Time Ring / Super Architecture Studio : Angus Lee Ching Hua, Deric Low Seong Hee, Mah Jun Yi, Gavin Wu Jia-Chung, Loh Kwan Seng, Ng Xin YiYee, Lee Xia Sheng / Malaysia, Kuala Lumpur
TIME RING CONCEPT -The hilly forest land and river are the significant topography of the region and the profiles are brought into the design of the pavilion to create the physical familiarity that stimulates the thoughts; and compose the tranquillity of the peaceful suburban ambience where the hills are green and the serene flow of rivers with pebbles paved route linking huts and cabins. To celebrate the history and heritage of the Golden Ring that revolves around the region of similar composition and sensation, the ring which is also in reflection of the existing running track; encloses the parametric undulating topography of the pavilion with a space that will display the local lore and history of the city. Therefore, making it the RING. The ring is further enhanced by the loop of the ravine and the interstitial space before the exhibition ring.
This ring is then subjected to time; seasons that changes the surface of the earth as the surrounding turns white during winter and the reflective facade of the exhibition ring became white. The pavilion also loses the greens of trees and the landscape begins to be covered by snow creating a change in topography for a different program at a different time; including the period of day and night. Time is not constant as change is inevitable as it chronologically lapse through past creating history that makes Yaroslavl the historical city she is today. Hence, as the seasons and time progresses, the ring circling the ever changing surface remain constant in its value of space in response to the change in ambience and programs of the spaces around it. The exhibition ring itself portrays the metaphor of time in its clockwise circulation through a historical timeline display. The gentle drop of the roof of the exhibition ring in a loop also creates the impression of dynamic movement in correspondence to the slow progression of time thus marking the facade like a timeline reflection of the history and growth of the city. As a result, the design is entitled TIME RING.
HISTORY -The land of Yaroslavl has a long and rich history which became the fundamental foundation for the development of the city. The history started long before the 6th Century where the Vikings invaded the former Slavic land and her occupants. It is only until the end of the 9th century that the Slav tribes migrated to the hilly forest land of the Volga River. The Kyivan Grand Prince, Vladimir I then took the Slav tribes under his sovereignty where his sons then brought about the birth of the Golden Ring. It was Prince Yaroslavl who founded the Yaroslavl City in 1010 and the city had then undergone transformation into a trading city (1600 -1700) that later reached the industry era (1700) and now becoming one of the prominent tourism destinations in Russia.
HERITAGE -The spread and glory of Christianity in Russia can be seen by the vast amount of churches being built around every city. Furthermore, the Yaroslavl had been known as the city of many churches and today the churches still form the major part of the city centre. The existing Spartak Stadium itself is surrounded by the Church of St. Nicholas in the South and Church of the Transfiguration of Yaroslavl Southwest. The Cathedral of the Assumption of the Blessed Virgin Mary is visible in the Southeast. These significant buildings are more than just landmark but are the religious footprint of the history of the Golden Ring.
DESIGN APPROACH — The design is to commemorate and celebrate the 1000 years layering of heritage and history of Yaroslavl. Not forgetting the landscape which bears the growth of the city, the profile of the site and the ravine is preserved to maintain the identity and to induce the familiarity of the site. Therefore, the building and structure are setback from the ravine perimeter and the architecture approach of the building is to reflect and response to the preserved ravine profile which is specific and unique to the city.
The existing form of the running track is reflected into the form of the building which houses the exhibition spaces. It forms the similar ring enclosing the center core. This ring is also parallel to the perimeter of the ravine and the site. The center of the core within the inner circumference is housed with a circular stage which is 360 degree visually permeable to all the spaces in the upper level of the wave and the exhibition ring; thus maximizing the potential of a stage.
The height of building also response to the street level as it protruded around 2 meters above the street level to provide visual interaction from the street while complying with the height limit of not more than 2 meters. In relation to the height limitation, the building expanded horizontally and the fagade is subjected to a gentle drop and deliberately slanted with a distance from the ravine to produce a visual interaction through the reflected surface of the fagade subsequently reflecting the ravine onto the fagade that is visible from the street level. The gradual drop in the roof height seen in perspective with the fagade loop creates a perception of a dynamic movement that is further enriching with the fagade LED illumination.
The beautiful landmarks that are visible around the site itself are also highlighted with the deliberate gentle drop of the roof of the exhibition ring thus commemorating the heritage and historical value in conjunction with the museum exhibition space.
The ground level of the building is covered by a parametric undulating wave structure emerging from the ground creating subterranean spaces for museum lobby, galleries, offices, cafe, storage, toilets, banya, corridors and gathering spaces. The wave is designed to form several pocket spaces of different volume according to the functions of the space required. The spaces above this wave structure is a continuity of the ground from the ravine emerging up like a contour thus making the level above the wave structure as pavilion and supporting spaces to the surrounding. There are also glass tubes of landscaping and plants scattered around to allow natural light to penetrate into the subterranean spaces.
The roof of the exhibition ring is designed to be narrow and has minimum cover surface to avoid snow accumulation. It has a sloping roof towards the interior to allow snow to fall into the pavilion creating landscape suitable for winter activities.
The site has a natural windbreak as the ravine profile below street level reduces the velocity of the wind with trees around the perimeter. At the ground level of the subterranean spaces, there are directive curve wall barrier to further redirect wind away from entering the useable space. This prevents high velocity air draft across the building. The pavilion which is in the exhibition ring is sheltered from wind from the all directions.
The exhibition ring which has the external fagade cladded with custom corrugated acrylic panels has no fenestration however the internal fagade has full height glass fenestration which allows natural lights to enter the exhibition space. The subterranean spaces in the ground floor has circular skylight and glass tubes with landscaping which allow natural light penetration into the pocket spaces below.
PROGRAMME -TheTime Ring is designed to accommodate these main activities — exhibitions, festivals and fairs. The exhibition spaces are located in the enclosed elevated ring designated to encourage a directive clockwise circulation with fenestration into the center core. This will encourage interaction of the spaces separated only by glass. The ingress and egress of the exhibition spaces are both from the middle core section of the ground floor which is the reception area of the museum. Two ramps are curvaceously carved along the circumference of the stage creating a gentle inclination slope connecting the reception and the exhibition space.
During a festival, the level above the wave creates a landscape that is carved to form spaces suitable for the activities during the festival where the exhibition ring circles this space creating an open courtyard above the subterranean spaces. The stage at the center can be used for cultural performances and the slope of the landscape creates amphitheatre seating facing towards the stage. The softscape will further enhance the atmosphere of the festivals or events. Therefore, the pavilion itself can bring the spirit and essence of the event to life. Stalls and kiosks can be set up in the open spaces around the ravine. The LED facade can change the lightings of the facade and atmosphere of the surrounding accordingly and thus, highlighting the event of the night. During the day, the facade has reflective surfaces reflecting the activities around the ravine.
The COrten Steel is chosen as the material for the roof. It has good weather resistance and suitable in design. The steel will develop the protective layer within a year or three under normal atmospheric conditions. The reddish brown protective layer will gain a darker hue with time.
The timber flooring is used for the exhibition space with its natural and aesthetic quality that mergers well into the surrounding outdoor spaces even as the landscape turns from green to white over the winter.
The concrete is the reinforced structural material for the undulating pavilion providing a smooth and curvaceous surface.
The acrylic panels is the material for the facade of the exhibition ring. The corrugated acrylic panels are sealed closed to airtight to prevent air drafts and computer operated LED lightings are attached behind.
STRUCTURE -The undulating wave pavilion is a load bearing structure made of engineered reinforced concrete with openings for skylights. This parametric structure is column-less and supports the exhibition ring above as shown below.