mindaugas savickas-master of architecture-baltic notes

NotesBalticMusic Conservatorium

Graduation project by Mindaugas Savickas, master of architecture,Academie van Bouwkunst 2013

Could the use and misuse of the architectural space lead to a new architecture?

Bernard Tschumi‘Architecture and Disjunction’

Where.............5- Baltic region and Klaipeda 5

- Historical developments 6-7

- Urban vision 8

What.............11- Chronology of the berth 11

- Re-Arch 11

- Incentive / Program / Organisation 12-13

How.............15- Inspiration 15

- Dialogue 16

- Ground Floor 17-18

- Historical forms 19-20

- Plans 21

- Interior spaces 23

- Cross-Section 24

- Accoustics 25

- Facade 26

- Detailing 27

- Impressions 28-29

- Credints 30

Where

5

Klaipeda waterfront city

East coast of the Baltic sea is a home for a harbour city called Klaipeda. City’s indus-trial water edge is undergoing important urban transformations, therefore I chose this site for my research.

6

XV-XVIII century The town was a part of Kingdom of Prus-sia, later German Empire. Memel served as a port for neighbouring Lithuania.

7

1991 Soviet goverment transformed Klaipeda into a piscatorial-marine base with gigantic shipyard, dockyard and a fishing port. Indus-trial developments annihilated historical ar-tefacts of the town.

8

Vision Klaipeda’s historical old-town becomes a beating city heart. New cultural and edu-cational facilities would involve: Castle mu-seum as a City Podium; Music theater and Music Conservatorium, Drama theater next to it; Yacht-club, Fish Market and new living-working districts with a Baltic Sunset view.

9

Today Since 2005 all the biggest city celebra-tions are taking place on the public squares of the water edge. Klaipeda is also know for its Castle Jazz festival attracting musicians from all over the world.

What

11

Re-Arch1919 - ‘Schiffswerft Memel - Lindenau und cie, Eisen und Holzschiffbau, Maschinenfabrik und Giesserei’ was established replacing wooden ship industry.

1922 - a first steam ship ‘Cattaro’ was built.

1939-1945 - Lindenau complex was used for military purposes. particularly in building german war-ships. During the war some of the buildings were damaged or demolished while bombarding the city.

1942 - Lindenau sipway and (un-)covered berth is a part of a former Lindenau shipyard. The steel profiles ‘Gutehoffnungshutte’ comes from Rurh area in Germany.

1945- ... - After the war buildings and equipment were rebuilt and used for ship building and repair.

Today - Lindenau complex is abandoned since the harbor industry moved seeking deeper wa-ters. The berth was recognised as a state pro-tected historical and cultural heritage. It is valued for its striking architectural character in its urban context. Thanks to the unique german construc-tion methods the structure is still intact and has a capacity to fit large culturally orientated spaces due to its height and large spans. The cranes and rails are operational and can be suited for a new purpose.

12

Occasional public access

School program

Existing structure

Program

Incentive

These conditions lead to the following pro-gram:

- 40 individual practice rooms from which 8 would be used for loud instruments such as percussion and brass instruments.

- 3 different size music halls. The main hall 12x16x40m, a smaller hall of 12x16x18m and Podium hall (8x6.5x24m)

- 1500m2 meeting and group practice area with a library, study area, meeting rooms, re-cording studios and administration.

- Storage area with Instrument making work-shop where children can learn the craft of making instruments.

Usable area of the building is 6200m2Number of students - a.500

Klaipeda’s music students lack quali-ty conditions for their development. There are three music schools in the old town area. They accommodate 400-500 students a year. Un-fortunately the facilities are 60 to 80 years old therefore students desperately need a new accommodation. Meeting the highest stand-arts is also an ambition of Klaipeda, which is recently becoming a musical harbour of the Baltic sea due to its proactive posture in en-tertainment business.

This new Music Conservatorium would be ‘backing-up’ the Music Theate next to it and the City Podium within the restored castle fortifications.

13

Ground floor usage

Castle

Water

Public square

Individual practice

Group practice

Meeting space

Main entrance

Public cafe

School level +7,50

Organisation

How

15

16

dialogue between MASS and STRUCTURE

17

Ground floor

18

Visualisation: school entrance

Main entrance

19

Plan Musikverein by Thoephil von Hansen, Vienna 1870

Historical forms

First floor +7,50

20

Meeting place - Aula

21

Roof terrace +14,50Second floor +11,00

22Main hall

23

Interior spacesproximity to the old structure

24

Cross-section

25

Long-section

Basic accoustic parameters:

Isolation

Absorbtion

Diffusion

Reverbaration timeReference: music making work place

- Muzyq, Amsterdam

Detail wall of a hall1:10

Accousticsmain hall

26

North facade

27

WELDED STEEL FACADE(adapting ship building methods)

Reference: glass roof

Reference: steel handrail

Reference: steel canopy

Polyurea steel finishing

Detail 1 - glass roof

Detail 2

Horizontal facade detail

Horizontal facade detail Detail North facade

Detailing

28

West facade

29

Bird view

Thanks to:

Mentor:

Ruurd Roorda

Commission members

René Bouman

Holger Gladys

External advisors:

Robert Winkel

Rob Doomen (Pieters Bouwtechniek)

Margriet Lautenbach (Peutz akoestiek)

Academie van Bouwkunst Amsterdam