A Blurring of Space

In its design for the Lascaux Caves Museum in France, Snøhetta obviously carved into the landscape to form the building itself. However, it is the above-ground treatment, the surface and landscaping, which serves as the precedent study for my parti. Because the majority of the museum is located underground, pathways and green space are allowed to invade the top of the building. This idea blurs the concept of interior and exterior spaces as well as converts the usually unusable roof space into functional and inviting spaces.

It is this concept of blurring the above-ground and below-ground spaces which serves as the basis for my parti. The underground passageway extends throughout the entire site and creates the primary form in the landscape. By essentially “unfolding” different sides of the box, I am able to create entry points to the top of the passageway, entry points to the underground portion, and create points of interest on either side of the passageway as well. Thus, while the main passageway serves as the processional center of the design, activity can happen in, on, and around it at all times. The pool area(s), farmers market area, café, and park areas are seamlessly intertwined as a result. Like the Lascaux Caves Museum, pathways, landscaping and seating spots turn the generally unusable space above the carved-in earth into central points of interest on the site. Pathways lead also to the second-story café, which includes a patio space. Park-goers will love the views they will gain of the river and Pioneer Flour Mill on top of the structure, and the green space can be used for markets, receptions, games, and more. On the other side of Probandt Street, the pathway emerges from underground continuing the same concept of blurring above and below-ground spaces. The pathway unfolds here as well, where the artist studio is located. Local artists utilizing the space will be greeted with a brilliant, close-up second-story view of both the Blue Star Arts Complex and the San Antonio River.

Obviously there are a couple of major differences between Snøhetta’s Lascaux Caves Museum and my adaptation of their idea for my parti. For starters, the scale is radically different. Snøhetta’s museum (and site) is enormous, while our project is situated in Southtown, San Antonio. However, the Caves Museum is located at a junction of two neighborhoods on a river in France, much like our site. In addition, the Snøhetta project is first and foremost a programmatic building, whereas in my parti, the underground passageway is the main organizational element, and the few buildings we have will be offshoots of that walkway. Finally, another major difference between the projects is the form itself. The Lascaux Caves Museum is made up of very organic forms, very fitting for the concept of a building which is also a “cave.” That being said, the form is not what is being drawn from this precedent. Rather, it is the concept of blurring the above and below-ground space in the project which I intend to use as the main driver of my design this semester.

-chip

Through walkways and landscaping on the exterior of the building, 
the "roof" space of the Lascaux Caves Museum by Snohetta becomes 
as functional as the 
inside of the building itself.

The passageway becomes the main design element, with a 
blurring of space above and below, much like Snohetta's project.

Farmer's market stands would be able to have freedom of choice of 
where within the structure to set up. By the pool? Inside the passageway? 
In the park? Even across the street becomes fair game.

Much like our site, Snohetta's project involved the junction 

of multiple neighborhoods and includes a river.

Parti Party EJ Melendez #2

Parti Party

Cité du Corps Humain by Bjarke Ingels Group (B.I.G.) was the precedent that inspired my parti. This project was conceived of nature and architecture. The pavement and the grass come together to form enclosures. Some of these enclosures are slabs of pavement surrounded by grass while other are patches of grass surrounded by pavement. Because some enclosures are grass and some are pavement, they can all serve a variety of purposes. In figure 1 below you see how their parti idea first got started. This is a normal linear plan allowing pedestrians to walk straight through the middle of the site with all the buildings being accessible to either side. They then transformed the path so that it can create enclosures of spaces. Each space was then designated a purpose as seen in figure 2. The path not only created spaces for buildings to be placed but it also created void spaces to mesh architecture with nature. To finish their parti they changed the path once again to form organic shapes which would eventually become the form of the buildings and the void spaces used for the nature areas as seen in figure 3.

Using their final parti of organic shapes I got the idea to curve the sidewalks on our south town site. I used the sidewalks to enclose each area so that each was designated a specific purpose. One area contains the pool, another holds the amphitheater, another the basketball court, and the last area is a lawn which can be used for any purpose. I chose to place the market surrounding the sidewalk in the middle of the site so that it can be easily accessible to anyone walking through. My path continues past the first site still following its curvature and forming the space that will be used to create the building for the café and studio on the second site, which is can be seen in figure 4.

In figure 4 it can clearly be seen how every sidewalk divides the spaces for a different functionality just like B.I.G.’s project does. B.I.G.’s program is like ours in that they connect city and park. Their program calls for more buildings than ours but I think it is a great precedent to refer to. They elevated different planes to form slanted pieces of grass and pavement. I can definitely see this happening on our south town site with the enclosed areas that are already divided by the sidewalks. Figure 5 is a rendering of their final project which shows my idea of the buildings on our site.

Figure 1

Figure 2

Figure 3

Figure 4

Figure 5

Parti Party EJ Melendez

Precedent and Parti

            Sta. Marta City opened an international competition to design the marine investigation center “Invemar”; in which Luis Callejas and his team participated and were awarded third prize. His design consisted in creating an alternate succession of pavilions that houses the academic, scientific and administrative program. These elongated pavilions create spaces in between each other and can be used as gardens for scientific research.

            The pavilions are elongated and extruded from the center of the building creating designated areas, but also leaving a fluent and continuous space in the middle. This space articulates the whole project and at the same time houses the library, museum and main circulation. By closing the administration and laboratories located at the pavilions, the program allows open access to the public in the center of the building.

            This extraordinary precedent allowed me to create a useful parti for the program. The site in South Town, San Antonio, requires an open space that promotes events like recreational and cultural activities, sports and community markets. By flipping Luis Callejas’ project, scaling it down and inverting the areas, the parti fitted the context. What used to be pavilions will now be open designated spaces: a market area for vendors, a baseball court, an amphitheater, and the building for the aquatic activities. The areas created between the designated spaces will now consist of a building with a café and gallery, a pool, parking and water features. The main circulation path will be similar, allowing easy connection and movement, flowing from beginning to end. The river will be completely accessible since the main path connects the river to the other side of the park and has entrances from each area of the site.

            The objective for both projects was to create a main path that promotes circulation, surrounded by designated areas. In turn, these areas create spaces usable for more activities. The main form, which consists of alternation of convex and concave configuration, creates multiple areas and interesting spaces.

Parti and Precedent Study - Julia Rosenthal-DeLeon

Parti Precedent

In the precedent parti, there were two programs split between buildings. Then they architects from big executed a tilt and then a double tilt. Essentially making the site two ramps with undersides of storefront and useful space. In my parti, I decided to implement the same ideas into my design. I used the same tilt and reverse tilt ideas to exemplify elevation change in an area that didn’t really call for a tall elevation building.

My precedent parti was from the Bjarke Ingles Group’s project, Musee National Des Beaux-Arts Du Qubec, QNM competition building. As stated above, the general idea and parti design, they did a fantastic job separating the two programs but also still relating them together. This is something that I wanted to implement into my design. Not only did this tilt add an extra element to the design but it also was able to double as an outdoor theatre and courtyard. Overall this idea and parti stuck out to me because of the ability for the design to be congruent above and below grade. This was a big element that I wanted to convey in my own design.

My own parti played off the same elements that BIG exemplified in their project. I wanted to have a strong enough form to be congruent above and below grade. This was hard to achieve because of the tunnel/passage way effect, but nonetheless, I think I was achieved. Another element that I wanted to borrow from BIG was the “tilt”. I took this simple idea and made it my own by changing spacing and orientation. Some of the tilts reflect the same angles below it making a parallel space, and some compound and add to the jaggedness to make an orthogonal shape that could be an iconic feature from the street view. Overall, this shape took the necessary space needed to perform all of the programs and moved them in a vertical axis. This, inadvertently, made space for the community center and live music area that we so desired to inhibit into the space. This makes up a strong composition that fits all the programs as well as relates to the surrounding urban environment without compromising any form or function.

Carolyn Hoeffner parti

Carolyn Hoeffner

There are two precedents that inspired my parti design. I wanted my design to emphasize circulation, site conditions and context, spatial hierarchy and relationships, and geometric properties of the South Town, San Antonio site. I also wanted my design to act as a guide for people as they move through the space so that every inch of the site was being used. Using a mat grid layout seemed to make the most sense to me in order to achieve my design goal. The Bjarke Ingles Group project, Vinterbad Bryggen, conveys my idea of the grid layout system. It has the rectilinear form that I wanted to emphasize in my design. I was inspired by how BIG designed the wooden deck and incorporated pools and thermal saunas. I used the rectilinear form and grid pattern of this design, but the main difference between it and my parti is the program and scale. Our site is much larger than this project’s site. The other precedent that I wanted to translate into my design was the Villa VPRO by MVRDV. Although this project is actually a structure, its plan has the essence of the grid layout that I wanted to capture. This project is also rectilinear in form, and its plan is a guide for movement and circulation. This precedent plays with levels and uses a grid system to anticipate the flow of movement. The differences between this design and my parti are obvious since I basically translated the grid pattern themed structure into a landscape design. My parti organizes the facts of my design by focusing on the overall concept and communicating my design in its simplest form. My parti includes context of the area and focused on the relational features of the site. 

Garrett Callen Precedent Parti

In the precedent parti model, there was simply a triangular structure. From this simple triangle, the architects chose to slope the form upwards. Essentially the structure is a sloped triangular viewing platform that is integrated with the environment. In my own parti, I decided to implement a few of the same concepts into my design process. I decided to keep the theme of the tilted triangle, but at the same time I wanted to make it my own design rather than copying the precedent I chose.

My precedent was the Brooklyn Bridge Park Pier 6 Viewing Platform from Bjarke Ingels Group Architects. The firm did a great job at making sure the viewing platform had many different programs or uses. The structure is connected to the landscape, provides lots of usable space, and provides space for small or large events. These are just a few ideas that I want to incorporate into my design. Overall, this parti really stuck out to me because of its simple shape and concept yet bold look.

In my own parti I wanted to take several elements from BIG architects viewing platform, while introducing my own twist on the project. I wanted my project to be simple, while giving off a bold statement from the streets and nearby neighborhoods. It was somewhat difficult to integrate this precedent into the site because I had to incorporate the passageway. I think I connected the structure of my building into the landscape just like BIG did, which is something I really wanted to achieve. I also wanted to keep the same sloping triangular form they had in their project. This sloping triangular figure doesn’t always exactly translate into my design, but the concept is always present. Overall, my design has space for a community center, amphitheater,  and many other programs.

Adam Wells Parti

The first precedent that I choose was APM by BIG architecture. BIG was commissioned to build a pavilion for the art and science of watch making, for their client Audemars Piguet. The parti for this pavilion combined the context of their client with the necessary program required for the building. The main idea of the project was the linking of program into one continuous processional space. This processional space began to organize both program and context simultaneously into one.

My proposed design for the San Antonio site references this precedent in an attempt to blend the context of the site with the program into a linked processional experience of the community members. The central element of my parti is the large open space that begins to organize the program. In my precedent, BIG uses the central element as a way to wrap the program around itself and create an encompassing experience in one space. Because of the large site and the intent to link two communities, my design uses the central element as an organizational tool that serves as public space. From this central public space, the program begins to radiate from it and create an organization on the site.

The form of BIG’s pavilion references their client, Audemars Piguet, a Swiss watch company. The central element in my design attempts to reference the figural form of the San Antonio River. The river currently divides the two communities. As a way to bridge the gap, the figural form that organizes the space in my parti is oriented to be viewed as an offshoot of the river itself. This created offshoot allows the members of the community to see the river as a way of joining both of the neighborhoods together rather than seeing it as a gap that divides them. 

Parti Precedent - Elizabeth Widaski

The architectural parti is the soul of the design or, as Colin Rowe would say, the “lens that organizes the facts.” Similar to a thesis in an essay, the parti shows the spatial relationships in a design, organizing the program, site, context, and form into one main concept.

For my parti precedent, I chose the Danish National Maritime Museum which is a completed project in Denmark by BIG. This project caught my eye because of its uniqueness and simplicity. In tackling the project, BIG had to integrate the historical aspects of not only the region, but also the actual site, given that they were building within an old dry dock, with the task of making the museum a recognizable independent institution in the midst of the area becoming a cultural center for the city. The historical and structural integrity of the dry dock was preserved and is used as an open air display for the museum and gathering area for the community. BIG organizes the elements by emphasizing circulation and the negative space created by the two shapes of the museum and dry dock. The voids created within the dry dock create both visual interest and are functional as natural light pours into the space below the museum and pathways are created on top of the museum, within the museum, and below it simply from the form of it and its spatial relationship to the dry dock.

In order to translate this below ground idea into my parti for Southown, I focused on the ideal circulation through the site in relationship to the context and using form to create a definition of spaces from the positive and negative areas within the site. Because historical significance of the site is not a factor for us as is what in the BIG project, where it defined the space in that project, I had to find a way to define it within our site, which also has more complexity because it is three sites woven together by a connecting passageway. For me, the passage became a main organizing element to my parti similar to how the circulation on top, through, and below the museum became an organizing element to the Danish National Maritime Museum. For me, it is important, just as in the BIG project, to tie our site together with the artistic and cultural atmosphere in the Southtown community and create a place for unity and gathering within the surrounding neighborhoods.

Because of this particular project by BIG, I have a new perspective on how to organize the spatial relationship and composition of a non-traditional site and have seen how the design of both the positive and negative space of the project are equally important in creating the desired environment of the site.

Michael Clariday Writing Component

Michael Clariday

ARCH 305 Deyong

16 October 2014

Namba Parks in Osaka, Japan, is an example of natural intervention in an urban environment. Emphasis on circulation and dynamic paths. Hierarchy developed by the progression from parking to cultural space, to public/green space, to residential, to office, and finally, to retail and entertainment. Where paths intersect, points of interest are generated and become individual focal points along a diverse circulating pathway through the site. A common consistency is achieved through the elliptical buildings, concavity of the spaces, and the sinuosity of the paths. A sense of overlay reminiscent of the basic concepts of phenomenal transparaceny are apparent in both plan and perspective. The built environment and the landscape seem to correlate with each other in an interesting way that creates a unique organization between space and objects. Hierarchy becomes more clear in the earliest thesis of the project, evident in elevating topography of the landscape and the aggregation of the built spaces that become more dense as the site progresses. The indexical relationship between the curvaceous topography and the elliptical layout of the built environment in a way become one with each other as they are sewed together by the maleability of the pathway.

Elements adapted from the Namba Parks into our parti include, density, overlay, aggregation, dynamic pathways, and an indexical design language between landscape and built environment. The parti borrows inspiration from the Namba Park’s unique approach to generating form in plan view while still adapting the issue of context. To accomplish this task, we investigated the idea of creating a circulation between the existing public spaces by surrounding the built environment and the motion of the paths around an epicenter located at the intersection of Cevallos and Probandt Street. Density is apparent in the surface articulation which appears more condensed closest to the epicenter and the least condensed away from the epicenter. The concept of overlay is achieved by the extrusion of the surface articulation which translates into elevated topography which translates into interior spaces. Aggregation is apparent in the organization of the extrusions around the epicenter and the converging pathways generated by the proximity of the individual interior spaces. The pathways become dynamic by following the syntax of the surface articulation of the landscape while prioritizing the transitions between the individual built spaces. An indexical design language is evident in the relatable orthogonal/creased form between the shape of the built spaces and the surface articulation. 

Writing Component

Namba Parks, Osaka Japan

Designed by Obayashi Corporation

Located in Osaka, Japan, Namba Parks functions as a largely natural green space amidst an intensely compacted urban setting. It proves to be a perfect example of successful natural intervention within an urban context. Its form was derived from the dynamic pathways and circulatory patterns of the occupants and topographical elevations that serve to create a wonderful landscape while concealing much of the built environment. Pathways are created in a multitude of directions intersecting and converging into one another as an occupant navigates the spaces. Where paths meet and integrate, becoming denser as the occupant progresses throughout the site, the built environment becomes more heavily aggregated, effectively producing a spatial hierarchy throughout the entirety of the site and creating a nice transition between figure and space. A prominent formal element that is visible in plan and section is the use of many pathways along the rooftops and exterior of the built environment while still retaining a sense of invitation to the interior spaces.

Southtown, San Antonio

Proposal by Cody Clancy and Mike Clariday

Our proposed design is intended to successfully integrate the unique societies that form the area of Southtown, San Antonio. By adapting the principles of design we have gathered from past experience as well as our precedent studies, including Namba Parks, we have developed a formal and programmatic strategy that will serve the needs of the unique cultures that make up the surrounding community while allowing for maximum integration of the numerous aspects that make up the context of our project. Our site is located between The Blue Star Arts Complex, the Historic King Williams’ District, and Southside neighborhoods, establishing the basic principle that it should serve each of these communities and allow them to unify within.

Adopting elements from our precedent, we intend to create a method of hierarchy, establishing an “epicenter” between our site and the Blue Star Arts Complex, the area in which most pedestrian and tourist traffic will occur. This epicenter will allow for a densely aggregated network of pathways that will offer a dynamic course of circulatory options for the inhabitants, as it becomes less condensed towards the furthest extents of our site. These aggregations of desired pathways and the concept of maximum circulation will serve as the driving factor in the form, siting, and density of the built environment in addition to creating the necessity for rooftop landscapes as well as a topographical elevation change that will generate a connecting street from our primary site to the San Antonio River. As a whole, our proposed development is intended to create a sense of unity within these communities allowing for a commonplace of escape from a predominantly urban scenario into the refuge of a dynamic community center and natural environment.

Parti and Precedent, Big’s “Basin 7”

          When Big started their project “Basin 7,” in Aarhus, Denmark, the developing area surrounding their site had no connection to Leisure Harbor (figure 1). Instead of waiting for the private residences to be built and inserting the public spaces in between, Big took the initiative to create public space before private residences by weaving together the land and water with a “meandering promenade” that serves as an instant urban intervention (figure 2). According to Big, “the curved shape defines a series of urban spaces on land and on the water” (figure 3). Consequently, this curved shape that defines the space becomes the “lens that organizes the facts” of the project as a parti should.

          Similarly, my intention with my parti was to “weave together” the three slices of the South Town, San Antonio site with an urban intervention, allowing my own curved shape to define my own urban spaces. Although the San Antonio site has a smaller scale and different context than Big’s “Basin 7” harbor intervention, the two projects have many of the same end goals such as: 1) providing a public community space amidst pivate and commercial residences, 2) connecting land and water (harbor vs river and pool), and 3) weaving together spaces that were previously inaccessible or useless to the community. It is because of these similarities that I was able to draw from Big’s precedence and was inspired by their “big idea” and the methods they used to resolve the space.

          I chose to incorporate my own curved shape not only as the figural edge defining the program, but as the pathway itself, now outlining and connecting it as well. The parti, then, is not only the shape that delegates the program to different areas of the site, it is a tangible way people can connect with the big picture. Visitors to the site will not be able to see the overall design from the ground, but will get to experience it firsthand by walking, jogging, or even biking on it. The curved shape, or pathway, guides visitors from one end of the site to the other making even the highway and train tracks traversable and the river accessible, which allows the site to transcend the diversity of the context. By studying precedents like Big’s “Basin 7,” I am exposed to new and effective ways to resolve challenges posed by the site, context, and program in this project and many others.

Cristina Robalino - Precedent and Parti

According to Colin Rowe, an architectural parti is “the lens that organizes the facts”.  It is the main idea or the overall organization guide for a design that expresses the true nature of the design. Based on the program requirements and learning about the community, I selected a precedent that successfully tied the urban typology together and provided the community a place of gathering while at the same time bringing awareness to the arts.

 For my precedent study I choose the Oslo Opera House by Snohetta. It is evident that Snohetta organized their parti based on circulation and strong visual connections views while successfully reinvigorating the connection from the city to the fjord.  The opera house combines structure and landscape in a fluid manner, creating a social building that invites people in.

The first thing that appealed to me when I saw this project was how the roof of the structure was a part of pedestrian circulation and created multiple public spaces. Likewise, the Southdown site would transition from community to art spaces, and the form of building represents this progression through carving of the site  and the use of the angled roofs.  Like the precedent, the design for the Southdown site is integrated into the site and slopes down leading to the main connector that leads you to the next site, making the circulation natural and intuitive. The roof of the structure being used as part of the landscape is a great use of space since the people in this community are in real need of a park element and outdoor areas for community events.

While the program that fits into the precedent is too big for our site, scaling it down will still conserve the vital element of pedestrian circulation and integration to the site intact. Inside, the program would just be minimized to incorporate art studios, the café, event, and exhibit spaces to create a community identity that is seen through their art and events. 

Stefani Johnson, Precedent & Parti

The architectural parti can be explained by an understanding of the phrase “the lens that organizes the facts”. It is the main idea that shapes and regulates a major design solution to the program, site, context and even aesthetics of a building’s appearance.

The Kortrijk LLLibrary by REX in Belgium is a fluid, continuous combination of 3 major functions: a library, a learning center and a music center. With the given variety of the building’s main operations, REX sought to implement a coherent solution to connect these services by simply moving the building to the other half of the proposed site, preserving a portion of the existing music center and building directly on top of those saved elements. Furthermore, this move ultimately resolved the essential matter of establishing a stronger connection of the site to the cultural axis of the city.

The resulting parti was realized by organizing the different schemes on a continuous spiral, as opposed to the stacking of floors. This design choice allows for flexibility in imminent change of program in the LLLibrary and waives the potential failure faced when ideas for future additions or reductions of space arise. Easy, smooth growth or shrinkage of any of the programs would be limited with the traditional implementation of massing distinct and restricting floors.

My translation of this parti is manifested through the application of a spiral organization scheme as well. I combined the different aspects of our site (i.e. market, café, art studios) by placing them on a similar circling plan which coils upward, providing easy accessibility and connectivity of each function.

         I achieved this by placing the art studios beneath the ground/street level. The outdoor market, which is also below grade, is located on the exterior of the basement studios and completely wraps around them. Access to the café, which occupies the above level, is granted through stairs and elevators on the interior art studio level or through the ramp in the exterior market space.

         In contrast to the LLLibrary, my building design is of course scaled down, due to the limitations of the site and smaller requirement of usable space. Also, my design plays on the fragmentation and angulation of the 3 existing sites by splitting and cracking the planes up and adding more level changes to the ground condition. The central triangular piece of the site also plays a significant role in establishing the theme of my design. This notion of fragmentation, triangulation and sharp angles also influenced the appearance and aesthetic of my buildings exterior faces. The overall appearance of my building is a fractured, crystal like figure, placed on a pedestal thus, adding to the layering aspect. This approach is apposed to the appearance of the LLLibrary which consists of smooth, flat, orthogonal faces and a rectangular plan/layout.

         The spiral that exists in the building’s plan will successfully create an effortless merge of these three services while creating subtle sense of continuity though out the community center.

                                          

Carolina Lubeck_Precedent and Parti

The parti of a design is an important tool to help understand the main concept behind the project. As Collin Rowe would say, ‘the parti is the lens that organizes the facts.’ Based on the site and the program, I found the Villa Fur house by BIG organizes the site with the topography and to create views to the adjacent lake. The parti starts by placing the pieces of the program in a grid together before angling the back side up and the front side down. Next, it pushed the pieces toward the unmoved center piece and stacked the program. The main source of entrance for this building is on the second(middle) floor. The front is composed of primarily windows while there are no windows on the back to help the building blend seamlessly into the topography. What I like about this project is the way they work with the topography. Our program requires an underground connection between sites that I believe has opportunity to be more than just a tunnel. As this site is to be a future expansion of the well-known San Antonio Riverwalk, I want to continue the ‘below-grade’ experience into our site. I found the use of transition between levels to be very fitting for our site. I believe it will make the building fit seamlessly into the site. While the Villa Fur is three stories, we do not have enough program to make three stories, but the entrance could be emphasized by being a little taller to keep continuity with the form. Within this form, I would like to include the interior exhibit space below-grade, a small two story café at and below grade to welcome everybody, an amphitheater that transitions from at grade to below grade, and multiuse space that is at grade.  By not including the third level form, the form can be aligned parallel to the street.

HillaryHagen_PartiEssay

Bjarke Ingels, David Zahle, SDF- Danish National Maritime Museum

The Danish Maritime Museum is fitted into a unique historic and spatial context between one of Denmark’s most important and famous buildings and a new, ambitious cultural center.  Its spatial context is organized around a subterranean dry dock.  The museum is wrapped around the underground dry dock creating a spatial void in the center. Interior ramps are placed in the central void connecting galleries within the museum.  Not only do these ramps and bridges act as connectors for the interior space but also connects the outdoor space using the roofs of the ramps as walk-ways and allows the public to view the interior art galleries at adjacent slopes.  This advertises the museum alluring the public to explore the rest of the museum.  

                Similarly, South town San Antonio is in the mist of transforming from a run-down historic district into a new artistic cultural center itself. Our site contains a cafe, art studios, an underground tunnel, and an outdoor park. The parti design of the Danish Maritime Museum translates well into what needs to be included into the design of our site.  In a smaller scale the museum would be conveyed through our art studios and their possible exhibit space alluring the surrounding art community.  The opposite end of the museum which connects the rest of the galleries in the museum could connect our cafe. Where the underground dry dock sits on the Danish Maritime Museum could act as a subterranean courtyard and could continue into our underground passage way.                 

                In this case the parti of the Danish Maritime Museum which explains the appearance of its design is its preservation of the subterranean dry dock, linking its historical past with its modernized present.  This conveys Denmark’s transformation within time and respects its past by not wiping out the dry dock but using it as an artistic focal point.