Yaroslavl Contemporary Historical / Matthew James Murphy / Ireland, Dublin
The basic idea, concept of the project:
The basic idea of the project looks as how Yaroslavl developed in an urban sense, a radial pattern from its centre. The project site lies within a block in this radial pattern. The project utilises this block of context to form a museum which responds to the surroundings as much as it responds to its own programme.
The project uses the context of historical churches and the generous space of the stadium to create a building which acknowledges the presence of history and its importance, but also views to the future of the public by providing usable external space.
Technical features of the object:
The project heavily depends on using northern light to illuminate the spaces. This allows for a preservation and constant lighting for the exhibits. The project also utilises glass block infill to diffuse southern light entering the building and create a calm atmosphere. These combinations lead to a strict building form providing informative and educational space.
Another aspect of the project which is deeply rooted in the immediate context is the formation of the folding roof. The fantastic roofs of the nearby churches compelled the design of the building to maintain this tradition of spectacular roof building. The folding roof accepts this tradition and uses the context to create a contemporary version of the past.
The project primarily relies on northern light to illuminate the exhibitions. The reason for this is southern light can damage exhibits and also cause an uncomfortable amount of glare in an inappropriate setting.
The shape of the plan splits the ideas of contemporary and historical. I believed that for this project the combination of both would be a valuable assest to this area. The set up of the plan allows the visitor to experience both contemporary and historical subjects in a similar setting. The arms of the project on the north east have a central spine with exhibition areas attached and a passage way at each side. This allows the visitor to choose a path and return to the centre of the plan with a constant change in subject matter and exhibits. The winding plan allows the curators to set up a ‘story’ for the museum, which the visitor can navigate at their leisure. The plan also allows larger exhibits to be house in the ‘large halls’ located at specific points along the winding plan.