Paviljon MSUB
2021
MoCAB Pavillion
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konkurs za idejno rešenje paviljona Muzeja savremene umetnosti u Beogradu, sa proširenjem magacinskih kapaciteta muzeja
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200+400m2
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autori: Dejan Todorović, Ana Zorić, Aleksandra Đorđević, Miloš Kostić, Irina Živković
konkurs za idejno rešenje paviljona Muzeja savremene umetnosti u Beogradu, sa proširenjem magacinskih kapaciteta muzeja
.
200+400m2
.
autori: Dejan Todorović, Ana Zorić, Aleksandra Đorđević, Miloš Kostić, Irina Živković
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competition for the Museum of Contemporary Art Belgrade Pavillion design, with the expansion of the warehouse capacities
.
200+400m2
.
autors: Dejan Todorović, Ana Zorić, Aleksandra Đorđević, Miloš Kostić, Irina Živković
competition for the Museum of Contemporary Art Belgrade Pavillion design, with the expansion of the warehouse capacities
.
200+400m2
.
autors: Dejan Todorović, Ana Zorić, Aleksandra Đorđević, Miloš Kostić, Irina Živković
Za razliku od arhitekture Muzeja koja dominira granicom između zelenog (parka) i plavog (neba), projektovani paviljon čita se kao nenametljiva zakrivljena lebdeća linija, kao zaleđina koja istaknutom dužinom svog poteza samo potcrtava odnos težine belog kristala sa sopstvenim neposrednim okruženjem. Nasuprot monumentalnosti i težini kojom Muzej učestvuje u pejzažu grada na makro nivou, novoprojektovani paviljon ima za cilj da postane instrument komunikacije Muzeja sa neposrednim parkovskim okruženjem, u mikro razmeri. Intervencijama u parteru – suptilnim utiskivanjem u parkovsko tlo, kadriranjem i filtriranjem vizura kroz transparentnu opnu i taktilnošću primenjenih materijala citira se kretanje kroz upečatljive prostorne sekvence kakvo je osobeno za prostor Muzeja.
Кretanje unutrašnjim prostorom definisanim ugostiteljskim i komercijalnim uslugama i mogućnost izlaska na krov paviljona, korisnicima prostora nude uvid u novu perspektivu sagledavanja arhitekture Muzeja, fragmenata njegovog unutrašnjeg prostora, okolne prirode i parka skulptura. Promenom pozicije, menja se percepcija Muzeja, njegove monumentalne ekspresivne volumetrije i on se sagledava jasnije u odnosu na Park prijateljstva. Sa krovne terase, preko parka pruža se panorama koja obuhvata makro pejzaž novobeogradskog ansambla sa kojim zgrada Muzeja komunicira.
Simultanost novoprojektovanog paviljona sa pratećim sadržajima naspram postojeće zgrade Muzeja jasno ukazuje na to da se u njihovom međusobnom dijalogu vodi isključivo politika miroljubive, aktivne koegzistencije.
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Unlike the Museum's architecture, which dominates the border between green (the park) and blue (the sky), the designed pavilion feels like an unobtrusive curved floating line, like a hinterland that only emphasizes the weight of the white crystal with its own immediate surroundings. Contrary to the monumentality and weight with which the Museum participates in the landscape of the city on a macro level, the newly designed pavilion aims to become an instrument of communication of the Museum with the immediate park environment, on a micro scale. Interventions in the ground floor - subtle imprinting in the park soil, framing and filtering of views through the transparent membrane and tactility of the applied materials quote the movement through striking spatial sequences, which is special for the Museum space.
Moving through the interior space defined by catering and commercial services and the possibility of going to the roof of the pavilion, a new perspective of understanding the architecture of the Museum, fragments of its interior space, surrounding nature and sculpture park are offered to the museum visitors. By changing the position, the perception of the Museum changes, its monumental expressive volumetry, seeing it more clearly in relation to the Park. From the roof terrace, over the park there is a panorama indcluding the macro landscape of the New Belgrade ensemble with which the Museum building communicates.
The simultaneity of the newly designed pavilion with the accompanying contents in relation to the existing building of the Museum clearly indicates that in their mutual dialogue, the policy of peaceful, active coexistence is conducted exclusively.
Svedenost intervencije zasniva se na dva elementa: (1) linija koja predstavlja zatvoreni programski determinisan prostor i (2) površina koja predstavlja otvoreni polivalentan prostor. Zatvoreni prostor istovremeno je propusna granicu između Parka prijateljstva i Muzeja, što se postignuto projektovanjem paviljona kao denivelacije u terenu nad kojom lebdi laka čelična konstrukcija obložena prirodnim materijalima i staklom.
Relacija prema parku ostvaruje se i mogućnošću korišćenja krovne terase koja istovremeno predstavlja i platformu i vidikovac za razgledanje prirodnog i građenog konteksta. Plato je projektovan kao polivalentan javni prostor, pripadajuće dvorište muzeja predviđeno je za odvijanje različitih javnih događaja i izložbi na otvorenom. Na nivou platoa zadržane su postojeće zelene površine, dok je intervencija izvedena na nivou kadriranja zatečene topografije terena, pri čemu su sačuvani postojeći fond zelenila i pozicija skulptura, a uvedena je denivelacija terena ka samom paviljonu u vidu multifunkcionalnog amfiteatra. Na taj način, uslužna delatnost paviljona, kao njegova krovna funkcija, i njegov unutrašnji programski okvir prepliću se sa programom javnog prostora, čime se ostvaruje interakcija između posetilaca muzeja, izlagača i parkovskog okruženja.
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The reduction of the intervention is based on two elements: (1) a line representing a closed programmatically determined space and (2) a surface representing an open polyvalent space. The enclosed space is at the same time a permeable boundary between the Park and the Museum, which was achieved by designing the pavilion as a denivelation of a terrain over which hovers a light steel structure lined with natural materials and glass.
The relation to the park is realized by the possibility of using the roof terrace, which at the same time represents a platform and a lookout point for viewing the natural and built context. The plateau is designed as a polyvalent public space, and the museum's courtyard is intended for various public events and outdoor exhibitions. At the level of the plateau, the existing green areas were retained, while the intervention was performed at the level of framing the existing topography of the terrain, preserving the existing fund of greenery and the position of sculptures, and introducing the terrain towards the pavilion in the form of a multifunctional amphitheater. In this way, the service activity of the pavilion, as its umbrella function, and its internal program framework are intertwined with the program of the public space, thus achieving interaction between museum visitors, exhibitors and the park environment.
Dodatni magacinski prostor predviđen je u konkursnim zadatkom predloženoj zoni, sa zadnje strane zgrade Muzeja. Prostor je projektovan kao podzemni, nadovezujući se na postojeću pristupnu rampu. U toj zoni formiran je ulaz sa idejom o mogućnosti formiranja tople veze sa zgradom Muzeja u budućnosti. Organizacija magacina formirana je u odnosu na postojeći pravilnik i standarde u pogledu kretanja viljuškara. Dnevno svetlo uvedeno je u prostor formiranjem procepa koji nastaje blagim izdizanjem ozelenjene površine terena.
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Additional warehouse space is provided in the competition task of the proposed zone, at the back of the Museum building. The space is designed as an underground one, building on the existing access ramp. An entrance was formed in that zone with the idea of the possibility of forming a connection with the Museum building in the future. The organization of the warehouse was created in relation to the existing regulations and standards regarding the movement of forklifts. Daylight is introduced into the space by forming a gap that is created by a slight rise of the green surface of the terrain.
