This concept for the new Tampere Art Museum is inspired by one of the best and more famous local distinctions: wood. Finland in general is the largest producer of wood in Europe and among the largest in the world; this project with its giant wooden blades would like to create an important landmark that can be easily remembered by the visitors and create a clear identity of the area.
▼总平面鸟瞰效果图，aerial view of master plan
The architectural object will be very powerful because of its simplicity but will also let perceive from the exterior its enormous interior complexity. In fact those huge walls distant only 1.2 meters from each other will let filter inside not only the light but also the view and the pedestrian’s flow that will drain freely through the lateral slits. This ambiguous transparency will be even more interesting in the dark hours when the artificial light from the inside will define the interior even more clearly crating also blades of lateral light.
▼多孔洞外观， blob volume
▼胶合板切面构成建筑立面，wooden partitions create the main surface
The interiors complexity and porosity will be forged not only by the parallel spaces between the wooden partitions but mainly by an abstract blob volume creating a cavernous continuous space to be subtracted from the wooden blades. This cavernous space so created is a continuous interstice that will magnificently represent and spatially stimulate the fluidity of the circulation stream. From the entrance where the “flow volume” will create a visible abstract tunnel that will dynamically become very high inside the foyer and then relatively narrow in the next space of the escalator. This continuous expansion and compression of the space will guide the visitor and define the importance of each area making also an incredible spatial stimulation during the visit. The path is studied so to have always the best views on the park, the old museum and Pyynikintori square and to always encourage curiosity and create this longing to discover what’s hidden behind next partition.
▼空间构成及流线分析，concept and functions
▼流动性的内部空间，the fluid interior space
▼丰富的空间规划，the complexity of the space
▼精细规划的内部通行，the studied passages
Between the timber walls there will be a strip of glass letting an ethereal diffuse light both natural or artificial coming from all directions; this will also give the right quality of light to the exhibition galleries where also a system of metal grilles, blinds, and adjustable louvers will controls the sunlight streaming into galleries letting possible also total obscurity for special exhibition needs.
▼切片木墙之间的玻璃面板引入自然光，between the timber walls there will be a strip of glass letting an ethereal diffuse light
▼屋顶百叶帮助调节室内光照，the louvers help control the sunlight
Those wooden walls will be partly full, made with glulam structure (glued laminated timber) and partly empty, to give lightness to the septum and to make the shaping more easy, especially in the areas where there is no structural needs. The wall will be perforated not only to give space to the interior areas but also under the slabs where mostly of the HVAC systems will pass through. Glulam it’s for sure an incredible green choice for the low transportation and handling costs, the great insulation properties and is made of timber, that basically grows out of the ground and does not need to be mined and subjected to the high energy demand manufacturing processes that steel and cement require; and even if the space is very abstract timber will create a warm and comfortable feeling.
▼天然材质营造舒适内部环境，using the natural materials
The vertical wall will continue also on the ground with a strip of wood separated by other strips of cement floor. This zebra pattern will be constantly present in the main interior spaces and will flow outside the building occupying the more strategic points and paths of the surrounding landscape. The main striped flow will be the one from the bus station pedestrian island to the museum entrance and each stripe will be equipped with LED system to let the ground path more significant in the night time.The same logic of fluid paths and blob subtraction will be applied also in the rest of the masterplan design, so to have everywhere the same architectural language. From the infill volumes to the Pyynikintori square surface, everything will be perforated by those abstract volumes. In this way the square will have holes looking to the underground parking where trees plantation will be possible, and the infill facades will have suspended courts voids to let the horizontal light go more deep inside the buildings.
▼贯穿内外的斑马线元素，the zebra pattern constantly presented in the plan
▼底层平面图，ground floor plan
▼二层平面图，the first floor plan
▼三层平面图/夹层平面图，the second floor plan/mezzanine floor plan
▼地下室平面图，basement floor plan
TAMPERE ART MUSEUM CREDITS:
Programme: masterplan of Pyynikintori square area, extension of the old Tampere Art gallery, foyer services, meeting facilities, exhibition facilities, office facilities and library
new museum gross area: 6994 m²
masterplan infills gross floor area: 16000 m²
underground parking facility area: 5500 m²
Principal architects: Francesco Gatti, Riccardo Crespi
Design firms: 3GATTI
Collaborators: Angelo Balducci, Umberto Di Tanna, Serena Mignatti
Client: The City of Tampere
Location: Tampere, Finland
Design Period: February 2017
Materials: Laminated wood, steel, concrete, glass