A granary of culture

The aim of the work is to draw attention to two important problems for Gdańsk:</br> </br> – revitalization of neglected and degraded districts</br> – approach to designing new facilities in the historic Śródmieście</br> </br> The approach to designing new facilities in the historic urban fabric was i I guess it will always be a subject of dispute and discussion. I witnessed just such a thing discussion during the post-competition exhibition on the northern tip of Granary Island. They collided it compares the views of people with a conservative approach with those with a more "liberal" approach relation to the historic urban fabric. The former would like to see it rebuilt granaries in their original shape, with a wooden structure filled with bricks or clay, with small windows (the granary, as the name suggests, was used more for storage of goods rather than residence). Others, in turn, rightly point out that the world has moved forward and that in the 21st century, in the center of the European city that it is Gdańsk, more representative facilities would be useful. The discussion that took place at the headquarters of the Gdańsk branch of SARP, did not bring satisfactory results everyone. I also faced a dilemma - strictly follow the m.p.p.p the plot of my choice and adapt the project to its functional and materials or opt for a more experimental approach. I figured that since I said "A" and at the very beginning I started a polemic with the m.p.z.p. by locating it there a facility with a cultural function, I will also say "B". I don't treat my concept as ready response to the issue of new inves tments in Gdańsk, but as a voice in this discussion. </br></br> I believe that my seemingly ignorant approach actually has a lot to do with it respect for the context, history and identity of the place. This is context and identity had a decisive impact on the shape and form of the building. What I mean here are views and forms and materials found on the project site and in its immediate vicinity. The project is located in the historic part of Gdańsk at the intersection of ul. Toruńska and ul. Chmielna. Traditional forms of the neighboring brick granaries gable roofs have become a kind of template, "packaging" for the planned Cultural Granary. Brick is one of the main materials found on Granary Island. The decision to choose it as the material for the external "shell" of the building she was quite natural. The graphite color, however, makes the "shell" become only a background for what is happening inside. Culture and art, or things "stored in "granary" go beyond the traditional framework, cross the boundaries and barriers set by historical divisions of the plot. The directions in which this is done result from the analysis urban planning and views of key facilities for Gdańsk. The first of them is St. Mary's Basilica - a work of Gothic religious architecture, being the largest brick church in the world5. The axis of the main multi-purpose hall located on the second floor of the Culture Granary coincides exactly with the designated axis towards the basilica. The hall literally breaks through the boundary set by historical division of the plot and the granary wall. The result of this solution is unique a view served to concert listeners, conference participants or theater viewers improvisation, where decoration is kept to a minimum. The view is not missed either viewers of a film screening thanks to the cinema screen that rolls up at the end of the screening. Biskupia Górka, from which there is a panorama of Gdańsk, is the highest, though a rarely accessible viewing point in the downtown area. This is one of two (next to strongholds) places from which the city has been portrayed with pleasure for centuries. Designates It is the second important axis of the project, with a kayak station on the ground floor and a kayaking station on the ground floor on the upper floors, the interior layout resulting from the axis was consistently preserved. Żubr Bastion is one of fourteen similar bastions that were fortified Gdańsk in the years 1622-1636. It marks the axis along which the projection room is located on the 4th floor.</br> The elements found on the plot and covered had a significant impact on the final shape of the project conservation protection of the ruins of two former granaries, in which I placed a function club-gallery with a restaurant. The existing ruins have left their mark on the modern one facade of the Granary of Culture. A graphic interpretation of a fragment of the ruins has resulted pixelated perforation pattern on the fiber-cement boards from which they are made there are fragments of the project's facade.</br> It is worth mentioning that until the 19th century, all granaries did not have numbers but distinguishing names,6 e.g.: Crazy World, Barrel of Herring, Icelandic Lion, Coat of Arms Amsterdam, Noah's Ark, Blue Lion, Dancing Bear, White Horse, Black Dog, Gray Goose, Golden Smith, etc. These names appear in sources from the 15th century </br></br> Initially, they were given to objects with a distinctive location, e.g. Corner, over time in relation to the external appearance of the building, the direction of business contacts, profession, name or nickname of the owner, and finally only as an identification mark – substitute for today's issue. In 1688, all 303 had proper names the granaries that existed at that time. These names changed quite often with changes owners whose inventiveness and sense of humor in this matter are often admirable.