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COLLEGE/ DEPARTMENT: DEPARTMENT OF ARCHITECTURE

SUBJECT: AR Architectural Design 8
TIME SCHEDULE: Lect. 8:30 - 10:30 Friday, Studio 10:30 - 7:30 Friday, 8:30 - 7:30 Saturday,
Room: ODL

RESEARCH WORK NO.: RESEARCH WORK No. M-1

RESEARCH WORK TITLE: “School of Architecture and Fine Arts”
RESEARCH WORK DUE: January 15, 2022 (Saturday)

Reference / s:

Web Source:

The architectural profession. (2013, January 29). Designing Buildings. Retrieved

January 15, 2022, from
https://www.designingbuildings.co.uk/wiki/The_architectural_profession#:%7E:t
ext=Schools%20of%20Architecture,-
Historically%2C%20architecture%20was&text=This%20set%20the%20standard%2
0and,established%20by%20the%20French%20state.
Academy of Art, Florence: Foundation, Collection. (n.d.). ArtMovements. Retrieved
January 15, 2022, from http://www.visual-arts-cork.com/history-of-
art/academy-of-art-florence.htm
Rojas, C. (2021, December 16). UC Architecture School Building / Gonzalo Claro.
ArchDaily. Retrieved January 15, 2022, from
https://www.archdaily.com/804066/building-of-architecture-school-uc-
gonzalo-claro
A. (2017, January 25). Gallery of Faculty of Fine Art, Music and Design of the University
of Bergen / Snøhetta - 10. ArchDaily. Retrieved January 15, 2022, from
https://www.archdaily.com/881485/faculty-of-fine-art-music-and-design-of-
the-university-of-bergen-snohetta/59df7085b22e3805c3000040-faculty-of-fine-
art-music-and-design-of-the-university-of-bergen-snohetta-photo

STUDENT: Laggui, Denise Aynrand B.

INSTRUCTOR: Ar. N.K. Latogan. MS Arch

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1. Introduction / background:

Architecture and fine arts have a lot of similarities. Both have meanings, are
expressive and free. Students

2. Objectives of this research:

a. To compare the differences of the school of architecture and fine arts with
regards to its planning, circulation, and areas.
b. To discuss the history of the school of architecture and fine arts.

3. Contents of the research topic:

According to Designing Buildings(2022) historically, architecture was seen as one of

the arts, and there was no formal training. There were architectural workshops in Italy in
the sixteenth century, but very little is known about them and they were not recognized
by academics.

The governing body for builders and masons in France, the Royal Building Administration,
influenced the organization of the modern architectural office, its delegation of the
tasks, business administration, drafting, planning, site inspection, and engineering. This
set the standard and curriculum for the first school of architecture, the École des Beaux
Arts established by the French state.

The École des Beaux Arts later acted as a model for America, which sought to create its
own identity and style by improving the practice of architecture and through better
education. This influence became particularly strong towards the end of the nineteenth
century when architects were recognized as specialists in their own right, with many
wanting to be not just practitioners in an independent field but as academics within that
field.

America recognized that the success of École des Beaux Arts was based on a well
organized curriculum, government patronage and a rational design theory. The long
established French system was backed by American architects who had been rallying
at this time for their own state licensing laws. A number of architectural schools began to
appear and would often seek École des Beaux Arts graduates as lecturers and staff.
However not all supported this system, with Loius Sulivan, who had studied at the Ecole
in 1874, and Frank Lloyd Wright, who turned down Daniel Burnhams offer of four
sponsored years in Paris, being the most influential detractors. They called the École
des Beaux Arts' teachings artificial, superficial, and totally unsuited to American needs.

As stated in ArtMovements(2022) founded in 1561, the Florentine Academy of the Art of

Design, or Accademia dell'Arte del Disegno was the first official school of drawing in
Europe to promote what is now called Academic Art. It enjoyed the support and
patronage of the Medici Family, as well as several artists from the Mannerist movement,
including Giorgio Vasari, Bartolommeo Ammannati and Agnolo Bronzino. The
Academy's aim was to elevate the standards, status and working conditions of painters
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and sculptors within the city of Florence and surrounding areas. Painting was not on the
curriculum only drawing, in particular figure drawing.

In due course, several other art schools opened in Florence, until, in 1783 Pietro
Leopoldo, the Grand Duke of Tuscany ordered that all drawing academies should be
consolidated into one artistic institution under the direction of the Academy. This was
duly done and the enlarged academy was retitled Accademia di Belle Arti Firenze -
Academy of Fine Arts, Florence. In addition, a collection of Old Master paintings housed
in a special gallery was added to facilitate the studies of art students. Among the extra
facilities established was Opificio delle Pietre Dure - a school of art conservation and
restoration.

PLANNING AND DESIGN

Both schools of architecture and fine arts provide the consumers, especially
students the areas that they need during their studies. Below are examples of
buildings, on how they are planned and designed.

1. UC Architecture School Building / Gonzalo Claro

According to Arch Gonzalo Claro(2017), the

new building of the Architecture School of
Pontificia Universidad Católica de Chile is
emplaced in the south corner of Lo Contador
campus, aside of the large patrimonial house.
It is the result of a public contest.

The building consists of a double height volume

of laminated wood witch lies lightly over a
concrete plinth. The wood structure of
columns and beams is arranged in a
modulated system, which facilitates the stages
of preassemble, installation and later
transportation of the parts. There use of wood
in the construction of the building consists in
avoiding cuts and making an efficient use and
taking advantage of its established dimensions.

The timber skeleton remains exposed in order https://images.adsttc.com/media/images/5888/9d9f/e58e/

to make visible the way that the structure ce61/eb00/020f/slideshow/GC7.jpg?1485348240

works, and the distribution of loads along the

vertical and horizontal development of the building. The complete volume saves a
span of 21 meters between supports; leaving the west side with a 9-meter corbel
witch leaves a new hallway of access to the Campus.
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https://images.adsttc.com/media/images/5888/9e17/e58e/ce90/8f00/0146/slideshow/GC15.jpg?1485348364

This volume was built to contain the offices for the professors, this functional
programme was left in the main interior, releasing these way the first floor and the
ceiling to be destined to display the programs that increases the university life in
the building, leaving this way a ground-level covered patio, and a auditorium in
the superior terrace wich is at the same time a viewpoint to the surrounding
treetops of the neighborhood.

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This construction is structured in wood, which helps in achieving the goal of

sustainability from the very beginning of the project since it is a renewable resource
and a material with a very low carbon footprint. It was mounted as a dry work
technique that decreased the construction time along with the impact provoqued
in the surrounding neighborhood and its inhabitants. Passive resources used in this
building, such as natural cross ventilation, aimed to reduce the mechanized air
conditioning and making this construction energetically efficient.

https://images.adsttc.com/media/images/5887/f06b/e58e/ce90/8f00/002f/slideshow/08_ELEVACION_
PONIENTE_1_50.jpg?1485303904

Although its program is mainly for private use, it is a building with a strong public
vocation, it opens its front to the city and turns its internal academic activity
towards the street generating a new relation of unprecedented permeability of the
campus with the neighborhood in which it is located and its community.

https://images.adsttc.com/media/images/5887/f013/e58e/ce90/8f00/002c/slideshow/1_003.jpg?148
5303819
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2. Faculty of Fine Art, Music and Design of the University of Bergen / Snøhetta

https://images.adsttc.com/media/images/59df/6ef9/b22e/3832/8500/0057/slideshow/201005_OS_N203.jpg
?1507815138

According to Snøhetta(2017) replacing the former Bergen Academy of Art &

Design (KHiB), the new KMD has undergone a historic fusion, assembling the
previously scattered faculty buildings under one roof. This new 14,800m2 cross-
disciplinary faculty is now the second largest cultural building in Bergen after the
1,500-seat Grieg Concert Hall.

https://images.adsttc.com/media/images/59df/6e5f/b22e/3832/8500/0053/slideshow/201005_OS_
N184.jpg?1507814963
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The building is organized along two axes, one internal, dedicated to students and
staff, and one external, open to the public. Under the KMD roof, these axes cross
each other in the 1,300 m2 and 19,000 m3 project hall, one of the most prominent
and dominant features of the building. It is here, in the transition zone between the
public and the private sphere of the school, that the building offers exciting
opportunities for students, professors, and visitors to connect, discover, and learn
from one another. It is a multi-use, semi-climatic space running through the entire
construction.

The building’s entrance is connected to the large outdoor public plaza,

Kunstallmenningen. The plaza, together with the large glass wall of the project hall,
makes KMD an inviting and open building in dialogue with the city center of
Bergen.

https://images.adsttc.com/media/images/59df/6c94/b22e/3805/c300/002d/slideshow/201005
_OS_N152.jpg?1507814493

An Ideal and Malleable Space for Artistic Expression

A prominent aspect of the KMD building is its robust and malleable characteristics.
Both the project hall and the 410 rooms surrounding it, including auditoriums,
offices, and workshops of various sizes, have been designed to both foster
creativity and to withstand harsh treatment which is inevitable in an art school. The
objective is to free students and staff from limitations by surfaces and materials.
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https://images.adsttc.com/media/images/59df/6cca/b22e/3805/c300/002e/slideshow/201005_OS_N167.jpg?
1507814556

Another important feature of the building is its unifying mission, manifested through
the project hall. As a powerful symbol of the unification process of six faculty
buildings merging into one KMD, it is a direct reflection of the faculty’s ambition of
stimulating to collaboration and cross-disciplinary exchange. Very much a public
space, as well as an artistic space for students, the project hall will host events and
exhibitions. Rising to 23-meter-high at its tallest point, it is equipped with an original
Munck bridge crane running its entire length, echoing the now demolished Sverre
Munck's crane factory which used to occupy the site.

Throughout, Snøhetta has created a generous and functional building, serving

both students and faculty members with its top-notch machinery, equipment and
special facilities. Surrounding the 52-meter-long and 24-meter-wide project hall one
will find 32 huge workshop-cum-display spaces. These spaces are equipped with
specialized infrastructure and heavy machinery for woodwork, ceramics,
metalwork, plaster, printmaking, textiles, 3D modelling and printing, video, sound
art, and photography.

While the creative work areas are designed to provide plain functionality, social
and administrative spaces have been designed for people to work and relax
together. Among other, the cantilevered box-shaped windows emerging from the
façade may serve as social zones where students can come together over a
coffee to discuss, relax, and enjoy the view during brakes.
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7

At the second level of the building you will find a café with an inviting terrace, as
well as the library and materials library, all of which are accessible to the public.
Along with workshops, the faculty’s administration wing occupies level 3. Level 4
contains most of the students’ workshop and studio facilities, including
photographic and sound workshops, studios and seminar rooms. It also houses
studios for the faculty's academic staff.

https://images.adsttc.com/media/images/59df/6e98/b22e/3805/c300/0037/slideshow/201005_OS_N
195.jpg?1507815021
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Materiality
The KMD building’s aesthetic does not compete with its purpose of welcoming
collective artistic installations and individual expression. It is a clean-cut, environmentally
friendly and durable building focused on materials that will withstand the rainy climate
of the Norwegian west coast and a high degree of rough use, wear, and tear. The
material palette has a clear reference to the Norwegian coast, using well-established
materials such as pine wood block flooring, birch veneer, raw aluminum, crude steel,
and concrete.

https://images.adsttc.com/media/images/59df/6f15/b22e/3832/8500/0058/slideshow/201005_OS_N204.jpg?15
07815168

The interior palette is kept low key, providing studios, student work areas, and other
spaces with a neutral and durable environment suitable for art and design work.
Painted gypsum fiberboards provide a smooth, robust and a visually subdued surface,
ideal for screws, plugs, and nails supporting artwork. These materials used indoors are
extremely robust and have good light reflecting, soundproofing, and acoustic qualities.

While most of the floors are covered in vinyl, the floor of the first level is covered by slab and
porous concrete. The second floor of the Project Hall is covered by a beautiful and robust pine
wood block flooring. When a material first is introduced into the material palette, it has been
reused consequently throughout the building. Following this philosophy, the same vinyl which is
used for flooring is also used to protect wall corners, as a continuous baseboard between floors
and walls, and as wall cladding in all bathrooms
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https://www.archdaily.com/881485/faculty-of-fine-art-music-and-design-of-the-university-of-bergen-
snohetta/59df7038b22e3805c300003f-faculty-of-fine-art-music-and-design-of-the-university-of-bergen-snohetta-photo

Crude steel rails and handrails are mounted and welded on site and each transition is
carefully rounded and soft to touch. In-situ poured concrete is left with the weather
marks given the day of construction. The use of crude steel is also reflected in the
profiles of the interior glass panels and in the door wings of the large, heavy doors
leading to the workshops on level 1 and to the project hall on level 2.

https://www.archdaily.com/881485/faculty-of-fine-art-music-and-design-of-the-university-of-bergen-
snohetta/59df7145b22e3805c3000046-faculty-of-fine-art-music-and-design-of-the-university-of-
bergen-snohetta-photo
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A Robust Façade
The pre-fabricated raw aluminum elements that
clad the building’s exterior compose a puzzle of
depth, breadth and length. 900 varied sized
seawater-durable crude aluminum elements are
protruding from the wall at varying distances,
only paused by large cantilevered box-shaped
windows punctuating the rhythm of the
aluminum surface. The metal cassettes shift
according to the weather conditions of the west
coast and reinforces the metallic effect of the
aluminum.

Durability and robustness have been keywords for

all decisions made throughout the façade design
process. The rainy and sometimes stormy coastal
climate demands all exterior materials to not only
withstand harsh conditions, but to weather in a
way that highlights their unique qualities over
time. The crude aluminum surfaces will https://www.archdaily.com/881485/faculty-of-fine-art-music-
gradually age and naturally oxidize, and-design-of-the-university-of-bergen-
heightening the variations in colors and snohetta/59df6f6bb22e3805c300003b-faculty-of-fine-art-music-
and-design-of-the-university-of-bergen-snohetta-photo
textures.

This robust and playful expression gives great

flexibility when planning for windows and lighting
conditions. The windows of the building are set at
different heights to allow for maximum usable wall
space and excellent daylight conditions.
Moreover, the glass roof conveys light from the
sky which melts together with the light streaming
through the glass wall. The shadows in this space
are somewhat erased, leaving the colors of the
room authentic and natural.

Outdoor Spaces
Of the 11.45-acre Møllendal lot, a total of 9 acres
are dedicated to outdoor areas, including green
areas, open plazas, and parking. Large parts of
the outdoor is accessible to the public, with the
Kunstallmenningen plaza and the café terrace as
natural meeting points.

The plaza is framed by two green wetland areas
fed by roof and surface water, planted with
https://www.archdaily.com/881485/faculty-of-fine-
art-music-and-design-of-the-university-of-bergen-
snohetta/59df6aa6b22e383285000045-faculty-of-
fine-art-music-and-design-of-the-university-of-
bergen-snohetta-photo
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wetland vegetation from the Norwegian flora. Here, one will find a rich variety of plants,
such as sea buckthorn, willow, blackthorn, blackberry, ferns, globeflower, cat tail, and
meadowsweet. Parts of an existing natural stone wall along the road Møllendalsvegen,
echoing the former location of the Munck Crane’s factory, has been retained.

Behind the building you will find courtyards for outdoor work and a delivery zone. The
yards lead into workshops which have been equipped with outdoor workstations on the
roof. These terraced workstations lead out into the surrounding terrain with its scattered,
rugged vegetation.

Landscape Plan

Underneath the café terrace, a huge tank with a capacity of capturing up to 90 liters of
water per second stocks excess water from the 4,100m2 roof. The water is further lead
into a 500m3infiltration pool situated at the plaza. The pools will avoid strain from rainfall
and flood on the encircling environment.
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SPACES AND AREAS

1. Fine Arts & Design Studios (FADS)

https://www.jccc.edu/about/campus/maps/files/floor-plans/fads2.jpg
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2. Faculty of Architecture, Building and Planning, designed by John Wardle
Architects and NADAAA in collaboration

Meeting space Classrooms

Library Open Area