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01MUSEUM

MARKET

OUTDOORS

SOCIALCLUB

DECEMBER

NOVEMBER

OCTOBER

SEPTEMBER

AUGUST

JULY

JUNE

MAI

APRIL

MARCH

FEBRUARY

JANUARY

EPIPHANY

NEW YEARS DAY

ICE SCULPTURCOMPETITION

CHRISTMASWORKSHOP

FILM FESTIVAL

DAY OF THE BOOKBOOK FAIR3/04 - 29/04

MARKET OFREGIONAL PRODUCTS

EASTER

REGIONAL SHOW

JOURNEYS TOAGRICULTURAL WORK

CARNIVAL

KULM'S SNOW BATTLE

NATIONAL HOLIDAY

ASCENSION DAY

WHITSUN

PANORAMA INAUGURATION

INAUGURATION DAYS

SAINT MA RYS HOLI DAY

STYRIAN MILK PARTY

OPENING SEASON DAYS

0

04/094/09

05/105/10

5/0821/08

JAZZ FESTIVALGUEST: AHMAD JAMAL

0

20/0824/08

HEALTH CARE WEEK 1/077/07

2/026/02

5/0122/01

01/01

06/01

05/02

01/05

23/04

AUSTRIAS NATIO NAL DAY 26/10

23/05

01/06

ALL SAINTS DAY 02/11

01/11

23/05

3/05

8/0330/03

01/0405/04

AGROTOURISM DAYS 02/0706/07

6/0620/06

0/06

PSYCHEDELIC TRIPFESTIVAL

02/0706/07

2/0884/08

AGROBUSINESSCONFERENCES

SPORTSCONFERENCES

23/1230/12

MODULECOMPETITION

6/1220/12

01

An expendable aesthetic requires no flexibility in artefact but must include ti me as an absolute factor.

Planned obsolescence is the order within such a discipline shoes, motor car, magazines.

The validity of such an aesthetic is only achieved if replacement is a factor of the overall design process. The mobile home presupposes a continuance ofproduction of such units. (The last manned war-plane has been designed.)

In all such cases the artefact at any one time is complete in itself and overall design problem requires a solution to the organisation of such units flowersin a bowl, caravans on a site.

In allowing for change-flexibility, it is essential that the variation provided does not impose a discipline which may only be valid at the time of design.

It is easier to allow for individual flexibility than organisational change the expandable house, the multi-use of fixed volumenes, the transportable controlledenvironment. The massing of living units in single complexes presupposes the continuance of physically linked activity complexes.

edric Price. The Square Book. Wiley-Academy. p. 28

...seeking the unfamiliar and ultimately transcending it

how the story begun...

use of modules

possible elevation of modules

possible plant of modules

mechanism of aperture

work models

axonometric view of a possible module configuration

MIRROR TRANSPARENT

APPEARANCE OF MODULES

TRANSLUCENT

culture unit

seclusion unit

motion unit

ramsau beach

IDEAS AND CONCEPTSCULTURALCOMPLEX INRAMSAU-KULM_Manuel La Casta Miras & Arnaud Thomas

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transversal section of the market - 1:500

longitudinal section of the social club - 1:500

plant of the market - winter season - 1:500

plant of the market - sommer season - 1:500

roof of the market- 1:500

02OVERALL DESIGNCULTURALCOMPLEX INRAMSAU-KULM_Manuel La Casta Miras & Arnaud Thomas

ARRIVE AND LEAVE by train, bus, mono-rail, hovercraft, tube, car or on foot at anytime you want to or just have a look at it as you pass. The information screens willshow you whats happening. No need to look for an entrance just walk in

anywhere. No doors, foyers, queues or commissionaires: it's up to you how you useit. Look around - take a lif t, a ramp, an escalator If its too wet, the roof will stop therain but not the light

CHOOSE WHAT YOU WANT TO DO - or watch someone else doing it. Learn how to

handle tools, paint, babies, machinery, or just listen to your favourite tune. Dance,talk or be lifted up to where you can see how other people make things work. Sit outover space with a drink and tune in to whats happening elsewhere in the city. Try

starting a riot or beginning a painting or just lie back and stare at the sky.

WHAT TIME IS IT? Any time of day or night, winter or summer - it really doesnt

matter. If its too wet that roof will stop the rain but not the light. The artificial c loudwill keep you cool or make rainbows for you. Your feet will be warm as you watchthe stars the atmosphere clear as you join in the chorus. Why not have your favou-rite meal high up where you can watch the thunderstorm?

WHY ALL THIS LOT? If any nation is to be lost or saved by the character of it s greatcities, our own is that nation.Robert Vaughan 1843We are building, a short term plaything in which all of us can realise the possibilities

and delights that the 20th century environment owes us. It must last no longer thanwe need it.

David Allfor, The Creative Iconoclast, Cedric Price: Works II (AA), p. 7

museum

social club

marketMARKET

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transversal section of the museum - winter season - 1:500

transversal section of the museum - sommer season - 1:200

longitudinal section of the museum_1:500

The museum is located at the bifurcation of the main Ramsau road and another secondary road. All the traffic flowing on the

road fronts the building from the south and east direction. It welcomes the visitor to the village of Kulm, forming an attractive

signal for the curious and marking an important point of the place.

Surrounded by the spectacular landscape of the Dachstein mountain and the environment, the cultural museum emerges

like a transparent spaceship between the mountains. Situated in the proximity of the cable car station, the building is precee-

ded by a public place that link the museum to the existing buildings of Kulm. Also that public space contitutes the nexus

between the museum and the rest of the buildings added in the intervention, shaping a park that unifies the activity of the

different pieces. On another hand, the museum offers its own public space, just down of it, isolated fr om the noise of the cars

traffic and in a visual relation with the environment. This place, a big hole gr abbed into the earth, supposes a meeting point

for all kind of people: youth, elderly people, farmers, workers and tourists...a place where contact with culture is direct and

gatherings happen.

Except the exposition programs, these are not defined. Uncertainty plays an important role in the project, depending on the

year season and wishes of the users. T here are infinite forms of organizing the levels as well as the programs. The user has

the possibility to customize the spaces suitable to the desired activity moving, removing, adding panel modules to the exis-

ting spaces. By this way, the spaces within the museum are not defined. They get defined during the different activities of the

users.

A closed space destinied to cinema in winter can be converted into an open-air space designed to keep the plants of theneighbours or just to enjoy the awesome view from the heights. From the interior compartments to the exterior enclosures,

each element is susceptible to change whenever its required.

wind generator

vertical axis

water captation

light structureremovable pieces possible

programs

+

stacking

museumCULTURALCOMPLEX INRAMSAU-KULM_Manuel La Casta Miras & Arnaud Thomas

03main street of ramsaucable car station

we dig to create a quiet area

roof garden with wind turbine

removable double skin of glass panels

mobile ground

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urban furnitureCULTURALCOMPLEX INRAMSAU-KULM_Manuel La Casta Miras & Arnaud Thomas

04