Yaroslavl State Technical University
All shaping is an imposition of 3 ideas: - Classification of emotions; - Shaping; - Initiation. The visitor's initiation path starts from the well at the… more
Urban planning more
Beautiful work that shows your intellectual and sensory ability.
But I see that the project leans more towards cinematic films than being an emotional museum.
So I salute you for this great work and effort.
All shaping is an imposition of 3 ideas:
- Classification of emotions;
The visitor's initiation path starts from the well at the entrance to the central volume of the well - a symbol of the descent into the underworld and ends at the tree - the symbol of the transition. Transitions and cubes with emotions act as a gloomy forest in architecture.
The inspiration for the initiation was the cartoon "Hedgehog in the Forest"
The rite of passage includes:
- Department (entrance to the building)
- Transition (passing through cubes)
-Inclusion (arrival ha -1 floor)
The visitor, first of all at the entrance, sees himself in the reflection of the mirror circle on the doors. Real knowledge of oneself is possible only with the participation of the external side, from which a person could “reflect”. Halls with emotions act like a "Dark Forest". The journey of the soul. The path from dark to light. The path begins with a "well" - a symbol of descent into the underworld.
The visitor enters the transitions, his entire path is a spatial transition, which ends on the -1 floor at the tree where the inclusion occurs. "World Tree", right there and the river - the final frontier.
The hologram of a white horse on the -1 floor acts as something beautiful and elusive. She, like in the film, has no place in the real world, she remains in the fog.
The meaning of this approach is to
The idea of such a design concept is unintentional and may not be understood at all, but its elements, penetrating the space-planning solution, are a mystery. The main desire is to achieve from a person through architecture his rethinking and reflection after visiting the museum.
The territory has a slight relief with a slight slope along the coast. The embankment is covered with small pebbles. The territory is divided into the following zones:
- Pedestrian paths with high traffic
Pedestrian paths of the 1st order
Pedestrian paths of the 2nd order
- Quiet zone
- Children's, sports grounds
- Recreational zone
- Organized parking area
- High traffic areas
High traffic areas 2
A special platform was designed to serve the building and territory.
The landscaping of the embankment includes an additional footpath, an observation deck in the form of a ring, a lighthouse, slopes to the beach, decorative elements, landscaping and benches. The idea of large bulk volumes of greenery is taken from nature, it is “magma hardened for hundreds of years, which became earth and overgrown with grass”, dark layers are “the earth from which magma splashed out”.
The composition of the park around the museum originates from the cubes, their lines on the master plan are extended and form a frame, so pedestrian paths are obtained. The landscape composition at the southern side of the museum consists of squares, the direction of which was given by a couple of cubes, the resulting composition gives the direction to the embankment - to the lighthouse and the observation deck, here it was decided to organize a pedestrian crossing from the museum to the embankment. Parts of the park are formed by bricolage from lines of cubes, square-shaped paving over an area equal to 8x8m cubes. and amorphous in terms of forms. These forms are inspired by the landscape and nature of Kamchatka, so the frontal composition consists of "earth" - concrete paving, "grass" - grass different from that on most of the site, "water" - a glass coating like "ice" - under it "volcanic lava" - backlight. The same composition was designed near the northern part of the building. On the resulting structure, 4 rings are “put on” (3 in the main territory and 1 on the embankment), forming platforms.
The composition of the park around the museum originates from the cubes, their lines on the master plan are extended and form a frame, so pedestrian paths are obtained. Parts of the park are formed by bricolage from lines of cubes, square-shaped paving over an area equal to 8x8m cubes. and amorphous in terms of forms. These forms are inspired by the landscape and nature of Kamchatka, so the frontal composition consists of "earth" - concrete paving, "grass" - grass different from that on most of the site, "water" - a glass coating like "ice" - under it "volcanic lava" - backlight.
On avag square there is an installation "Coin" - "evil and good are one side of the coin" - a round double-sided mirror, illuminated on one side and darkened on the other.
During the work, an experimental model of the museum was formed, which includes the following components:
Spaces that evoke different emotions, where a person has the opportunity to identify himself with the emotion that overwhelms him;
Spaces that can be created as separate emotions or functional spaces that bring together several different emotions.
- The importance of the sequence of emotions and transitions from one emotion to another;
When this model is implemented, a museum should emerge whose function is to display emotion in structures and spaces, which ultimately leads to the healing of the visitor's mind.
The museum consists of overpass paths that form the central volume and lead to cubes with emotions. Following the air corridors, you can view landscapes from different points and heights. The central volume is limited by planes with planar glazing, without a roof, with “sheets” layered on it with the same devitrification. Columns are placed around the perimeter of this volume, on which trusses lie, carrying suspended floors. where all functions related to the museum are located: administrative part, wardrobe, cafe, shop/souvenir shop, toilets, library.
Each room is accompanied by sounds that radiate through the air corridors and allow visitors to choose their own path, relying on hearing. But also, in order not to get lost, the visitor receives an electronic map of the movement around the building.
Some emotion rooms have been designed in detail, such as: Anger room, Serenity room, Grief room, Horror room.
Room of Wrath.
Anger is destruction, emerging and not letting go. The black ball is what gave rise to this destruction, and breaking the room with cracks. This cube is cracking on the outside too. This is a volcano tearing the earth's surface.
Room of Horror.
The room is inconsistent with the person. Like in Greek temples. Filled with darkness thanks to the black metal walls. A small cut in the ceiling is the only source of light that reveals the gloom around. A slight trembling of the walls tactilely conveys a sense of anxiety. Accompanying music: rumbling, strong thunder, the sound of a falling piano, the sounds of a train.
This is relaxation, quiet happiness, peace and tranquility. The walls of the room are covered with screens broadcasting changing videos of nature, accompanied by calm music.
Hope rekindled on the way to the top from the bottom. Overcoming the path driven by torment and inevitability ends with acceptance at the highest point of the iceberg and remains in memory forever. Light is so close, but not reachable, like a way out of a state of grief. Accompanying music - a rare fall of water drops - like tears.
The structure rests on trusses with a load on the columns. Overlapping transitions and cubes on pillars.