Crisan Architecture and Engineering

public space-university square_2011_EN-RO

[EN/ro]

Design of the ground public space University Parking

by arch. alexandru crisan, arch. ana-maria crisan

published: competition program

project page: http://www.crisanarch.ro/project-design-of-the-ground-public-space-university-parking-83.html

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DESCRIPTION:

Incorporated into the central metropolitan area, the investigated zone was subjected to numerous interventions throughout history. What differentiates the University exedra from other intensely modified areas of the city is its linear transit. The specificity of the determined space rests within the oriented axiality and its pronounced emphasis on directed horizontality, on the other.

The connective examples presented in the first design aim at providing a solution for the “imperial square”, with a strong representative character. The vast majority of such squares were configured during Renaissance and Baroque periods, hence the preservation of their tectonic characters – the so-called “urban platform square”. In this context, we remark the lack of grass plots, while comprising mainly squares, transition areas, etc. The vegetal specificity of the University Square should be contextualized and therefore considered “an accident” generated by its intense usage as a transit area and the equally intense lack of coordination with respect to urban intentions. For a significant period of time, the Square was hierarchically subordinated to centrally-planned development of the current traffic-circle (roundabout) set in the middle of the road junction, which functions as an urban platform. Due to the subsequent urban evolution, i.e., invalidating the urban platform character, we suggest reinstating the semi-impermeable premises character of the studied area. In accordance to this goal, the adjacent frontages contribute to the formation of the representative character, following similar typologies from Paris or Lyon. Consequently, the vegetation followed a typical “Parisian” image, which derives its value from its very geometry and also from its projective contribution against the classical facades.

The suggested intervention follows the compositional axiality and the fixed ratios between the stationary elements (the statues) and the central determined space of the Square. Signaled by the equestrian group “Mihai Viteazul”, this space connects the elements and gradually establishes subordination ratios. The suggested directed perspectives emphasize on the central space area, on the visually marked exedra at the floor level through ordinated beams that determine the perimetral tree line and their positioning vis-à-vis the determined constructive elements of the two delimiting fronts. The complex compositional axis derived from the urban space mechanics analysis determined by the existing architectural elements recompose, in perspective, the specific ratios (dialogue) between existing buildings. The programmed discourse suggests the underlining of the valuable existing fronts by emphasizing on the perspective directions. The underlined perspective directions redirect and establish the central space of the Square. The granite boards, individually handled, according to each area of interest, emphasize the tectonic of the space.

The interaction space between the elements of the Square completes and integrates them in urban context. Considering the emphasis on urban specificity, we proposed, along the Elisabeta artery, directed towards the central area of the exedra, a fragmented discourse comprising local vegetal elements, fit up with resting areas, which are generating alternative urban routes. The green area is projected overbuilt at the frontage level, allowing urban interactive space at the pedestrian level. The alternative routes with punctual elements recall the specificity of the place prior to urbanization (fragmented image of the tree trunks, the forest as a labyrinth). The image of the enclosure presented in the Porach & Schweder plan from 1847 is interpretatively adopted and transposed into the arrangement by closing the hemicycle (exedra) vis-à-vis the University frontage. The compositionally centered iconic image of the Sf. Save church is assumed by the presence of the “Mihai Viteazul” equestrian statue. Subordinated to it is the pavement projected mark of the aforementioned church, in composition with the University frontage. The geometrical ratios established between the determined elements of the central space are the result of the undertaking presented in the conceptual designs (table 1).

The accentuated visibility and the transparency of the generated plans at pedestrian level determine urban subordinated connections. Aside from the sequential vegetal development of the sides and perimeter of the exedra, the central space, treated in contrast, opens the perspective images to the University façade. The compositional axes correlate the equestrian group, corroborating it with the frontages of the University and the Russian Church, in a perspective composition towards the Toma Caragiu Street. The latter, axially treated, frees up the central space from parasite elements, by compositionally treating the group comprising the access stairs and underground first level elevator. Its technical elements, the subterranean exhaust ducts, were compositionally connected to the space determined by the pavement level ruins. They absorb the general directions of the former buildings, forming a memento of the relation between the contemporary space and the history of the place. At night, the ruins are emphasized by the pavement level street lighting, as indicated in the designs. From place to place, following the ruins, granite cubes are extruded to create places of social interaction and rest. To underline the urban character of the space, for the nighttime were suggested illuminating elements within the urban furniture (benches, granite cubes, etc), aiming at creating a floating image in the dark. The pavement level lighting system proposed determines areas of interest and re-centers, during nighttime, the exedra space, directing pedestrians towards the area of interest, i.e., the ruins. The transition from the daytime axial central composition to the nighttime de-structured focused composition transforms the urban space into a more attractive pedestrian area. The first level access areas of the underground parking space were handled using not only vegetal elements, but also resting areas. They follow the general treatment of the finishes, exploiting the spatial tectonic generated by the differential treatment of the granite. The austerity of the material brings to mind the central urban spaces of the European cities, determining the urban platform as a place of social interaction, a space of orientation and relating elements in reference to the human scale. Aside from elements of stateliness that determine the central spatial configuration of the Square, the project aims, through composition and constituting elements correlation, to confer a sense of specificity to a contemporary space, by contrasting the proportion of the architectural space to the human scale.

ATTITUDE:

Site Specificity: oriented axiality; directed horizontality; dual character: static (hemicycle), dynamic; vegetal specificity = accident generated by intense usage; representative character - adjacent frontages (facades); vertical landmarks: statues, University frontages, cupolas;

Connective examples: “imperial square” type, representative character; urban platform – tectonic character;

Key points: initial site geometry; radial geometry – hemicycle ; linear – along the boulevard; equestrian statue – characteristic to imperial squares; double axiality – University frontage, longitudinal axis, statues; longitudinal transit area; triangular connectivity along the axis University – Russian Church -Coltei; forgotten spatial memory – ruins of the old cemetery in an enclosure type space;

Intervention directions: re-establishing the original enclosure character; frontages in dialogue, supported platform; reaffirmation of compositional axiality; underlining the geometry of the site: established reports between fixed elements (statues) and the determined central space of the Square; re-establishing the relations vis-à-vis between frontages based on the principles of classical geometry; the differentiation of the static character in hemicycle and dynamic alongside the boulevard; secondary solution for the transit characteristics; establishing the proportion and subordination degrees –major importance –equestrian statue – MV; building the continuous visual dialogue – pedestrian opening of the entire area; tectonic re-settling of the space – granite slab covering; creation of alternative routes; re-affirming the memory of the place – the ruin area, the cemetery from the old enclosure – circular; differentiation between daytime and nighttime image – different character; facilitating resting areas on the exedra flanks – shady area; punctual interventions: urban furniture, medium size vegetation; braking the contact between the horizontal line and punctual elements: geometry and lighting; concealment of the access ramps in the underground parking lot and of the ventilation pipes;

Actions: creating a platform – opening up the square – emphasizing the horizontal line; invalidating the pedestrian area; eliminating the grass plots surfaces at pedestrian level; creating visibility aisle – raising the tree line; re-instituting the radial geometry in the pavement; underlining the ruins; elevating the punctual elements above the platform: furniture, vegetation; additional vegetation setting within exedra; raising the vegetation line above visibility line in flank areas; medium vegetation insertion – Parisian typology: globular geometry, typical projection on classical frontages;

[en/RO]

Amenajarea spatiului suprateran Parcaj Universitate

de arh. alexandru crisan, arh. ana maria crisan

publicat: extras proiect concurs solutii

pagina web: http://www.crisanarch.ro/project-design-of-the-ground-public-space-university-parking-83.html

ATITUDINE:

Specificul sitului: axialitatea orientata; orizontalitate directionata; dublu caracter: static (hemicilu), dinamic; specificul vegetal = accident rezultat din tranzitarea spatiului; fronturile adiacente - caracter de reprezentare; existenta puncte de reper verticale: statui, fronton Universitate, cupole;

Exemplele conexe: piete de tip imperial, caracter de reprezentare;"piete dala'' - caracter tectonic;

Puncte cheie: geometria originara a sitului; geometrie radiala- hemicilu; liniara - de-a lungul bulevardului; statuie ecvestra - Mihai Viteazul – tipica pietelor imperiale; dubla axialitate - fronton Universitate, ax longitudinal statui; tranzitarea longitudinala; relationarea in triunghi a Universitatii, Bisericii ruse, Bisericii Coltei; memoria uitata a locului - ruinele vechiului cimitir in spatiu de tip incinta;

Directii de interventie: restabilirea caracterului original de incinta: fronturi in dialog, platforma sustinuta; reafirmarea axialitatii compozitionale; sublinierea geometriei sitului: rapoartele stabilite intre elementele fixe (statuile) si spatiul determinant central al pietii; restabilirea relatiilor de vis a vis intre fronturi, pe principiile geometriei clasice; diferentierea caracterului static in hemicilu si dinamic de-a lungul bulevardului; rezolvarea in plan secundar a caracterului de tranzit; stabilirea gradelor de raport si subordonare – importanta majora- statue ecvestra - Mihai Viteazul; crearea dialogului vizual continuu -deschiderea pietonala a intregii suprafete; reasezarea tectonica a spatiului- dalaj din granit; crearea traseelor alternative; reafirmarea memoriei locului - zona ruinelor, a cimitirului din veche incinta- se reaseaza in incinta circulara creata geometric; diferentierea intre imaginea de zi si cea de noapte- caracter diferit; compozitia centrala axiala pe timpul zilei - compozitia destructurata focalizata pe timpul noptii; facilitarea unei stationari pe "aripile exedrei" – in zona umbrita; interventii punctuale: mobilier urban, vegetatie de inaltime medie; ruperea contactului intre orizontala si elementele punctuale: prin geometrie si iluminat; disimularea rampelor de acces in parcajul subteran si a tubulaturii de ventilatie;

Actiuni: crearea unei dale- deschiderea pietii - accentuare orizontalei; anularea carosabilului; eliminarea suprafetelor plantate la nivelul pietonului; crearea culoarelor de vizibilitate – ridicarea coroanelor copacilor; reinstaurarea geometriei radiale in pardosela, care sa aseze exedra; sublinierea zonei ruinelor, a cimitirului din veche incinta- subliniere in pardoseala; iluminat punctual pe timp de noapte, in hemiciclu; iluminat liniar catre biserica Rusa – legatura cu Zona Lipscani; suspendarea elementelor punctuale deapsupra placii: mobilier, plantatie; completarea plantatiei din exedra; ridicarea stratului vegetal peste cota vizibilitatii in zonele laterale; insertie vegetatie medie - tipologie "parisiana": geometrie globulara, proiectie tipica pe fronturi de factura clasica;