CHAPTER 2, PART 2C: CASE STUDIES (PARASITIC AND ARTFUL DESIGN)

Katie Hepting
Nov 20, 2024
3 min read

Updated: Dec 1, 2024

MUSEU DEL BARROC

David Closes’ design at Museu del Barroc de Catalunya is a perfect example of parasitic architecture bridging the past with the present. He made bold choices in color and form to distinctively contrast with the historic stone and plaster that existed. His parasites are functional in that they allow people of all abilities to safely navigate the space, but also provide visual interest amidst the neutral color palette. His creation allows the user to experience the space as it was originally intended while provoking thought while one moves through the convent-turned-museum. At first glance it would appear that these bright orange parasites are simply access pathways, but they were carefully planned to provide the best views of the interior of the building, the urban surroundings, and the exterior of the building in order to further elevate a visitor’s experience.

SHOREHAM STREET

Project Orange created the addition that sits on top of 192 Shoreham Street in Sheffield, UK. The original brick building is not a registered historic site, but is locally significant. The goals of the project were to celebrate the building’s industrial heritage and make it relevant for usage once again. Project Orange describes the upper addition as a “contrasting but complementary volume, a replacement for the original pitched roof.” The end result was a design that isn’t overpowering to the original building shell, yet it seems to evoke the industrial roofscapes that once populated the city skyline. The addition is a conservative form of “Parasitic Architecture;” the addition could not exist without the original building shell, but the original building shell would not be relevant or useable without the intervention that resulted in the addition. (Project Orange)

CONVENT OF SANT FRANCESC

The Convent of Sant Francesc is located in the town of Santpedor, Catalonia. The Convent was built in the 1700s, but deteriorated quickly after lootings in the mid-1800’s. In 2000, most of the ruins of the complex were demolished, but the church remained. David Closes took on the task of turning the ruined church into an auditorium and cultural facility. He took advantages of the unique opportunities offered by the partially collapsed roof to capture unusual entries of daylight, and highlighted the historical “wounds” in the design. In order to preserve the spatial values of the interior, the new entrance to the church was constructed on the exterior of the existing space, and was designed to contrast with the old stone facade. Instead of shying away from “contemporary” design language, he embraced modern design and found ways to integrate the historic and the new. (Closes, D. 2024)

OSMAN AKAN: GLASS SCULPTURES

Osman Akan is well-known for his public art installations that utilize unexpected materials on large scales. He creates exciting moments by combing light with dichroic glass panels in his works “Radiance,” “Albedo,” and “Fragmenta. Both art pieces are built around metal tubes which give the sculptures their shape. Glass panels are then bolted to the steel frames, and lights are carefully positioned for the most exciting effects. This method of construction allows a curved appearance without having to utilize curved glass, and the method of securing each panel results in minimal visual interruption with the overall artistic intent. The bolts used to affix the glass panels to the structure are sleek and seem to fit with the intent, but are easy to ignore when admiring the works. These sculptures are in constant evolution throughout the day as the rises then sets, giving way for the lights to come on and create an even more exciting visual experience.

"FRAGMENTA" - ANCHORAGE, AK