As the result of Visual Communication 2 at NTNU, 14 unique and diverse prosejcts will be presented during the last weekend of May. Here you can get a sneak-peek of what they are all about.
Virgile PONSOYE
After three years of different topics around architecture, I see a lot of truth in the feeling of space under the natural light: using the transparency with white volumes and playing with different heights is a way to spread the functions while keeping them connected. In a fourth year of exchange in Norway, the work around galleries or exhibition places needs exactly those sort of arrangements, to answer to the accessibility and the obviousness of circulations, but also to define different atmospheres belonging to the expression of artworks themselves. The project of Dampsentralen was a challenge of keeping the industrial soul of the existing building while proposing a certain sharing around art open to a wide public. I wanted the answer as neutral as possible but also suggesting the future and the questioning, an expression of past and future: a cube with the same proportions, tilted toward the sky.
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Kristine OTNES
Amund Eggum WANGEN
Inger Johanne FAGERLI
Marit VABO
På samme måte som turbinene en gang ble installert i Dampsentralen, er dette prosjektet en installasjon som gir bygningen en ny funksjon.
If a tree falls in the woods and no one hears it, does it make a sound?
Er en bygning som ikke er i bruk, i det hele tatt en bygning? Eller kun et eksempel på tidligere tradisjoner og byggeskikker?
Dette prosjektet forsøker å bevare Dampsentralens industrielle karakter, og samtidig utvikle en sosial og kulturell arena. Materialer og form er valgt med den hensikten å understreke kontrasten mellom det gamle og det nye, og det er lagt vekt på å skape varierte rom både for mennesker og kunst.
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Anders KARLSSON
Kardashev, Nikolai (1964). "Transmission of Information by Extraterrestrial Civilizations"
Humankind is now evolving into a “Type 1 civilization”, with the internet, a global communications system, being the first step on the ladder. In my art I explore the past and present of this evolution.
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Sarah LOUATI
Enter
Prosjektet fokuserer på å legge til rette for at opplevelsen av kunsten skal kunne nå ut til flest mulig, gjennom å skape en situasjon som virker inviterende og genererer nysgjerrighet både med hensyn til kunsten og bygningen i seg selv. "Enter" fokuserer i hovedsak på ute områdene og inngangssituasjonen i tilknytning til kunsthallen, ettersom dette representerer det første møtet med kunsten.
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Amund Eggum WANGEN
Impressions
A work of art contains several layers of content. Different people will give different meaning to every piece, depending on their personal interests and background. Combined, these layers of content, meaning, ideas and interpretations constitutes our impressions. When designing a kunsthall – a space for art and people – I find it very important to work with the multiple ways of interacting and experiencing art. This proposal aims at providing different spaces for art, and through this facilitate meetings with art. Café and winebar, lecture hall and walkways for the public debate and easy accessible art, but also spaces where art can be created on its very own terms.
Kunst oppleves og gis mening på ulike vis. Med mål om å fremheve dette, er det skapt en arkitektur som har rom for ulike behov og som legger til rette for forskjelligartede møter med kunst. Offentlige funksjoner som kafé, vinbar og forelesningsal legges lagvis sammen med rom hvor kunst kan skapes på dens egne premisser.
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Kunst oppleves og gis mening på ulike vis. Med mål om å fremheve dette, er det skapt en arkitektur som har rom for ulike behov og som legger til rette for forskjelligartede møter med kunst. Offentlige funksjoner som kafé, vinbar og forelesningsal legges lagvis sammen med rom hvor kunst kan skapes på dens egne premisser.
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Inger Johanne FAGERLI
Kunst – Kultur - Natur
I prosjektet har eg jobba med korleis ein kan knytte kunst, kultur og natur saman gjennom Dampsentralen og området rundt. Dampsentralen vert samlingspunktet i Ilsvika. Der stoppar bussen, der går stiane til. Uteområdet heng saman med bygget ved å vere ein kunstpark, samstundes som det skal kunne brukast av alle, ein møteplass i nabolaget. I kunsthallen er det utstilling av kunst som er i fokus, medan det i kulturhallen er undervisning, butikk og kafé. Kunst, kultur og natur saman vert ein heilskap som vil trekkje til seg menneske med forskjellige interesser og behov. Kanskje vil ein som berre skulle ha kaffi og lese avisa ta ein tur i utstillinga? Kanskje ein som lufter hunden treff kjente sittande i amfiet ein varm sommardag og tek lunsjen i restauranten? Kanskje kjem turistar til utstillinga og kjem ut at med både bøker og fulle magar?
The theme of this project is art, culture, nature. How to connect these together and make an area that appeal to different people has been the challenge. Dampsentralen is both a Kunsthall and a culture hall, and there is also a public sculpture park outside. Is Dampsentralen the future center of Ilsvika?
The theme of this project is art, culture, nature. How to connect these together and make an area that appeal to different people has been the challenge. Dampsentralen is both a Kunsthall and a culture hall, and there is also a public sculpture park outside. Is Dampsentralen the future center of Ilsvika?
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Marit VABO
Dampsentralen på Ila er et symbol på sin tid, en ruvende bygning i stein og betong, som forteller historien om rikdom og teknologisk utvikling. De maskinene som var en del av bygningen er borte, og det eneste vitnet på at de var der, er de enorme rommene som står igjen etter dem.
På samme måte som turbinene en gang ble installert i Dampsentralen, er dette prosjektet en installasjon som gir bygningen en ny funksjon.
If a tree falls in the woods and no one hears it, does it make a sound?
Er en bygning som ikke er i bruk, i det hele tatt en bygning? Eller kun et eksempel på tidligere tradisjoner og byggeskikker?
Dette prosjektet forsøker å bevare Dampsentralens industrielle karakter, og samtidig utvikle en sosial og kulturell arena. Materialer og form er valgt med den hensikten å understreke kontrasten mellom det gamle og det nye, og det er lagt vekt på å skape varierte rom både for mennesker og kunst.
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Anders KARLSSON
A dug down temple
To behold a building raised in a different time, in the beginning of an era when there was a new hope at hand, highlights your own age. What time are we living in, where are we heading? What would an endeavour like this hall represent today?
From the starting point, beholding the space, I asked myself the question, why all this excessive volume in the mainhall? The machines were not of that great size so what whould be the reason for these proportions. While not getting a direct answer I imagined that the space was meant to contain the whole human being while she passed from one time to another.
I look at Dampcentralen like a mirroring space of an eon to come. In one way you could say that a building like Dampcentralen doesnt know the present, just the past and the future. Its a building that is waiting for an answer, anticipating what there is to come.
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To behold a building raised in a different time, in the beginning of an era when there was a new hope at hand, highlights your own age. What time are we living in, where are we heading? What would an endeavour like this hall represent today?
From the starting point, beholding the space, I asked myself the question, why all this excessive volume in the mainhall? The machines were not of that great size so what whould be the reason for these proportions. While not getting a direct answer I imagined that the space was meant to contain the whole human being while she passed from one time to another.
I look at Dampcentralen like a mirroring space of an eon to come. In one way you could say that a building like Dampcentralen doesnt know the present, just the past and the future. Its a building that is waiting for an answer, anticipating what there is to come.
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Per Inge IVERSEN
The Kardashev scale is a method of measuring an advanced civilization's level of technological advancement. The scale is only theoretical and in terms of an actual civilization highly speculative; however, it puts energy consumption of an entire civilization in a cosmic perspective. It was first proposed in 1964 by the Soviet Russian astronomer Nikolai Kardashev. The scale has three designated categories called Type I, II, and III. These are based on the amount of useable energy a civilization has at its disposal, and the degree of space colonization. In general terms, a Type I civilization has achieved mastery of the resources of its home planet, Type II of its solar system, and Type III of its galaxy
Kardashev, Nikolai (1964). "Transmission of Information by Extraterrestrial Civilizations"
Humankind is now evolving into a “Type 1 civilization”, with the internet, a global communications system, being the first step on the ladder. In my art I explore the past and present of this evolution.
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Sarah LOUATI
I studied architecture the last 4 years in France and moved to Norway last year. I’m interested in architecture but in arts too. So the project to turn Dampsentralen into a kunsthall was very challenging for me.
Dampsentralen is an old steam power station with space of qualities like the main and impressive turbine hall. That’s why I keep this special space as the main gallery for exhibition, to live a unique experience.
The extension, on the north side, is housing the ancillary functions of a kunsthall such as workshops , education room, seminar room, a library, a shop, a café… The extension consists in a base in black concrete with on top five groups of containers, and each one contains a different function, to remember the next door harbour and industrial atmosphere. The result is an radical, interactive, multiple, attractive place for an art always in motion.
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The extension, on the north side, is housing the ancillary functions of a kunsthall such as workshops , education room, seminar room, a library, a shop, a café… The extension consists in a base in black concrete with on top five groups of containers, and each one contains a different function, to remember the next door harbour and industrial atmosphere. The result is an radical, interactive, multiple, attractive place for an art always in motion.
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Céline MARCHI
I’m an erasmus student from France, and choosing this project course, was for me an good opportunity to work and think about art in relation to a lay audience.
As an architect student, my first intention about Dampsentralen was to conserve most of the reminds of the old powerstation. As a memory of the the history of the building, several details visible from inside and outside testified of this function from the past.
To keep as much as possible of the existing building, I had to create an harmony between this industrial building and an contemporary extension. It has a be a recognizable building, from the surrounding.
A Kunsthall, in Trondheim, is for me, more than just an exhibition place. It has to create a link with a public an environment, and the young generation. It’s a social place, where people can come and practise, or see practising the artists. Comtemporary art become more accessible, and close to public.
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Joana RAGAZINSKAITE
Kristine ERICSON
Parallels may be drawn between the conservation of neglected buildings like the Dampsentralen and the nature of modern gallery spaces. It is in the museum that objects of the past are preserved and remembered. Like a mausoleum or tomb, galleries are hermetically sealed, sterile spaces; lacking windows and artificially lit, they could just as well be buried in the earth.
This project offers a vision of the Dampsentralen in an extreme stage of atrophy. The building has already been sealed and forgotten, but here the body has been reduced to bones. This reminder of the building’s previous form stands as a tombstone, while the remains of the building lie buried below. Underground galleries retain the basement’s existing crypt-like qualities and combination of open and concealed spaces. The Dampsentralen thus becomes a mausoleum and a graveyard--for the art it holds, for the area’s industrial past, and for the building itself.
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Caroline WACHTEL
Art could be seen as a resource in a similar sense. It opens up new perspectives on the philosophy of life. It could feed the people with perception and knowledge.
The building transformed into a “Kunsthall” could offer a place of warmth, support, quite and peace. Art as a media to communicate and express feelings and circumstances in life could help in times of need.
Keeping these parameters in mind the task of changing the purpose of the building was embraced.
Based on the feelings of the first impression that a building can create to the observer, right up to the instant atmosphere of the interior space the task was studied and evaluated.
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Veslemøy GRINDVIK
In my design I wanted to keep the main part of the building with the turbine hall as close to the original design as possible, since I feel that the different sized spaces with its white walls and rough surfaces creates interesting spaces for displaying contemporary art.
The other part of my design involves an extension to the south. The most active fuctions of the Kunsthall, like the cafe and workshops are located behind large glass facades towards the street and the park area in front of the building to emphasize the Kunsthall as an active social space for everybody, not just a place for exhibitions.
As an architect student, my first intention about Dampsentralen was to conserve most of the reminds of the old powerstation. As a memory of the the history of the building, several details visible from inside and outside testified of this function from the past.
To keep as much as possible of the existing building, I had to create an harmony between this industrial building and an contemporary extension. It has a be a recognizable building, from the surrounding.
A Kunsthall, in Trondheim, is for me, more than just an exhibition place. It has to create a link with a public an environment, and the young generation. It’s a social place, where people can come and practise, or see practising the artists. Comtemporary art become more accessible, and close to public.
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Joana RAGAZINSKAITE
Rusty cube – old and new in interacting relation
Conversion project requires to develop gallery spaces, rooms for workshops, education and seminars. The idea is to retain sections of main hall and engines‘ space and rooms behind, to keep the existing appearance of east, south and west facades and instead of storage section incorporate contemporary structure based on metal cube, rectangular parties of metal and glass. Basement space underneath the main hall would be used as "black cube" space. The entrance is in north-east corner of the building, under the rusty cube. Incomer could go directly into galleries either stop at gift shop either relax in café. Education, workshop and seminar spaces are situated in metal additions. Materials - solid and perforated rusty metal plates. Perforated plates cover window gaps, simultaneously giving diffused daylight into rooms and together with solid plates creating integral impresion on exterior of additional parties.
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Conversion project requires to develop gallery spaces, rooms for workshops, education and seminars. The idea is to retain sections of main hall and engines‘ space and rooms behind, to keep the existing appearance of east, south and west facades and instead of storage section incorporate contemporary structure based on metal cube, rectangular parties of metal and glass. Basement space underneath the main hall would be used as "black cube" space. The entrance is in north-east corner of the building, under the rusty cube. Incomer could go directly into galleries either stop at gift shop either relax in café. Education, workshop and seminar spaces are situated in metal additions. Materials - solid and perforated rusty metal plates. Perforated plates cover window gaps, simultaneously giving diffused daylight into rooms and together with solid plates creating integral impresion on exterior of additional parties.
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Kristine ERICSON
Since it was put out of service as a site of power generation in the early 1990s, the Dampsentralen has become irrelevant and invisible to many. The building is one of only a few remaining industrial structures in the area, but the most potent evidence of its former industrial function are hidden within its walls, invisible to the neighborhood and the city. This project presents alternative visions of the Dampsentralen’s future and asks the question--why preserve the Dampsentralen as a hall for art?
Parallels may be drawn between the conservation of neglected buildings like the Dampsentralen and the nature of modern gallery spaces. It is in the museum that objects of the past are preserved and remembered. Like a mausoleum or tomb, galleries are hermetically sealed, sterile spaces; lacking windows and artificially lit, they could just as well be buried in the earth.
This project offers a vision of the Dampsentralen in an extreme stage of atrophy. The building has already been sealed and forgotten, but here the body has been reduced to bones. This reminder of the building’s previous form stands as a tombstone, while the remains of the building lie buried below. Underground galleries retain the basement’s existing crypt-like qualities and combination of open and concealed spaces. The Dampsentralen thus becomes a mausoleum and a graveyard--for the art it holds, for the area’s industrial past, and for the building itself.
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Caroline WACHTEL
k u n s t v e r k
Kunst i Kraftverk Trondheim
My idea of the new Kunsthall in the old Dampsentralen contains two proposals, combined in one building:
An inserted structure, which functions as a pathway
Dampsentralen as a building contains very different sorts of rooms, with different atmospheres. To make this experiencable, I connected those important areas by a new implanted structure, which guides the visitor from the very start to its end, to create an adventurous journey through the building.
&
An entrance building as extension,
which is based on the characteristic form of an industrial shed roof to keep its old history and industrial appearance. I kept the old ground plans of the cold shed and transformed the shape that still reminds the old use. Where some time ago machines were running to produce power for the city, there could now be artist creating art for the people.
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Leoni KÄMMER
Kunst i Kraftverk Trondheim
My idea of the new Kunsthall in the old Dampsentralen contains two proposals, combined in one building:
An inserted structure, which functions as a pathway
Dampsentralen as a building contains very different sorts of rooms, with different atmospheres. To make this experiencable, I connected those important areas by a new implanted structure, which guides the visitor from the very start to its end, to create an adventurous journey through the building.
&
An entrance building as extension,
which is based on the characteristic form of an industrial shed roof to keep its old history and industrial appearance. I kept the old ground plans of the cold shed and transformed the shape that still reminds the old use. Where some time ago machines were running to produce power for the city, there could now be artist creating art for the people.
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Leoni KÄMMER
Dampsentralen was formerly designed to be a contributor of energy and electricity, one of the most important resources of humankind. By this means it gave life to the city. People would rely on the power station for the sake of their daily life.
Art could be seen as a resource in a similar sense. It opens up new perspectives on the philosophy of life. It could feed the people with perception and knowledge.
The building transformed into a “Kunsthall” could offer a place of warmth, support, quite and peace. Art as a media to communicate and express feelings and circumstances in life could help in times of need.
Keeping these parameters in mind the task of changing the purpose of the building was embraced.
Based on the feelings of the first impression that a building can create to the observer, right up to the instant atmosphere of the interior space the task was studied and evaluated.
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Veslemøy GRINDVIK
Dampsentralen in Ilsvika is an interesting and beautiful building, and is now one of few buildings in the area that has not been replaced with new appartment buildings.
In my design I wanted to keep the main part of the building with the turbine hall as close to the original design as possible, since I feel that the different sized spaces with its white walls and rough surfaces creates interesting spaces for displaying contemporary art.
The other part of my design involves an extension to the south. The most active fuctions of the Kunsthall, like the cafe and workshops are located behind large glass facades towards the street and the park area in front of the building to emphasize the Kunsthall as an active social space for everybody, not just a place for exhibitions.
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