The project is based on some physical consideration about the site environment.

• Ground surface, as an interpretation of site topography, is consider a precious value: it demonstrates the results of geological history of the area; it contains information about stratification of its uses by human beings; it creates a unique landscape; it determines micro-environmental qualities. The project concept finds its roots in this value operating on continuity with existing topography.

• The museum design is conceived as a ‘system of systems’. Ecological corridors are kept and strengthen through project morphological features. It becomes an “ecosystem” of relationships with the context.

• The volume has been carefully placed in section across the sloping plane, to reduce to minimum the environmental impact of the new construction. The result is aimed to minimize digging and external surface as a form of respect of existing landscape.

• Since the site landscape is so important, internal spaces of the new museum are conceived as an extension of external ones. We think that the site doesn’t need “new boxes”. There is a strong relationship between external and internal spaces, not only visual but even functional. A big external plaza can be organized as an open air theatre where tutorial or cultural activities can take place. Existing pathways are linked with internal ones.

• The project site is located on a hill slope south oriented. This determines a good position to take advantage of solar light and energy. The museum design is conceived to maximize solar gains in terms of natural lighting and also in terms of energy. The atrium skylight can became a passive solar system: a double skin glass plane with automatic louvers uses convective air movement for summer ventilation and winter heating.

• Vegetation is very relevant on site. The design of the museum has maximized green surfaces planting new trees on the parking areas. Paving materials have a permeable surface to let small grass grow and water filter out. Cars are considered part of the landscape so parking surfaces becomes object of topography modelling.

• The context is crossed by a complex network of pathways which allows people to reach every place. The project proposes the museum as the hub of this system, the access that connects all the terminals.

Design Summary

The project designs a new topography smoothly harmonized with site ground shape. Three curved planes with grass on top carry on the existing contour lines to cover the museum halls. Space between them is closed with glass skin; this enhances relationships between outside and inside space to create a unique, changing landscape. A thick wall, containing all services, follows the tracks of basalt precipice till the overview tower. The space left over is the atrium void, covered with a glass skylight to bring natural light in the core of the building. Part of the basalt precipice is covered and used as part of the exhibition. Outside landscaping follows contour lines to create planes for car parking. Trees lines strengthen the terrace curves and give shadow to planes. Entrance to museum is located on the south west façade (+37, 00). A paved plaza cut by a stream penetrates the building to central atrium. From there a spiral path leads to first floor and second floor.

Architectural Design Concept

• Designed grounds continue the existing one to wrap around the museum spaces. Three twisted bands take the hill slope to form the building roof. They are covered with grass and smoothly shaped and they look like a continuation of contour lines: the background becomes the foreground through a curved movement. The valley ground penetrate from main entrance, it arise gradually and, with geometrical planes, reaches the top. Its movement is spiral like, rotating around the full height atrium, tangent to basalt precipice. This continuous plane brings inside the outside landscape.

• A curved, porous wall is placed in between: hill and valley, ground and underground, rocky basalt precipice and smooth grassy fields, internal and external spaces. Utilities (stairs, elevators, services) are compressed in this band. It arises from ground following contour lines, it wraps the atrium on the hill side and it ends with the top view tower. This thick wall has a few opening which permit cross views from atrium to basalt precipice and vice versa, as an exciting discovery.

• A spatial sequence leads visitors through present and historical landscapes. The spatial design intends to give people a deep experience. After the entrance space compression, the visitor reaches the atrium, where his perception boundary can expand under top light. From this space it is possible to understand other spaces on x, y, z directions. Here, between rocky emersions, the void becomes the main attractor of activities and from here starts the exhibition path. Internal spaces are conceived as a sequence of different but connected landscapes. Space proportions change considerably: the visitor moves on a sloping plane in a space “without” roof, between Acheulian hunters and gatherers. He has the impression to “go back to source”, as the narrow river flows down. The visitor reaches a horizontal space passing through small halls and, turning around, he can see reproductions of excavation pits: his eyes are on ground level so he can experience them as to be inside. The visitor passes a gate through the thick wall. From here it is possible to go outside and take external footpath or to go on. A long vertical space, following the basalt precipice, will now surprise the visitors. A ramp goes up to first floor as a movement out of underground domain. The visitor moves around the atrium void arriving to first floor hall: a curved continuous space opened to inside and outside spaces. Another ramp brings up the visitor through atrium light to second floor (cafeteria, connection with external pathways network, top view tower, exit).

• Project materials are related to time conception. The valley museum wing is made of polished concrete, a mineral material which symbolizes modern times. It is used emphasizing its plastic characteristics, on vertical as horizontal surfaces. The thick wall is covered with pre-rusted steel to become an aged material, a witness of passing by time. On hill side, the basalt precipice is uncovered so ancient times can be physically represented. The visitor can move across these domains as the museum sense is to be a bridge between ages, an architectural time machine.

• Internal pathways find their connection with external ones following the principles of an “extended” museum. From ground floor it is possible to take the ramp, along the basalt precipice, that connects with eastern pathways. From second floor it is possible: to cross a bridge and reach the northern pathways; to go up to top view tower; to go down to exit, and get the western paths, that are connected to history culture village and parking.

Progettazione

•Paolo Giacomo Vasino, Progettista

•luigi bertazzoni, Progettista

Collaborazioni

•Paolo Vasino, Luigi Bertazzoni, Gruppo di progettazione