A museum - for the sculptures of Ilhan Koman Author / Elvira Koman Chalmers School of Architecture Department of Architecture and Civil Engineering Examiner / Mikael Ekegren Supervisor /Björn Gross External supervisor / Ulla Antonsson 2 3 Author: Elvira Koman Examiner / Mikael Ekegren Supervisor/ Björn Gross External supervisor / Ulla Antonsson Building and Tectonics Master’s program of Architecture and Urban Design Department of Archiecture and Civil egineering Chalmers School of Architecture Year of graduation / 2022 Special thanks to Ulla Antonsson for your inspiration and guidance and White Arkitekter for offering the external supervising with Ulla Antonsson. Björn Gross for our tutoring sessions always with interesting conversations where you push me to take things further. And thank you Viktor Göthe for your patience, dedica- tion and openess to make study visits and always discuss architecture with me. All figures are own produced if not otherwise is stated Front cover: Interior perspective of the museum entrance hall 4 5 Table of content I II III Appendix A - An investigation of the sculptures’ relation to space and atmosphere IIII Abstract Student background Research question Aim Theory - Atmosphere - Phenomenology - Reading instructions & method Reference projects - Louisiana museum - Hald Ege Kirke Context - Ilhan Koman - The sculptures - Site analysis Design proposal - Limitations and program - Landscape - Building - Details - Models Discussion Literature and images 7 9 11 13 15 17 19 21 23 25 29 32 38 42 44 74 80 84 86 6 7 Abstract The experience of architecture is an experi- ence of many layers; it is subjective and con- nected to its surrounding and it is perceived through all our senses. The intention is for the thesis to answer the research question with a building that interacts with both its surrounding, its con- tent and its user. The investigation is made through research by design and the thesis is tested through a building proposal of a mu- seum for the sculptures of Ilhan Koman. Since the sculptures are such a big part of the experience of the building, they are con- sidered part of the context. A pre-study has been made during the autumn investigating the sculptures and their relation to space and atmosphere. The pre-study is a foun- dation and guidance for the design of the museum. The work is executed by iterations, physical models, and visualizations as guiding tools throughout the process and with several study visits to building references used for a deeper understanding of architecture in connection to the thesis’ theme atmosphere. The theoretical framework derives from the phenomenological perspective of architec- ture. With Peter Zumthor, Johan Pallasmaa and Adam Caruso as references for under- standing the theoretical concepts of atmo- sphere and architectural sensations, the aim is for the project to explore materiality and detail and its meaning for the building and how it is experienced. The percieved simplicity of the building is meant to enhance an awareness of the phys- ical presence of both the sculptures and the architecture. If they can communicate with each other and speak to us so that we can project meaning to its existence, they can become part of the context and enhance the atmospheric presence of the place. Research questions: How can architecture be created with atmo- spheric presence? Atmospheric presence meaning an architectural sen- sation created not by formalistic concept, but through an experience by the human senses created by place, material, detail and light. Keywords: Atmosphere, presence, museum, sculpture Ilhan Koman working on his sculpture “Medelhavet” or “Akdeniz Heykeli” in the late 70s. Note. (Photograph: Koman Foundation) 8 9 2020-2022 Chalmers School of Architecture, Master’s program of Architecture and Urban Design 2019 Summer employment, assisting architect, White Arkitekter, Gothenburg 2019 Sailor, T/S Gunilla, ”The sailing gymnasium” 2018 Internship, White Architects, Gothenburg 2017 Bachelor, Architecture, Chalmers University of Technology 2014 Spatiality, architecture and design. KV Art School, Gothenburg 2013-2021 Chef, stewardess on sailing vessel Tre Kronor, Briggen Tre Kronor AB Master´s program courses: 7,5 Sustainable Development 22,5 Healthcare Architecture 4,5 Nordic Architecture 3 Urban Planning and Design Theory 22,5 Housing Inventions 3 BIM: Building Information Modeling 22,5 Matter, Space, Structure 3 7,5 Prep course 30 Master thesis - Building & Tectonics studio Contact: elvirakoman@hotmail.com Student Background - Elvira Koman 10 11 Research question How can architecture be created with atmospheric presence? Atmospheric presence meaning an architectural sensation created not by formalistic concept, but through an experience by the human senses created by place, material, detail and light. Ilhan Koman working with an iron sculpture in Drottningholm, around 1960. Note. (Photograph: Koman Foundation) 12 13 Aim A project can be perfectly executed, rational and well planned but still lack something that makes it move you, trigger your sens- es. Zumthor refers to it as “buildings with soul” and compares it with music, which with its different nuances of rhythm and character etc. has the capacity to move you. ( Zumthor, 2013). I want my museum to have a soul. I want my museum to be a space where the architecture and human activity together create a feeling, an experience, an atmospheric presence. Imagine when you enter a church, the space inside, the emptiness and richness combined and the way you are allowed to be only you, no interruptions. Everything outside is left outside when the heavy door closes, the sounds of the busy street, the hot tempera- ture, the people around you. You do not need to have a reason to go inside, you do not have to interact with someone, and you can be only you. It is not something reli- gious, and it does not have to be a church. it is an example of a space where the feelings of it is the essence, a space that moves you. Imagine the feeling when you enter this space, that is how I would like the museum to be experienced. With the project I want to explore the meaning of each element of the building, with detail and shape give the materials a presence that gives the building an appear- ance that feels obvious, unique and neces- sary for its place and purpose. The aim is for the thesis to highlight the im- portance of building for the human senses, to use each element of the building to speak to our associations. Unknown home in Havanna, Cuba Architect: Unknown Östra kyrkogården, Malmö Architect: Sigurd Lewerentz Wooden detail, Louisiana Architects: Jörgen Bo and Wilhelm Wohlert Östra Kyrkogården Architect: Sigurd Lewerentz Note. Own photos from study visit. 14 15 Theory - Atmosphere Atmosphere is the experience of archi- tecture through our many senses. It is the cumulative experience of grabbing a door handle and feeling the chill of the metal, the response in our hand of a light friction in the mechanism of the lock when pressing down the handle. Of how the road shows us where to go, or if not, how it makes us feel when arriving not knowing where to go. It is when we experience the gravel under our shoes, the sound of the stones when putting weight on our feet. Peter Zumthor’s work could be seen to be- long within the discourse of phenomenolo- gy and regionalism, but this is not a theoret- ical framework he claims to follow. (Lending et al.,. 2018). What he talks about instead is atmosphere. (Zumthor. 2018) Zumthor explains atmosphere in a concise way where he divides the aspects that create atmosphere into nine chapters (Zumthor. 2006). Some of them are more abstract than others but even the most abstract aspects are very easy to recognize and sympathize with. For example, the sound of people around you, talking but not to you, the sounds of activity in a public space that does not con- cern you but still are recognisable to you. That is a common situation, yet it is harder to define how more specifically it gives feel- ing to the space, is it the life and activity or is it the buildings around you or the bench you are sitting on that is the source for the experience of the space or is it a combina- tion of them all. Zumthor seeks answers for this without any clear conclusion more than the importance of curiosity and willingness to find new answers in each new situation. Nine chapters of atmosphere The Body of Architecture Material Compatibility The Sound of A Space The Temperature of A Space Surrounding Objects Between Composure and Seduction Tension Between Interior and Exterior Levels of Intimacy The Light on Things (Peter Zumthor , Atmospheres, 2006) 16 17 Theory - Phenomenology & the importance of senses Pallasmaa describes phenomenology as a multisensory experience. By inviting the senses to the experience of the built envi- ronment the experience can be enriched and given more aspects for the human body to place itself in the context. (Pallasmaa, 2012) Compared to the modernisation in architec- ture where the visual expression of function has been praised - instead the meaning of each element becomes vital. The connection to its context becomes important, context meaning both site specific, place in time and the use of the building. Everything that effects our perception of the architecture when placing ourselves in it becomes part of the context. Pallasmaa writes about the focused and un- focused vision. How the things you uncon- sciously perceive can have a bigger impact on the overall impression than the things in focus. He argues that architecture today is so occupied with pleasing the focused vision that the aspects perceived in the periphery get lost. That what we sense through our pe- ripheral perception makes us part of the sit- uation instead of only observers. Further on he talks about how the architecture is more than what an image can give us. How visual images isolate architecture and exclude oth- er sensory aspects. (Pallasmaa et al., 2012) Relation to place identity is another aspect of phenomenology within architecture. Norberg-Schulz connects his architectural theory to phenomenology and history by highlighting the symbolic meaning of things and how our associations to history, time and life is of importance to achieve a place identity and a sense of belonging, and in ex- tent to the human identity. (Norberg-Schulz, 1980). He states that the phenomenological approach needs a deep understanding of the site, not only its quantitative qualities but also its meaning and interaction with the hu- man being through associations, memories and historical symbols.. Adam Caruso describes the human territory as something linked to place identity and ar- chitectural phenomenology. (Caruso, 2017) He claims that what surrounds us brings as- sociations and that the human territory can be created by energy and culture as a way for a building or place to move us. With a theoretical foundation made through understanding architectural atmosphere as explained by Peter Zumthor, and the expla- nation by Johan Pallasmaa of our senses as an important role in how we experience ar- chitecture, the work is put in a phenomeno- logical discourse. ” I enter a building, see a room, and - in a fraction of a second - have this feeling about it.” (Peter Zumthor , Atmospheres, 2006) ”The way spaces feel, the sound and smell of these places, has equal weight to the way things look.” (The Eyes of the Skin. Juhani Pallasmaa. 2005) 18 19 With this framework I want to explore the relation between the building, the objects within, the space and how they can work to- gether. I want to let the physical model be a central part of the exploration, use it as a method to come closer to what we experien- ce within architecture. The work is divided in three parts where the first part can be considered as an introduction for the design work. The introduction gives an understan- ding of the research question, the theore- tical framework, aims with the thesis and the methods used in the work. The second part showcases the design proposal, which intends to relate and answer the thesis’s question and theory. The third part is an ap- pendix with a pre-study that investigates the sculptures’ relation to atmosphere and space. The pre-study can be seen as an inventory of the sculptures and their properties and needs. Method My intention is to invite our senses into the architectural experience by using the associ- ations from the building and its place and by doing so give it a context of time and place. With the aim for the museum to create an at- mosphere, the sculptures need to be present in the working process, be considered part of the situation and relate to the building in the same way as the landscape is part of the situation. The design process is divided in two phases. The first period focusing only on framing the theoretical definition of phenomenolo- gy and atmosphere and exploring the sculp- tures’ relation to space and atmosphere. The explorations are made by working with phys- ical models investigating light, material and scale. They can be seen as an inventory of the sculptures, of how they can be captured by different methods and of how they relate to space, light, material and feeling. The first phase works as a foundation for the second phase which is more concentrated on the site and building. By having the pre-study focus- ing on the sculptures the aim is for the art- work to be given an unconscious presence throughout the process even when they are not directly in focus. The work is made by physical models, draw- ings, and renderings. To achieve the architec- tural presence and atmosphere that I am aim- ing for, physical models and visualizations are important tools throughout the process. Study visits to building references are also a tool which the work relies on, where exam- ples both within the museum typology and other buildings have been studied. Reading instructions Old stone building on shipyard in Beyoglu, Istanbul. Note. Own photos from study visit. 20 21 The Louisiana museum of modern art is an interesting building both as a museum typol- ogy and with its many well executed details. When moving around in the building the floorplan does not seem clear but not need- ed to be either. The experience of the muse- um is orchestrated by leading you from one room to another. Each room has its own outlook and the landscape on the outside is made to be part of the experience of the room. The place where the sculptures of Alberto Giacometti are located may be the most striking exhibition space for sculptures in the museum. The sculptures are given a generous space and you can approach the sculptures looking at them both from a dis- tance and close by. The building itself is an experience where small details matters, the elevator panel in brass or the wooden rods as radiator cov- ering in the floor become beautiful details rather than functional neccessity. Louisiana Museum of Modern Art Architect: Jörgen Bo and Wilhelm Wohlert Concept diagram of the plan organization Wooden rods for heating shaft in the floor Outlook from the passage over the garden Passage with view over garden to the left and the closed brick wall to the right. Giacometti´s sculpture standing with the painted brick wall as a foundation. Note. Own photos from study visit. 22 23 Hald Ege Kirke, Denmark Hald Ege Kirke has been an inspiration to the design of the volume and its appearance in the landscape. The project consists of three volumes placed parallel to each other with a wall surrounding them making the volumes and the space between them equal- ly important. The wall becomes an important element not only for the roofs to rest on but also for the character of the space. With simplicity in the ground treatment and how the building meets the ground, the project works with the landscape in a way which has inspired my design. Architect: Inger & Johannes Exner Built: 1965–1967 Note. From Hald Ege Kirke [Photograph], by Poul Pedersen, 2021, Atlas of places. https://www.atlasofplaces.com/architecture/hald-ege-kirke/ Plan diagram 24 25 Ilhan Koman (1921-1986) Ilhan Koman was born in Edirne, North- west Turkey 1921 (1921-1986) He studied art and sculpture in Turkey and then got a scholarship and moved to Paris and later to Belgium. In 1958 he moved to Sweden where he took a professorship at The Royal institution of Art, Konstfack. He stayed in Sweden until his death 1986. There he bought an old former cargo vessel M/S Hulda which became a central part of his work and life as a year-round home for him and his family. Next to Ralph Erskine’s vessel Verona on Drottningholm they both had their practices onboard their vessels, ex- cept that Ilhan and his family also lived on the ship while Erskine soon moved his of- fice to land. Ilhan Koman made many sculptures in dif- ferent sizes and materials. A central part for him was the science, the mathematics and the specific characteristics for each material. A lot of the sculptures were monumental artworks for public spaces, many of them in close collaboration with the architect Chet Kanra. . In 1999 Ilhan Koman Foundation of Arts and Culture was created with the aim to promote the artistic and scientific heritage of Ilhan Koman. During 08-2012 The Hulda Festival took place which was a large project where the Home of Ilhan Koman, the old cargo vessel M/S Hulda sailed from Stockholm to Istan- bul with an art exhibition onboard visiting cities on its way. Showing the art combined with collaborations with local artists and ed- ucational events for young people was the main event for the festival. The festival end- ed with the ships’ arrival in Istanbul and a final exhibition there. Today M/S Hulda is in Istanbul, Turkey. In Turkey the ship is an important symbol of Ilhan Koman. It is a piece of his life and a symbol of the Swedish heritage but is also one of his biggest projects according to himself, constantly working on it and step by step creating the space and home. The work with Hulda, the sculptures and the foundation are now managed by his first- born son, Ahmet Koman and the most re- cent events with the art by Ilhan Koman has taken place in Turkey where he is more es- tablished and known. Ilhan Koman and Ralph Erskine on Verona, the ship and office of Erskine. Note. (Photograph: Koman Foundation) 26 27 M/S Hulda, the home and workshop of Ilhan Koman between 1963 and 1986. Note. (Photograph: Koman Foundation) From Leonardo.../ Co-created by Chet Kanra and Ilhan Koman, 1971 Royal Technical Institute of Stockholm, Architecture School. P Note. (Photograph: Koman Foundation) 28 29 The sculptures The sculptures have a strong connection to their material, which are tested to their lim- itations, but in a respectful way and without losing their balance and harmony. Many of his sculptures were made for public spaces, unfortunately a lot of them have been tak- en down during transformation and ren- ovations. But some are still standing and one example of this is the Whirlpool made in steel. It is a large sculpture for a public space placed in the centre of the outdoor area of Ekerö City Centre by Ralph Erskine. Another example in Sweden is the “From Leonardo to...” sculpture placed outside the entrance of the original Royal Techni- cal University of Architecture. His most famous work is the holographic “Akdeniz” (Mediteranean) publicly elected as the best sculpture in Turkey. Besides the artwork in larger scale for public space, Koman has a rich variety of sculptures in smaller size. His artistic career can be divided in different periods where he experimented with different materials. Each period represents its own character of sculptures where the material and the prop- erties of the material are essential to how the sculptures appear. But what they all have in common is an expression and elegance where balance and harmony is present even when the form is bent, or the surface is rough. His career and artwork can be divided in four periods: the clay period, the iron period the wood period and the scientific period. More can be read about the sculptures in Appendix A - An inventory of the sculptures and their relation to space and atmosphere. The clay and bronze period The wooden period The iron period The mathemetical period Note. From Koman Foundation [Photograph], Ilhan Koman. Retrospectif / retrospective. 2015 30 31 Models 1:20 Study of the base Models 1:20 Study of the light More studies of the sculptures can be read in Appendix A - An inventory of the sculptures and their relation to space and atmosphere. 32 33 The site Drottningholm Lovön Ekerö Stockholm northwest Stockholm south Stockholm City Brommaplan 34 35 1. Kungsgården Farm 2. Museum De Vries 3. Karamellan Resturant & Cafe 4. Drottningholms’ Theatre 5. The Chinese Pavilion 6. Evert Lundquist Ateljemuseum 7. Ralph Erskines’ villa and office 8. Klockberga - Peter Celsings’ Villa 9. Ilhan Komans’ home adress 10. Drottningholm ferry 11. Royal Palace Drottningholm 3. 4. 5. 6. 2. 1. 9. 8. 7. 10. 11. Site The site As much as the building interacts with the people it interacts with its place. Hallonplan is located outside of Stockholm, next to the royal garden at Drottningholm. Today the site is an abandoned football field and overgrown playground. With a few fam- ily villas in various size and character in the back, the site is positioned in an open land- scape between the denser living area Mal- men and the farm Kungsgården. An open field of grass in front of the site creates a landscape with open views towards the royal garden, its ponds and its large linden trees. Connected by an apple tree alley to the west, is the old royal farm Kungsgården, with both horse stables and agriculture. The farm consists of gabled roofed vol- umes in long shapes. There are traditional old wooden barns, horse stables covered in plaster with a higher detailing and a large former green-house complex which histor- ically has supplied the royal palace with veg- etables. The site has a connection to Ilhan Koman since it is the neighbourhood where he lived during his time in Sweden. His first per- manent living space in Sweden was a small house on Malmen in the same block that later became Drottningholm´s Inn. During this time, he had his workshop in the green- house belonging to the farm Kungsgården. After the first period of renting the small house he and his wife bought the former cargo vessel which became a workshop and home for them and their four children. The ship´s port was at Drottningholm where the ship stayed within the family until 2009 when it was taken to Ilhan’s birthplace in Turkey. The location of the site is a good choice for the museum because of its close connection to the royal Garden which is a highly visited place by tourists. It has easy access with bus and is visible from the road from the city towards Ekerö. Two big parking areas for both tourist buses and cars are located with- in 300m distance from the museum, which can be used by visitors. Accessible parking and drop-of zones will be located next to the building. 36 37 38 39 Program Exhibition halls Film room Reception, Museum shop & Storage Back office Wardrobe & Toilets Storage Goods Dressing room Workshop & Sculptures archive Technical room Restaurant, Kitchen & Storage Waste room Building Sculptures courtyard Site: apr. 770 sqm 35 sqm 75 sqm 6 sqm 65 sqm 26 sqm 16 sqm 205 sqm 75 sqm 140 sqm 26 sqm 1540 sqm 500 sqm 6000 sqm Limitation The museum will house sculptures by Ilhan Koman. The building will have exhibition areas, a museum shop and a restaurant. The exhibition areas are both indoor and out- door. Additional to the museum building there will be a workshop for reparation and restoration of sculptures and a bigger stor- age space for sculptures archive. The work- shop is meant for both the preservation of the sculptures and as a source to activate the building furthermore by being able to house activities such as weekend courses and workshops. 40 41 Site plan 1:5000 0 100 m Site plan 1:1000 0 20 10 50 m 42 43 Landscape model 1:1000 The landscape The building stands steady but freely in the open landscape with bricks meeting the ground and the thick walls that adds heavi- ness. The volumes create outdoor zones where the vegetation is allowed to take over in different degree; the closed courtyard with gravel protected by the surrounding walls and the outside with a seamless border where the grass slowly grows into the grav- el demonstrating change and the passing of time, humanizing the place. The shape and scale of the building relate to the farmhouses, but acts as an independent addition to the place. Placed in the landscape with an angle both for the direction of the sun and for the ga- ble motif seen upon arrival, the building is situated with the entrance located on the short end of the building. 44 45 Exterior perspective when arriving to the building The aim is not for the design proposal to suggest a building based on the shape of the sculptures or adapting to them in some contrived way but to provide a home for the sculptures. A space where the sculptures can be experienced with an architecture that does not take focus from the objects but still feels necessary. The composition of building volumes de- fine spaces inside and outside the building. When you approach the building, you get small glimpses of a place inside. The sculp- tures’ position, the light, and the sightlines leads you through the museum. A home for sculptures Outdoor zones Sightlines 46 47 Sightline from entrance hall The ambition is for the whole building to be simple and self-evident but with an ap- pearance where each material and detail has meaning, anchoring the architectural object in its situation and our associations and to support the full experience of the architec- ture. Heating from the floor and a hybrid ventila- tion system with openings in the lower parts of the wall bringing in cold air and shafts in each volume with ventilation aggregates forcing the warm air out with a chimney ef- fect. The bricks are in Danish format with a cross bond and a limewash treatment on the surface both exterior and interior. The limewash gives a bright colour and smooth surface but still with the traces of the brick visible. The roof construction is made of pine with wooden trusses visible and meeting the wall by landing on a wooden beam along the façade. The beam helps to articulate a clear transition in material. To make an exterior expression of the roof to rest on the solid wall the openings are from floor to ceiling making the windows look like gaps between the walls. Details with a purpose Trusses on a thick brick wall. Hybrid ventilation and heating from the floor 48 49 Exhibition areas * a. The passage - Pi series b. Northern hall - Iron sculptures c. The middle hall - Temporary exhibitions d. Southern hall - Wooden sculptures e. The arrival - Realized version of a competition proposal f. The courtyard - Big scale bronze sculptures g. The Garden - Big scale stone sculptures * The sculptures can be seen in the rendered images. 8. 17. 15. 16. Goods Program 1. Entrance hall 2. Storage - Shop 3. Cleaning storage 4. Museum shop 5. Reception & back office 6. Wardrobe & WC 7. Dressing room - staff 8. Storage - Restaurant 9. Technichal area 10. Kitchen 11. Dish room 12. Restaurant 13. Storage museum 14. Cinema /TV room 15. Sculptures archive 16. Workshop 17. Waste room Plan 1:400 Parking Accessible parking and drop of zone in front of entrance. Public parking space for visitors is located 300m from site both to south and west, this is an existing parkingarea in connection to the royal garden. 0 5 10m 12. b. a. 1.5. 4. 3. 2. 6. f. e. g. A A c. 9.14. d. P P 13. 7.8.9. 10. 5. 11. 50 51 Reception Inside the museum The experience of the museum starts when arriving to the place seeing the building from a distance where the volumes and sculptures are placed in the landscape free- ly. When coming closer the idea is for the sculptures to lead you through the building by triggering a curiosity and for the building organization to support the intuition to go further in the building. The entrance is generous in size and have a visible connection to the reception, the courtyard and sightlines further into the building. The plan organization is kept sim- ple with each volume being one continuous room open from floor to ceiling creating a big space. An inner core for functions is placed in the centre of each volume divid- ing the open space into different zones with one back corridor and one generous passage for the main communication facing open- ings towards the courtyard. The ceiling is made of pine planks with a 20mm gap between. Behind the wooden planks a sound absorbing textile is placed to reduce noise. The core has an inner ceiling to separate both sound and air from func- tional areas. The hybrid ventilation system allows the interior to be clear of any visi- ble installations and the electricity is reached only from the walls of the core and hidden in the ceiling by the wooden planks. In the common areas and the restaurant lamps from above is hanging between each roof truss. Smaller lamps are placed along the wall lightening the corridor and spotlights are placed hidden above the core directed upwards bringing light to the roof construc- tion. In the exhibition areas track lights are hanging between the trusses in the height of the collar beam and gives an even light but with adjustable spotlights for changing the direction of them. In both ends of the exhibition hall a large skylight brings additional light to the centre of the room. Without distracting the foun- dation for the sculptures, the dark metal boxes comes down from the ceiling adding one more material to the space, the shiny metal brings contrasts to the wooden roof and stops just above the height of the collar beam. Each volume is given a big shaft for ventilation which from the exterior looks the same as the skylights, like metal clad chimneys. Inside the building they continue behind the wall of the core. 52 53 Restaurant 54 55 West facade East facade South facade Plan 1:400 0 5 10m North facade 56 57 58 59 Section A 1:100 0 10 20 m 5 60 61 Interior perspective - ehibition hall, Pi 62 63 The exhibition halls The museum has several exhibition spaces, the outdoor area, the courtyard, the open landscape, the entrance hall, the passage and the main hall. The main hall is one big volume divided by the core into three spac- es, the iron sculptures hall, the shared hall and the wooden sculptures hall. Inside the building the wooden sculptures are placed directly on the floor or hanging from the roof. The sculptures in harder materials are placed on a base made of wood. The base has a shadow-line trim that separates the base from the floor and the wood is to sepa- rate it even more by contrasting the polished concrete floor. The limewashed brick wall gives a simple background for the sculptures and the de- tailing is focused above the height of the sculptures on the visible wooden roof truss- es, the skylights, the windows, doors and furniture’s in massive oak and the outdoor roof construction surrounding the court- yard. The exhibition areas are reachable from the entrance building through a wide passage that is connecting the two volumes. This is also from where you reach the courtyard. The passage is the first exhibition hall you enter and houses Komans’ sculpture series “Pi”. (See appendix A for sculptures) The sculptures are placed on a base of concrete with a top of wood to meet the material of the sculptures. They are placed along the solid brick wall and the opposite side open towards the courtyard with windows follow- ing the same rhythm as the extended roof and with sliding doors in both ends inviting you outside. With generous space in front of the sculptures the passage is meant to be more than just a corridor. In the northern hall the outlook to the open field is an element for the experience of the space. With window openings from both long facades creating a backlit that gives the sculptures a sharp silhouette this exhibition area is suited for the iron sculptures. In the centre of the room the skylight adds light to the space and makes the sculpture in the centre to stand almost on a scene. Plan diagram showing light openings Section diagram showing light openings 64 65 66 67 Interior perspective - southern exhibition hall wooden sculptures The exhibition halls The central hall is the hall for temporary exhibitions. It can be used both by guest artist’s work and for work by Ilhan Koman that are stored in the archive building. Here the light is supposed to be even and the long façade to the east is closed to give a calm background for the sculptures. The window openings on the long façade directed to the courtyard is shaded by the extended roof. Placed in the core reachable from the cen- tral hall a film room is located which can be used both for interviews and documentaries about Ilhan Koman and for the temporary exhibitions. At the end of the exhibition area is the southern hall which is visible be- fore entering the building through its big window on the south gable. The southern hall is for the wooden sculptures. Here the light from the second skylight is falling on The walking man. A free-standing sculpture standing in the centre of the room. Except for the exhibition halls inside the building some sculptures are placed out- side and in the courtyard. The sculptures placed in the landscape are casted versions of sculptures from the early career of Ilhan Koman when he worked with clay. 68 69 0 1 2 m Section 1:50 a. c. 9. 8. 7. 6. 4. 5. 3. 1. 2. Polished concrete Heating (casted in floor) Insulation Washed macadam Woven fabric 200 50 200 314 20 a. Roof b. Wall (see full section 1:100) c. Floor Hard burnt bricks under ground Sliding layer (50mm up behind wall) Shingle Ground insulation Non-woven fabric Drain pipe Mortar with slope Sliding layer Concrete slab 1. 2. 3. 4. 5. 6. 7. 8. 9. 6 (56mm) 0-56 30 1 16 90 1 220 55 1 20 200 2 108 10 240 1 100 108 2 Sinus profiled fibre cement elements B:1200 L:2400 overlapping 200 Battens for tilting the fibre cement elements Air gap and roof battens Tar paper Tongued and grooved timber with sawn face Mineral wool insulation + studs 90x45 cc1200 Vapor barrier Joists 220x70 cc1200 + mineral wool insulation Mineral wool insulation + joists 45x45 cc1200 Sound absorbing textile Planed tongued and grooved timber with sawn face 20x120 cc140 (20mm gap) Untreated pine Roof truss, raised tie tied king post, 200mm vissible, 100mm hidden behind inner cieling. Untreated pine Limewash Brick, cross bond in danish format 228x108x54 Air gap Insulation Vapor barrier Insulation Brick, danish format 228x108x54 Lime wash b. 70 71 The courtyard with one of the bronze sculptures Outdoor spaces The courtyard The courtyard works as an exhibition hall which is reachable from the inside of the museum. With sliding doors from the pas- sage, the courtyard becomes accessible af- ter getting several glimpses of its place on the way there. The extended roof is there to invite you outside, allowing you to walk around looking at the sculptures even when it is raining or snowing. The wooden pillars rest on a concrete base with the same height as the windowsill, also made of concrete, and a shadow-line trim separating the mate- rials from each other in the same way as the sculptures’ base. The ground is covered with gravel and with blocks of lime stone along the external roof showing a path, giving a signal that you are meant to continue out into the courtyard. Rainwater from the roof is taken care of by an eaves gutter collecting the water between the gable roof and the extended roof. The gutter rests on the wall continuing outside the building leading the water out but is also supported by down pipes integrated in the thick brick facade. The extended roof is clearly separated from the building volumes and the thin wooden pillars contrast to the heavy brick wall. To make them belong together, the extended roof has equal amount of detailing as the wooden trusses, even if with different ap- pearance, in the same material, and follows the same rhythm as the rest of the façade. The garden On the rear side of the museum the three volumes frame the landscape creating a semi-enclosed outdoor space. Sculptures are positioned freely in the landscape placed on concrete bases that meet the grass. Some benches are positioned along the west façade of the workshop and with eve- ning sun reaching the place a bigger space for chairs and tables are located next to the restaurant. In contrast to the more orches- trated situation of the inner courtyard, this space is to be free and undefined for the user to choose how to use it and for the space to be a zone between building and na- ture with looser borders. 72 73 Exterior perspectives 74 75 0 1 2 m Facade section 1:50 0 1 2 m Facade elevation 1:50 76 77 Skylight section 1:25 1 m0,50 a. Tapping glass with a slope for leading away water and snow. b. A water proofing drain slope for condensation from the glass to dry b. a. c. c. 5 (+10) 25 25 16 45 1 210 24 5 Rheinzink (rebate dimension on exterior 10mm) plywood air gap Tongued and grooved timber with sawn face Studs 45x45 cc600 + mineral wool insulation Vapor barrier Studs 210x70 cc1200 + + mineral wool insulation Plywood Rheinzink (inverted rebate on interior) 78 79 Limewashed bricks Furnitures, doors and windows in oak Sinus profiled fiber cement roofPatinated bronze Material and detail The limewash gives a bright and smooth sur- face, keeps the traces of the brick visible and adds resistance against moisture and wind for the façade. Doors are of solid oak as well as the window frames and furniture while handles are of patinated bronze. The roof construction is made of pine wood, the trusses are kept visible, and the inner ceiling is places with gaps between the planks to make it lighter and more cared for. With a sound ab- sorbing textile behind the inner ceiling the gaps help reduce noise. The skylights are clad with rimmed Rhein Zink in two nuances. A brighter colour on the inside reflecting light down to the interior with a hidden rim making the surface even and a darker colour on the outside mak- ing the contrast stronger between the surface where the light lands and the shadowed surface. The darker nuance also separates the skylights from the fibre cement roof on the outside. The outer roof is made of sinus profiled fibre cement elements laying as scales overlapping each other. The fibre cement gives a softer ap- pearance than its metal counterpart and the size of the elements which results in the over- lapping placement gives a variation to the sur- face. By placing the gutter with a distance to the roof the sinus profile of the fibre cement is visible and the water from the roof traceble by the eye. 80 81 Entrance door All doors of solid oak with handles in patinated bronze Glazed sliding door Doors 1:25 1 m0,50 Double door to archive buildingInterior door 82 83 Models Physical model 1:200 Physical model 1:40 84 85 Models Physical models 1:20Physical model 1:20 86 87 Discussion Images and associations Images can be used as a representation both for the focused and unfocused vision. By using images in the right way I think they can trigger our memories and associations and, in that way, represent more for the one looking than the isolated image itself. In the manual of architecture written for the stu- dio of transformation in The Royal Danish school of Architecture they explain the use of images to capture a wide spectrum of the architecture. (Andersen et al. 2015) In the manual they use it for building inventory and site analysis but the way of using imag- es as a tool can be done in any part of the project. The manual states the importance of capturing all aspects by letting each im- age represent a scale or element of the ex- perience of the building. Further on the manual explains the impor- tance of the different scales of drawing. In the same way as with the use of images, dif- ferent scales of drawings can help you cap- ture different aspects of the project. This can be seen as obvious in a way but what I think is vital here is the way of working with the drawings during the design process, to use the different scales parallel during the whole process and not only as a way of rep- resenting the result of the design proposal. A conversation with its surounding I would like to compare images with mo- ments in the present. An image can repre- sent an experience or make you think of a situation, it can leave a gap for your imagi- nation to bring you somewhere else. I think that the use of images can help guide you in what you want to create not only concrete but sensually. That is how I have tried to use images as a tool in my process, as fragments showing the potential of the created spaces. Combined with anchoring the project in its context of both time and space the aim is to enrichen your associations and trigger your senses to experience the architecture. If the addition does not disturb the situation by creating a noise, but still does not stand invisible it can create a vibrance that makes it interesting and meaningful. The ambition is for the museum to do so, with a precise relationship to the site conversate with its surrounding and speak to the associations of the human senses to create a triggering tension with sensibility and respect. I think the atmospheric presence can be under- stood and reached if using multiple angles when approaching the design and if using imagination, curiosity, and awareness of the meaning in each ingredient that creates the space. Experiencing architecture One could state that everyone is experienc- ing architecture, and everyone is thinking about it, even if not cautiously. Because as we exist, and as we are thinking creatures, we reflect upon our existence. As what sur- rounds us has an impact on what we expe- rience, it has an influence on our existence and becomes an important part which can be either unspoken or articulated and de- fined by words. If we can understand ar- chitecture not as a definitive form but as ingredients and interactions, we may be able to create architecture that trigger our senses and emotions. If we can use our memories of spaces and situations as inspiration to create similar experiences even if the situa- tion is another, we can add a dimension for the architectural experience that is connect- ed to the context and the user. When adding something new to its context, the situation will change. Yet it can be dis- turbed, or it can be enriched by it. If the building can interact in a meaningful way with its context, the place can change with- out being disturbed and a remembrance to the past can be kept present. This is what I have tried to achieve with my design propos- al. in the same way as when adding patina to a material it does not only give a dynamic to its material but a variation that brings life to it. I wish for my design proposal to add life to its place. I want it to be positioned in a context of space and time where it be- comes charged by the ongoing life in it. 88 89 Literature Study visits Images Andersen, NB & Harlang, C (red) 2015, Man- ual. Kunstakademiets Arkitektskole, Kbh. Caruso, A. (2017) The feeling of things. Edi- ciones Poligrafa Koman, K. (1994) Ilhan. Kalejdoskop Förlag. Lending, M. Zumthor, P. (2018). A feeling of history. Verlag Shceidegger & Spiess. Norberg-Schulz, C. Genius Loci, (New York: Rizolli International Publications INC, 1980). Pallasmaa, J. (2012). The eyes of the skin: ar- chitecture and the senses (3 ed.). John Wiley & Sons. Pallasmaa, J., McKeith, P., Tullberg, D., & Wynne-Ellis, M. (2012). Encounters : archi- tectural essays (2. ed.). Rakennustieto. Zumthor, P. (2006). Thinking architecture. Birkhäuser. Zumthor, P. (2006). Atmospheres : Archi- tectural environments ; surrounding objects. Birkhäuser. Zumthor, P. (2013, November 17). Peter Zumthor Presence in Architecture, Seven Personal Observations [Video]. YouTube. https://www.youtube.com/watch?v=MBK- cmspiVsY Retrospektif/Retrospective, Koman, I. Exhibition catalog. Photographer: Lütfi Öz- kök Louisiana, Copenhagen Glyptoteket, Copenhagen Östra kyrkogården, Malmö Skissernas museum, Lund Malmö Konsthall, Malmö Nationalmuseum, Stockholm Liljewalchs, Stockholm Härlanda kyrka, Gothenburg Moderna museet, Stockholm Arkdes, Stockholm Göteborgs konstmueum, Gothenburg Akvarellmuseet, Skärhamn Istanbul Interviews with Ahmet Koman and Korhan Koman, sons of Ilhan Koman. Poul Pedersen (2021). Hald Ege Kirke [Pho- tograph]. Atlas of places. https://www.atla- sofplaces.com/architecture/hald-ege-kirke/ All images of Ilhan Koman and his sculp- tures are from Koman Foundation. If not otherwise is stated images are photo- graphs taken by me.