The museum as an ecosystem: synthesis of architecture, design and landscape in museum design

Fomina Elina Vladislavovna ORCID: 0000-0002-4011-0998 PhD in Art History Associate Professor, Department of Design and Art, Volga State University of Service 445017, Russia, Samarskaya oblast', g. Tol'yatti, ul. Gagarina, 4 fomina2004@rambler.ru Other publications by this author

Barsukova Nataliya Ivanovna ORCID: 0000-0001-9222-4885 Doctor of Art History Professor, Doctor of Arts, Chief Researcher St. Petersburg State Art and Industrial Academy named after A.L. Stieglitz 191028, St. Petersburg, Solyanoy lane, 13-15 bars_natali@mail.ru

Introduction. Modern museums today are trying to attract the attention of visitors, so they are aimed at expanding their capabilities and increasing their functions. The article examines one of the trends in modern museum design, which is the desire to synthesize architecture, design and the surrounding landscape. Moreover, these are either natural landscape spaces, or artificially modeled in such a way that a single whole, a single organism, is formed.

The issues of the relationship between man and nature, the preservation of regional features of the natural environment are becoming relevant for architecture and design. In general, they are classified as environmental problems, which implies the creation of concepts that are more or less aimed at harmonizing the human environment. We propose to consider the creation of a natural environment for humans by design means, capable of combining technological and artistic solutions into a single whole without prejudice to natural landscapes as an ecosystem. This is the first time this has been done in relation to museums. In this article, the concept of "ecosystem" reflects the design of urban or suburban complexes, which are organized as closed autonomous artificial ecosystems with comfortable conditions for a person to stay in them with respect for the surrounding nature. In this sense, we are developing the potential of the term "ecosystem", which was introduced by A. Tensley, which meant any system consisting of living beings and their habitat, and representing a single functional whole. Under the habitat, it was agreed to consider an environment where organisms, natural bodies and phenomena are in direct or indirect relationships ^[1].

In connection with the use of this term in relation to the museum environment, it is necessary to point out its fundamentally different meaning in other fields of activity. Recently, the concept has been too often and deliberately used in business, culture, and economics. Here it means structured, dynamic and constantly evolving communities that create new values through collaboration and competition. Such activities are based on common goals, interests and the need to respond to the growing demands of consumers. The term "ecosystem" is sometimes used in construction as a synonym for the term "cluster" or "multifunctional complex".

So, in the article, the concept of "museum as an ecosystem" will be used in the following meaning: an artificially created architectural and landscape system synthesizing technological, technical, social, and artistic-imaginative solutions and aimed at carefully preserving the natural environment, which generates an entirely new phenomenon - an essentially synthetic habitat.

Research methods and principles. The object of this research is modern museum complexes located in an urban or natural environment and aimed at connecting with the surrounding space. The subject of the research is the principles and design techniques of organizing the spatial environment of modern museums, existing in the close unity of architecture, design and landscape.

The article identifies design methods for the formation of an integrated museum environment using landscape and design methods of shaping. A systematic analysis of modern museum environment projects is carried out in the unity of axiological, ecological, artistic, aesthetic and contextual approaches. In the projects under study, such unity has been achieved, which, in our opinion, can be called an ecosystem, and which is somehow related to issues of harmonization ^{[2; 3]}.

The main results and their analysis. As a result of the study of modern implemented museum projects, it was noticed that museums are organized as ecosystems where the main cultural and educational function (preservation and display of artifacts) is complemented by recreational, sports, etc. They are based on the idea of creating a spectacular brand building or complex of buildings located in a natural environment by design means. But modern museums are fundamentally different from nature reserve museums, which represent a sample of the historical and cultural landscape.

The museum as a sociocultural phenomenon is in the focus of attention of many researchers. Individual foreign museum projects are noted to be futuristic in style ^[4]. The main task of the museum is the formation of communication between the exhibits and the visitor, the transmission of meanings and the transmission of values ^{[5; 6]}. Interactive and digital technologies actively help the museum in this ^{[7; 8]}. The creation of the museum's visual identity in the digital space plays an important role ^[9]. Modern museums are becoming year-round places of attraction for citizens and are designed not only as sights of a city or region [5: 10]. The originality of the project now includes not only the formative, semantic and figurative component, but also the features of the territory that surrounds it, taking into account the cultural, historical and natural context. ^{[11; 12; 13; 14]}.

Modern museum concepts are associated with new forms of museums, such as the environmental museum, the ecomuseum, and the museum without borders, which are the result of the democratization of museum business. Such a Museum of Africa, Asia and Oceania on the Quai Branly in Paris (architect and designer Jean Nouvel). The novelty of the idea here is due to the fact that the modern museum is an institution open to all, rejecting the former elitism. The main building of the museum is a long passage on stilts, surrounded by a horizontal and vertical garden. A glass wall isolates the building from the waterfront and includes the surrounding garden in the museum space. There is also a desire not only for the openness of museums, but also for multi-functionality, for the formation of a "museum-spectacle", as museums today are trying to attract the attention of visitors and are forced to compete with the entertainment industry ^[15].

Many representatives of the project culture adhere to the fact that the quality of a person's environment has a direct impact on the quality of his life activity both in the residential, public, and industrial environment. It is now considered unacceptable to design complexes and systems in an urban environment that destroy the landscape ^{[16; 17]}. One of the first, not entirely successful attempts to create an ecosystem in an urban environment was the Mitterrand National Library complex (Paris), which consists of four high–rise buildings – library storages - in the form of open books that frame a 12,000 square meter deep courtyard, including the natural environment of a pine forest with birds and insects. The desire to create an isolated, four-sided space, which is pleasant to watch from the panoramic windows of the library, proved disastrous for birds that crashed against transparent fences.

The article examines modern museum projects located in natural lowland and mountainous landscapes, as well as in simulated artificial and reconstructed historical landscapes. The main perspective of the research is the principles of harmonization of natural and natural forms, which make it possible to create a single integrated ecosystem. In recent years, the design of modern multifunctional complexes in the city and beyond has been aimed at creating an environment of increased comfort ^[18]. It is based on the design methodology with its integrated approach to human needs, which allows the design of large-scale structures ^{[19; 20; 21]}.

The methodology of design design of museums as ecosystems is based on a holistic attitude to the human environment from the standpoint of humanism, organics and universality. It involves carefully combining the harmonious forms of nature with artificial landscapes. Its main features are:

- the integrity of the design concept;

- broadcasting of ideas and values;

- the originality of the image;

- the versatility of the system as a whole and its individual parts (buildings, structures, open spaces);

- viability (longevity of existence) due to the possibility of adaptation to new conditions and demands, development opportunities;

- using the natural and cultural potential of the region;

- uniform style of interiors, exteriors, and adjacent territories;

- harmonious coexistence with the environment (artificial and natural);

- the use of the latest materials and technologies (including digital ones);

- all-season operation.

The application of an integrated approach to design and the use of design tools make it possible to create environmental ecosystems. Today, objects with signs of an ecosystem are increasingly being designed, since this approach makes it possible to organize a comfortable environment. Concepts and projects that solve the problem of forming and developing an ecological culture represent a completely independent line in modern design.

The methods of creating museum objects, representing a synthesis of architecture, design and landscape, can be different. One of the most common today is green roofs in use, which are capable of solving many tasks: improving the microclimate and energy efficiency of a building, reducing the concentration of harmful solid dust particles in the air, and replenishing natural and biological species in an urban environment. In addition, green roofs covered with lawn grass increase the area of public urban spaces and walking areas.

For example, the multifunctional museum complex "Science Hills" in the suburbs of Tokyo is designed as a "green island" in an urban environment. With the help of the undulating lawn-covered sloping roofs of the museum, a new nature-like landscape was created, which significantly increased the area of green areas in the area. In addition to the exhibition area, the museum is a community center, a significant green space, and a park for hiking.

The task of increasing the museum's area due to the lawn roof was also solved in the Museum in the Biesbosch National Park (Biesbosch Museum Island, the Netherlands). At the same time, the old and new parts of the museum were thus combined into a single whole, and the museum complex now looks like a hilly landscape with a stream flowing through it, organically fitting into the natural environment (Fig. 1). The Bisbos Museum is an example of eco–friendly architecture. The "useful" area of the museum in the project has been maximized. The interiors are used for exhibits, including a library, a theater, an organic restaurant, and a museum store. The roof of the building is an open green space for walking, an observation deck.

Fig. 1. The hilly roof increased the "useful" area and functionality of the Museum in Bisbos and allowed the museum complex to blend seamlessly into the natural environment. URL https://archi.ru/tech/70803/

An interesting result makes it possible to expand the museum's exhibition space in the context of the historical environment using landscape ideas and innovative technological and design solutions (the Stedel Museum in Frankfurt am Main, Germany) (Fig. 2). In order for the architectural context of the environment to remain the same, the new museum building was located underground. Round windows are located at ground level, through which natural light enters the halls. The roof shape of the new exhibition halls is a hill located in the center of the lawn field. Original and fairly simple landscape design. The area of the designed territory is almost twice the size of the museum itself. The ground part of the new building of the Stedel Museum has become a park where you can relax on the lawn or have a picnic. The entire museum environment and surrounding spaces serve for the all-season stay of visitors.

The reconstruction made it possible to organize a museum ecosystem: the historical museum building, while retaining its style and functions, was complemented by an extensive green area.

Fig. 2. Exterior-an open-air walking space and the interior of the new building of the Stedel Museum. URL https://archi.ru/projects/world/3779/

The National Museum of Qatar is also an example of the organization of a modern museum environment with the inclusion of historical sites. Nouvelle (Doha, Qatar). The new complex is built in the form of a semicircle, which begins and ends at the former building of the museum – the palace of the ruling al-Thani dynasty of the early 20th century. The center has a spacious courtyard for concerts, film screenings, lectures, etc. The new museum complex includes enfiladed halls for permanent exhibitions and temporary exhibitions, auditoriums for various events, restoration laboratories, administrative offices, a cafe, a restaurant with panoramic views of the city, shops, spaces for school groups, as well as an extensive park and parking (fig. 3).

Fig. 3. Qatar National Museum. The organization of the complex's space, the exteriors and interiors of the buildings are organically linked into a single whole.

URL https://www.wernersobek.com/projects/national-museum-of-qatar/

URL https://archi.ru/world/83104/

URL https://www.designboom.com/architecture/koichi-takada-architects-national-museum-of-qatar-doha-03-27-2019/

The connection between the past and the future, regional and global, is emphasized in the project through symbols and artistic images. The figurative component is vividly stated in the project: the shapes of the building of the new museum resemble the disks of gypsum crystal – "desert roses", which symbolizes the fragility of cultural and natural heritage; the ring-shaped building of the complex with a courtyard in the center resembles a caravanserai – a place of exchange of goods and information – and symbolizes cultural exchange between East and West; the enfilade construction of the museum symbolizes the nomadic lifestyle of the Bedouins and the movement of modern Qataris from the past to the future. Everything emphasizes the continuity of times and the achievement of progress. The selected materials for the exterior and interiors of the museum are various types of sand–colored concrete and marble, which allows the new museum to blend seamlessly into the historical environment. The landscaping includes green areas with various types of grasses, date palms, sand dunes and ponds with fountains.

Thus, the Qatar National Museum is an integrated museum ecosystem aimed at cultural and educational leisure and comfortable recreation, demonstrating the values of modern Qatar.

The profile of the museum, its typological affiliation and semantic content can also be reflected in the features of the surrounding landscape, such as in the Museum of Archaeology and Ethnography Mosgaard (Aarhus, Denmark) (Fig. 4). The museum's collection is associated with the history of the Vikings, so there are several relocated burial mounds, Viking dwellings, medieval buildings, and It is also part of the woodlands, symbolizing various prehistoric climatic periods. The historical landscape serves as an open-air museum.

The museum complex was created on the principle of integrity: the interiors, exterior, and surrounding area are combined into a compositional and semantic system. The wedge-shaped shape of the building and its flat roof, covered with grass and moss, become an extension of the gently sloping landscape. Here you can walk, ride a bike, spend holidays, arrange theatrical performances, lectures, film screenings. The upper part of the roof is used as an observation deck, and in winter its slope becomes a sledge slope. Thus, the museum complex performs cultural, educational and recreational functions.

4. The green roof of the Mosgaard Museum as a continuation of the natural landscape.

URL https://www.dezeen.com/2014/10/20/moesgaard-museum-aarhus-henning-larsen-architects-sloping-turfed-roof/

According to the same principle of unity of the profile of the museum and its surroundings, the Mountaineering Museum was created in the mountains, in its natural environment (Fig. 5). The Messner Museum is located in South Tyrol on Kronplatz Mountain (Italy) at an altitude of 2275 meters above sea level. It harmoniously fits into the natural landscape, includes sports and tourist facilities and is part of the established mountain ecosystem.

Fig. 5. The building of the Messner Mountaineering Museum is an example of an organic combination of architecture and the natural environment. URL https://www.archdaily.com/405351/

The object has an area of 1000 sq. m. The monument is embedded in the mountain, the main part of it is located in the bowels of Kronplatz. In addition to achieving an aesthetic effect, this design solution allows you to keep the temperature in the museum halls constant. The building houses exhibition and lecture halls. The stairs and ramps connecting the exhibition spaces on different levels inside the museum resemble cascading waterfalls and create a dynamic composition of the interiors. Windows and an observation deck overlook the surface. The museum halls are provided with natural light through the panoramic windows. During the design and construction, heat and energy saving technologies were used. In addition, the windows are positioned so that you can see different mountains from each one. This creates a semantic connection between the museum's exposition and the natural environment. The windows have a mirror coating that reflects the surrounding landscape. Due to this effect, the building practically dissolves into the natural environment. The parts of the building that come to the surface resemble mountain cliffs in color, texture, and streamlined shape. The entrance to the museum is decorated with a sharp glass canopy, similar in shape to a fragment of the ice sheet. Thus, the project pays considerable attention to the figurative component. The Mountaineering Museum has become a cultural and educational center, as well as an environment for a comfortable country vacation.

Discussion. Using the example of designing modern museum complexes in a natural environment where the synthesis of natural forms and high technologies has been achieved, it can be considered that the determining factor in the formation of an eco-environment are the principles according to which an environment can be created as an ecosystem with higher comfort indicators without disturbing the natural environment. It seems promising to use the impact of the landscape on humans not only from an ecological point of view, but also from a psychological point of view – landscape design has a large arsenal of tools with which you can create emotionally diverse spaces. Museum complexes have created a universal environment in which nature is perceived as an integral fragment of the surrounding world, as a living organism, of which man himself is a part. Such approaches as environmental friendliness, organicity, and artistic imagery make the museum environment a comfortable space for the visitor. The ecological trend in modern project culture has actualized the question of the place and importance of the natural factor in the formation of the human object-spatial environment. It is assumed that under the influence of natural and climatic conditions, a certain way of life is formed, which is most appropriate to these conditions.

Conclusion. As a result of the conducted research, the design methods of organizing museum complexes as an eco-environment aimed at achieving balance and harmony of all components – architecture, design and the surrounding landscape. We have defined this methodology as an ecosystem. This implies an integrated approach, versatility, integrity of the design concept; originality of the image; versatility of the system as a whole and its individual parts (buildings, structures, open spaces); viability (longevity of existence) due to the possibility of adaptation to new conditions and demands, development opportunities; use of the natural and cultural potential of the region; uniform style of interiors, exteriors, adjacent territories; harmonious coexistence with the environment (artificial and natural); the use of the latest materials and technologies (including digital); all-season operation. In this way, the interconnection of all components and the connection with the surrounding landscape is achieved. Museum complexes located in a natural environment, inscribed in the natural relief and forming a whole with it, represent an integral ecosystem.