누구의 눈에는 미완성의 작업으로 보일 것이다.
1952년대에 건축된 리스본 은행의 리뉴얼프로젝트는
비엔나에 위치한 은행 내부 조닝의 한계를 새롭게 극복하는 작업으로
우리에게 신선함과 건축공간의 진정성을 보여준다.
은행 창구인 카운터는 고객스페이스와 직원 스페이스를 나누어주는 중요한
요소로 내부 스페이스를 크게 두가지의 상반된 공간으로 나눈다.
2009년에 새롭게 리뉴얼된 '리스본 디자인 앤 패션 뮤지엄'은
이와같은 공간을 적극적으로 활용하여 관람자를 위한 전시 코리더로 계획함으로써
관람자의 동선을 유도하는 동시에 외부로 면한 고객 스페이스를
뮤지엄의 중앙 홀로 오픈 스페이스를 계획하였다.
여기에 장식적 요소를 철저히 배제한 콘크리트 구조체는 전시공간을
적나라하게 보여줌으로써 디자인 가지고 있는 한계를 투명하게 오픈한다.
디자인의 끝은 무엇이라고 생각하는가?
누군가의 말처럼 '장식의 죄악이다'라는 말처럼 장식은 공간을 읽는데
방해하며 진정성을 감추어 버린다. 하지만 많은 이들이 이용하는 공간에 대하여서는
일반적인 디자인 약속으로 사람들의 눈에 낯설지 않는 공간을 디자인 한다.
그래서 현시대에 유행하는 디자인으로 계획하고 공간의 짝을 맞춘다.
무엇이 옳고 그르다라는 표현은 적절치 않은 것 같다.
다만 그 장소에 맞는 디자인을 하고 부가적으로 덧붙여지는 불필요한 디자인을
하지 않는 타이트한 디자인이 핵심인 것이다.
공간에 무언가를 더할 생각을 하지 말고 어떻게 하면 뺄 것인가를 고민하는
자세가 지금 우리에게 필요하지 않을까 싶다.
reviewed by SJ
Architects: Ricardo Carvalho + Joana Vilhena Arquitectos
Location: Lisboa, Portugal
Project Team: Joana Vilhena, Ricardo Carvalho, José Maria Rhodes Sérgio, José Roque, Francisco Costa and Sebastião Taquenho
Client: Museu do Design e da Moda (Design and Fashion Museum) / Lisbon City Council
Structure: ARA / Fernando Rodrigues
Mechanical and Electrical: AFA Consult
Graphic Design: Atelier Pedro Falcão
Building Contractor: Canas Correia
Photographs: FG + SG – Fernando Guerra, Sergio Guerra
The building was designed by the architect Cristino da Silva (initiated in 1952) and was characterised by a ground floor, entirely dedicated to client service with a strong urban relationship to the streets surrounding the building and, most importantly, an atmosphere distinguished by the solid nature of the materials used and the sophistication of the construction undertaken. This was the most Viennese of Lisbon banks, with a stone counter capable of defining the design of the entire space in itself and an interrupted interior that reveals the proportions of the building block from the inside.
At the beginning of this decade, the bank changed hands and was adulterated via a series of structural works that were halted to preserve the heritage that the building represented. Since then, the building has been without its original fittings and the concrete structure is visible. In 2009, Lisbon City Council acquired the building to house the Design and Fashion Museum. The project that we designed is for the museum’s provisional premises, with an area to display the collection, space for temporary exhibitions, a bookshop and café and also an area for cultural events with capacity for one hundred people.
The architectural proposal is based on our first reading of the ground floor. This is the only building in the Baixa Pombalina area (the 18th-century city centre planned by the Marquis of Pombal after the earthquake of 1755) where one can have a full perception of the configuration of the whole building block from the inside as well as an interrupted view of the streets around it. We departed from this unique characteristic and proposed a new programme without building any walls and with limited demolition work, in order to clarify the perception of the space.
The intervention in MUDE is primarily made with LIGHT. The non-material element of light is used to draw attention to the exposed concrete and most importantly to the collection, with artificial lighting wrapping around some of the building elements. The project is further characterised by the expressionist presence of the exposed concrete structure and by the industrial materials that were used – SCAFFOLDING CANVAS, that allude to the street and PALLETS, that were used to display. The floor was partially painted with REFLECTIVE PAINT. The design and fashion items occupy the space in an informal way, establishing a close relationship with the visitor.
From the cafeteria, with its single long cork table, one looks out to the museum through a single glass sheet as well as to the surrounding streets of the Baixa Pombalina.
