereby lose in flexibility.

Generally speaking, it can be said that all the advantages of the closed struc- ture must be considered as being drawbacks of the open structure, and vice versa. The strength of the open system lies in its rational approach and its sociopsychological trend. The system in question also makes it possible to handle a complete reversal in the organization or conception of the museum. The architectural possibilities are limited to ensuring harmony of treatment, down to the smallest details, and an ‘impassive’ restraint towards the object ‘involved’. The bigger the hall, the more adaptable it is; however, the integrated extension of the building becomes that much more difficult. In other words, this form of building tends to stand on its own, a fact which must be taken into account from the outset.

‘Open plm’ desìgm afforditg the possibìlity of extensìoti

It is possible to regard as an extension of the principle of adaptable ‘open plan’ designs a structure of the ‘honeycomb’ type with units which can be added on progressively as required. The aim is to create an ‘open plan’ area made up of modules, which is nevertheless limited in its all-purpose service- ability by the presence in its interior of stress-bearing elements. Such a system makes sense essentially if it is planned to serve a dynamic function. It is a relatively easy matter to reorganize the entire collection each time a new extension is made. The conditions governing the presentation and the relation-

163 Open structure with variable ceiling and roof levels, enabling side light to reach central areas. Simplified cross-section.

MUSEUM OF THE DEPARTMENT OF FINE ARTS, Panjab University, Chandigarh. Combination of chain layout and open- plan system based on square units. The central pillar of the mushroom-shaped structure poses a problem if the latter has a small overhang. Architect: P. B. Mathur.

IQ

Flexibility, extensibility 249

.I 6J ‘Container-Museum’ I y j 8. Design for a fine arts museum in Antwerp (Belgium). Architect: François Jamagne.

ship between the object and the building in which it is housed are similar to those obtaining in the system outlined above, with allowance for the interior pillars. The open structure has the further advantage of being extensible on all sides and adaptable to irregular or uneven sites. I t is possible to enhance the impression of spaciousness by means Óf a vertical-and possibly itself adjustable-staggering of the different sections, which would have the further advantage of allowing light to enter the upper part of the central sector from the side (Fig. 163).

What was said above regarding square or hexagonal modules is equally valid in the present case. The number of pillars should be kept to a minimum; the broadest spans will occur in the central sector. Mushroom-shaped con- structions have the advantage of having only a single pillar; from the point of view of presentation techniques, however, they are satisfactory only when their overhang is considerable. For construction purposes, a steel or rein- forced concrete frame must be used (Fig. 164).

As a result of weathering, etc., the plastic harmony of the fasade is visibly broken if the successive additions follow one another at considerable intervals of time.

Lastly, mention may be made of a proposal that is constantly being mooted, which derives from other fields of building practice: the idea is to solve the problem of extension and adaptability by means of interchangeable ‘containers’. Quite irrespective of the fact that the wealth and diversity of the exhibits pre- cludes such a solution being applied, if only for material reasons, in a plural- istic museum, it must be evident that it is at variance with all that we have learnt from psychology concerning the museum, whose vitality depends upon its uniqueness rather than its interchangeableness (Fig. I 6~).

In conclusion, it may be said that when a close and appropriate relation- ship exists between the object and the building, one can hardly look to pre- fabricated techniques for very satisfactory results, since the repetition of the dimensions and forms is at odds with the innermost nature of the individual, unique object. However, when only the interior design impinges directly on the object, design of the structural frame can proceed according to its own laws, and prefabricated components can in this case be used.

iGG CENTRE GEORGES POMPIDOU, Paris. Once decisions of a functional, technical and economic nature have been taken, the material still has to take form, a form which will say something of the collection inside. Here the first struts of a ‘cultural supermarket’ in the heart of Paris (October 1974). Architects: Piano Rogers.