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Museum for Underwater Antiquities and Park in Piraeus

The aforementioned subtraction takes place in two distinct forms:
1. Through ellipsoid cut outs inside the massive volume of the silo, and
2. Through rectilinear cuts under the surface of the wharf.
On the first subtraction approach, regarding the exhibition halls, the attempt could be thought of as a corrosion of the concrete, both material wise as well as with regards to the strict formal geometry, volume, by means of air globules producing a cave like space. The curved cuts through the concrete diaphragms are the most efficient way to procure spaces out of the silo cells and on the same time transfer the overhead loads in a most effective manner to the supporting pillars. The resulting voids offer an unconventional spatial experience in tune with underwater feelings of suspension, while retaining and enhancing aspects of the existing cell storage mechanism. The spaces are bestowed an inscrutable character and the visitors are presented with an almost bodily underwater experience. Architecture affects the senses through the recovery of elements such as light, water, air and the very physical matter of the world in general.
In our proposal the ellipsoid cut outs through the storage cells, in conjunction to the vertical flow of light inwards to the exhibition globules or caves, create a seabed experience. The waters breaking on the dock
hum through the structures in a most affective manner. The public square - in the tradition of Giorgio de Chirico - and the park embody two different spatial qualities which at the same time act as limit and connection between the urban grid the seafront. All these moves attempt
to formulate and establish a unique experience and a special character for the silo seafront.
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