Museum Buildings: Construction and Design Manual 3869222174, 9783869222172

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Construction and Design Manual Museum Buildings Hans Wolfgang Hoffmann Edited by Christian Schittich

Museum Buildings Construction and Design Manual

Museum Buildings Construction and Design Manual Hans Wolfgang Hoffmann Edited by Christian Schittich

Contents

Foreword Christian Schittich Page 8

History and Theory Hans Wolfgang Hoffmann Page 10

Design Parameters Hans Wolfgang Hoffmann Page 42

Buildings Page 76

Interview with Uwe R. Brückner Christian Schittich Page 304

Index

Page 410

Authors Page 415

Buildings

Glazed Roof at the Victoria and Albert Museum in London MUMA Page 124

David Zwirner Gallery in New York Selldorf Architects

Can Framis Museum in Barcelona BAAS arquitectura

Art Museum in Ahrenshoop Staab Architekten

HEART – Herning Museum of Contemporary Art Steven Holl Architects

Page 76

Page 82

Page 130

Page 136

Extension of the Kimbell Art Museum in Fort Worth Renzo Piano Building Workshop, Kendall / Heaton Associates

MAXXI in Rome Zaha Hadid Architects

A Covering for Cour Visconti at the Musée du Louvre in Paris Mario Bellini, Rudy Ricciotti

Brandhorst Museum in Munich Sauerbruch Hutton

Louvre-Lens SANAA

Centre Pompidou-Metz Shigeru Ban Architects Europe, Jean de Gastines Architectes

Page 142

Page 88

Page 150

Page 96

Page 100

Page 158

Luxembourg City Art Museum Diane Heirend & Philippe Schmit Architectes

Chopo University Museum in Mexico City TEN Arquitectos

The Hepworth Wakefield David Chipperfield Architects

Galeriehaus am Kupfergraben in Berlin David Chipperfield Architects

Page 106

Page 112

Page 164

Page 170

Extension of the Städel Museum in Frankfurt am Main schneider + schumacher Page 118

The Unteres Remstahl Arts Educational Centre and the Stihl Gallery in Waiblingen Hartwig N. Schneider Architects Page 178

Gallery in La Pizarrera Elisa Valero Ramos Page 184

Danish Maritime Museum in Elsinore BIG – Bjarke Ingels Group Page 238

Refurbishment and extension of the Art Museum Moritzburg in Halle Nieto Sobejano Arquitectos

World of the Celts at the Glauberg kadawittfeldarchitektur

New Museum of Contemporary Art in New York SANAA

Kaap Skil in Oudeschild, Texel Mecanoo

Museum of Contemporary Art Denver Adjaye Associates

Riverside Museum in Glasgow Zaha Hadid Architects

Extension of the Nelson-Atkins Museum of Art in Kansas City Steven Holl Architects

Extension of the San Telmo Museum in San Sebastián Nieto Sobejano Arquitectos

Casa das Mudas Arts Centre in Calheta, Madeira Paulo David

Protective Structure and Museum for ­Archaeological Site in Pedrosa de la Vega Paredes Pedrosa Arquitectos

Page 246

Page 188

Page 254

Page 194

Page 260

Page 198

Page 204

Page 210

Page 266

Page 272

21st Century Museum of Contemporary Art in Kanazawa SANAA

Ningbo Historic Museum Amateur Architecture Studio

Visitors' Centre in Kosterhavet National Park White arkitekter

Pavilion of the Ecomusée de la Grande Lande in Sabres Bruno Mader

Martin Luther's Death House in Eisleben VON M

Heldenberg Museum in Kleinwetzdorf Atelier Peter Ebner + Franziska Ullmann

Page 278

Page 216

Page 224

Page 230

Page 284

Page 290

Documentation Centre in Hinzert Wandel Hoefer Lorch + Hirsch Page 294

Entrance Hall of the Vienna Technical Museum querkraft Architects Page 360

State Museum of Archaeology Chemnitz ARGE Auer Weber, Knerer und Lang

Joanneum Visitors' Centre in Graz Nieto Sobejano Arquitectos, eep Architects

BMW Museum in Munich Atelier Brückner

Nebuta Museum and Cultural Centre in Aomori molo design

Page 298

Page 314

Page 364

Page 370

Museum of Archaeology in Seró Estudi d’arquitectura Toni Gironès Page 322

Pavilion of the XVI. Architecture Biennale in Santiago de Chile Felipe Assadi + Francisca Pulido Architects Page 376

Patrimonio Wine Museum in Corsica Perraudin Architectes

Porsche Museum in Stuttgart Delugan Meissl Associated Architects

Archaeological Museum in Vitoria Francisco José Mangado Beloqui

Museum and Exhibition Centre in Veenhuizen Atelier Kempe Thill

Glass Pavilion of the Toledo Museum of Art SANAA

Exhibition Building in Busan Mass Studies

Museum of Modern Literature in Marbach am Neckar David Chipperfield Architects

Mercedes-Benz Museum in Stuttgart UNStudio

Architecture Firm’s Office and ­E xhibition Space in Shanghai Archi-Union Architects

Las Arquerías Documentation Centre in Madrid Aparicio + Fernández-Elorza

Page 328

Page 334

Page 380

Page 388

Page 394

Page 342

Page 348

Page 356

Page 398

Page 404

8

Foreword

Foreword Christian Schittich

Museums have been undergoing an unbroken boom period for many decades now – globally as well as here in central Europe. New buildings are being constructed unceasingly, while e­ xisting ones are spruced up and equipped to meet other functions. Building stock which originally served a different purpose is at the same time being renovated and converted into exhibition facilities. The museum has for some time now emerged as by far the most popular of all cultural institutions The number of visitors which exceed by a long way those of other facilities, such as concert halls or theatres, also underlines this fact. It almost seems to be the case that our increasingly digitalised world awakens in many people the need to engage with the authentic object, ­whether in the form of a work of art or a historical document. The past decades have at the same time seen a profound change in the museum as an institution. At the end of the 1970s, the Centre Pompidou in Paris stepped up to the plate with a ­revolutionary concept. It not only presented itself as a s­ pectacular exhibition machine, but also as a public forum which fast b ­ ecame one of the major focal points of the city. Since then, the tried-and-tested offerings have in recent times no longer proved sufficient for the majority of museums. The established tasks of collecting, preserv­ ing, researching and presenting are augmented by a wide range of other ones. The buildings increasingly become an event venue and meeting place (for dining) or a commercial marketplace with their ever-larger shops. However, it is primarily exhibition concepts which are changing: for example, the former endless long showcases (with exotic insects) in a natural history museum have long become outdated. Today, the sheer volume of objects is cohesively replaced by multimedia presentations and the observer interactively integrated. In so doing, the entertainment aspect also gains increasing importance. Irrespective of whether the museum exhibits works of the visual arts or of the history of technology, whether it displays natural history or ethnological collections, the current trend is shifting from the former ­sublime temple of learn­ ing towards a dazzling world of experiences ­courting an increas­ ingly spoiled audience’s favour with special effects. This is often augmented by another task, not least owing to Frank O. Gehry’s

Guggenheim Museum and the associated Bilbao effect: museums are becoming the important pillars of city ­marketing or even the landmark of an entire region. This approach calls for free­standing buildings which clamour for attention and not infrequently compete with the exhibited objects. In extreme cases, sometimes visitors come not only because of the art presented within, but more because of the building itself. However, it is not always a requirement that modern-day ­museums boast spectacular forms. It is precisely owing to their modest appearances and subtle concept of space that many of the examples in this book impress. This applies to both SANAA’s art gallery in Kanazawa and David Chipperfield’s Museum of Modern ­Literature in the Swabian town of Marbach. In his numerous ­museum projects, Renzo Piano also values the needs of the ­exhibits more highly than possible architectural ­esca­pades. A ­defining characteristic of many of his exhibition halls is a technically and innovatively sophisticated illumination concept over the roof. The fact that markedly powerful architecture can also be formed in this manner is impressively demonstrated by Piano’s extension of the Kimbell Art Museum in Fort Worth in the United States. However, irrespective of whether spectacular or modest – ultimately the selected form must also correspond to the specific task and intent. Exhibition halls for modern art can be different in appearance than those which mainly present historical documents, and an ethnological museum will differ from the brand philosophy of a car manufacturer. The impressive examples of a­ rchitecture in this book show just how varied the task of a museum can be in terms of size, function, form and material.

The classic museum concept featuring exhibition pieces in endless long showcases – such as those in the Natural History Museum in London – are rarely to be found these days Foreword

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10

The History and Theory of the Museum Building

The History and Theory of the Museum Building Treasure Chambers, Showcases and Show-stopping Temples are a Thing of the Past – Museums will be the Workshops of the Future! Hans Wolfgang Hoffmann

Milan in late summer 1490: on this evening L ­ eonardo di ser ­Piero – known as da Vinci – was unexpectedly granted a little extra time. The material from which he was to fashion a huge equestrian statue for Duke Sforza was missing. That is to say, it certainly did exist, just not here. The delivery has failed at the loading stage – an emaciated worker who still has a particularly cumbersome load to lift, and the whole enterprise lies in tatters. This was no surprise with the masses swallowed up by the workshops of the universal scholar. 

Leonardo da Vinci: Studies for an Automobile Pen and ink over metalpoint, Milan, c. 1480

Leonardo deliberates. A pulley system cannot help in this situation, not even those designed by him. In light of such unforeseen fluctuations and encumbrances, something else is needed: something that would offset these variables, which provides different transmission systems – a compromise between the two. But just how, we may ask, is this to be achieved? With numerous wheels with interlocking teeth? Wheels of this kind do not always deliver what they promise. Cones or spheres would on the other hand offer i­nfinitely more possibilities, in theory at least… Leonardo’s head begins to spin. The first automatic transmission in the world already exists in sketch form. Despite this, almost everything stands in the way of testing it: the Cathedral of Pavia, the statue of Sforza and numerous ornamental works – there is barely enough time to meet all the orders already in progress. It is thus that the picture in Leonardo’s notebook simply disappears – for the time being. It was only when the Californian firm Fallbrook Technologies presented the first fully automatic switching gear, which is in fact roller-based, did his flash of genius come into fruition. The ­design – which is as simple as it is solid – spreads rapidly and finds a home primarily in wind generators and electrically powered bicycles. During the press conference Donald C. Miller, Head of Development, also presents an illustration which is the spitting image of Leonardo’s. Even the catchy name of the product recalls da Vinci: Fallbrook names it NuVinci. There is only one flaw: more than 500 years have elapsed between the initial idea and its implementation! The History and Theory of the Museum Building

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Early example of a thesaurus: the treasury at Delphi c. 500 B.C.

Could a museum have accelerated the development process? It is certainly the case that such a facility had been established pre­cisely between the occurrences of these events. The institution was to present the out-of-the-ordinary in such a manner that it would sow the seeds for our future. The core objective therefore consists in transformation. Museums may share this thinking with schools – it is just that the approaches are the exact opposite of each other. In the one case, what is being conveyed is of existen­tial importance, in the other it has no relevance what­so­ ever. ­U ltimately, schools are focused on (young) people, whereas ­museums evolve from the specialist subject. Equally fundamental is the difference with respect to monuments. Whereas the latter may not disown its context, each exhibit to this will be further transferred out of its natural relationship from the specialist storage area that is the museum per se. The photomontage produced by Milton Friedberg in 2010 for the Deutsche Werkbund puts it in a nutshell – the m ­ useum itself is the visual space which encloses the figure of the “little man” between the busts of Goethe and Schiller. A. The Treasure Trove of Scholars To put it more simply, the museum procures, secures, ­arranges, presents – never just an object but rather constantly its own activities. In fact, the focus within this chain of commercialisation has shifted further and further. Initially everything is based on the primal instinct of human beings, i.e. collecting. That which begins as survival instinct soon takes on a life of its own. It is not only that which possesses a mere existence which is given preference for storage. Objects which at best are of non-material significance come together in the same manner. Latterly within antiquity, pure ritual was sufficient for the intended purpose. Collecting is so sacred to all cultures that it takes place in the temple. In Mesopotamia, Egypt and China, these act as educational institutes and universal places of worship and power, as well as being used for storage. 12

The History and Theory of the Museum Building

The museum itself is only developed and designated as such for the first time in Greek antiquity – albeit in two separate steps. On the one hand this appendix to a temple is elevated to its own type of building – namely the thesaurus. An early example, which is nowadays again open to visitors, was built by the Athenians around 500 B.C. in Delphi. In common with all thesauroi it is a building for plunder. The Greek city states savour their victories with the treasure trove. Looted goods are injected into their own economy – thereby the thesauroi represent an early form of bank. Of course, statues, flags and militaria cannot be melted down. Thus, the symbolic remainder is exhibited – this has less to do with its own sake as it is about the slogan: “you see, this now no longer belongs to others!” The rigidity of use imposes its character on the design. All treasure troves are the most nondescript temples: overall, the façade displays relatively small and compact gables and columns. All other walls are closed. The security dimension, which no museum can escape to this day, is the most prominent voice. Elsewhere, Greece’s aesthetes indulge in language exercises – and invent the museum, at least in name: musio refers to place of the muses which the matron saints of the arts and the sciences embody. In actual fact, a muse-like statue can be found in places of worship within schools. Although their scholars cannot get by without a supply of illustrative material, teaching is dominated by verbal communication at the time. This is illustrated by the earliest record of the term. Around 400 B.C. musio denotes the district of Alexandria surrounding the famous library. Both of these developments culminate at the end of the Middle Ages in Europe: although the dynastic houses no longer lead in terms of religion, they embody wisdom, power and mammon in personal union. Meanwhile, the treasure trove has dwindled into the grotta, the school to the studiolo. From the fourteenth century,

The first proper artistic space in the open: the statue court in the Vatican Belvedere Architect: Donato Bramante (1509)

The universal temple of the gods as an inspiration for museum buildings: the Pantheon in Rome 118 A.D.

both are to be found throughout courtyards in immediate proximity. At Corte Vecchia of the Palazzo Ducale of Mantua, treasure chambers and study rooms are directly side by side. N ­ ever has there been such proximity – which may not be new in itself!

extent that the Renaissance builds the first proper artistic space. Less surprising is that it arises in the open: shortly after 1500 the Belvedere celebrates its premiere in the Vatican. For the collection of antiquities, Donato Bramante designs a Cortile Ottagonale which lines up the sculptures in niches at the edges. In spite of extensions and modifications, the octagon vaunted as atrio del piacere (“Hall of Pleasure”) continues to dominate the Museo Pio Clementio to the present day.

Thus, the museum is at least partially established. Without the components in question, it would never have survived to the present day: even if treasure chambers and study rooms do not necessarily integrate themselves wall to wall, it needs these as a workplace for curators and as storage. The most illustrative pieces even travel temporarily from the grotto in cupboards and display cabinets in the studiolo. This simple fact summarises the genesis of the museum to date: the power to interpret objects is attributed to the sciences which has also continued through to this day. B. A Window on the World of the Bourgeousie Amid all of this, architecture was hardly an issue; rather, it was confined to interior design. This changes for another reason. It is the ancient Romans who sow the first seeds. After they have largely conquered the world known to them, peace begins to spread. Serenity – decadence even – makes it possible to con­si­ der things for their own sake. Wealthier citizens tear down old buildings from their surroundings and adorn their residencies with reliefs, sculptures or structural components. Most are merely cases of fragments. The gaze is thus turned towards the past in a manner that museums focus on for long periods: obsolete material proceeds to become artefacts. It is given a new purpose which first and foremost arises from the aura given off by it. Precisely this approach calls for architecture – and a ­perspective on things demands nothing more than light itself! Treasure cannot become art when imprisoned. The milieu within which we live – whereby our individual little corners can be defined by decoration – is nothing less than a compromise. Yet it is well over a millennium before the viewpoint develops to such an

That milestone sets the bar high, even if the museum subsequent to building closes. The fact remains that the inventiveness of architects everywhere concentrates on turning spaces “into day”. The formula that most closely approximates Bramante’s courtyard simply places it underneath a dome. An opening for daylight remains at the apex; the concave inner shell takes over the dispersion. One element that always comes to the fore is the Pantheon: the universal temple of the gods which the emperor Hadrian had built at the beginning of the second century A.D. in Rome. Even in the sixteenth century, Bernardo Buontalenti confers the blueprint to the construction of museums. Many others will follow suit in terms of that which he demonstrated when converting the Uffizi in Florence. Even the daylight ceilings, which emerge around 1800, are part of this same tradition. Derived from shopping arcades at the time, ultimately these are merely copies of those lanterns which meanwhile crowned the Pantheon. ­Admittedly, they veered into a more unconventional direction in terms of the construction of museums than elsewhere. The approach which upgrades the veteran archetype of the museum to the gallery is similar: windows are distributed along long galleries, sometimes even arranged along both sides, such as in Fontainebleau in 1540. They reach up high to the ceiling (as in the extension to the Palazzo Ducale by Giuseppe Dattaro and Antonio Maria Viani around 1600) or merge with it to form the Dormer vault executed by Wilhelm Trekl for the Antiquarium in 1571 in Munich. They continue in skylight strips with which The History and Theory of the Museum Building

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Early example of an autonomous museum building: Altes Museum in Berlin Architect: Karl Friedrich Schinkel (1830)

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The History and Theory of the Museum Building

the construction of museums in the twentieth century pushes through the industrial construct of the shed roof. In both ­cases, the ideal was the same: it is always a question of preventing glare and the casting of long shadows. Daylight is literally to be artificial light. Genuine alternatives only arise from the invention of electric lamps. Even if the present day witnesses a complete change and places a renewed emphasis on darkness, the lighting issue always remains the most important spatial requirement for architects in the construction of museums! The Renaissance and Baroque periods may allow the eye to linger over, but from a purely spatial point of view, everything is still very limited: longitudinal halls and circular centres form the ­basis. Although the eternal basic modules become larger and more magnificent in the course of the hundreds of ­museums erected worldwide up to 1800, they remain self-contained. The containment is the result of the use or, to be more precise, the lack of non-usage: everything primarily serves the constructor, for whom the question of access is always subject to his own decree. The absolute ruler may present the museum to selected

guests, allow scholars to enter or withdraw here for silent prayer or celebrations. But most of the time nobody is present – that even the architecture brings out the Extraordinary from w ­ ithin the Ordi­nary. This is altered at the hands of the bourgeoisie which for its part has few possessions but is at least aware of it. This body of connoisseurs has a ripple effect. One example is the British Museum based on a hitherto private collection which is placed into the public domain by means of a bequest laid down under a last will and testament. The fact that it is opened in 1759 at the behest of Parliament in a London residential palace is a first. For the first time, a code or set of rules which apply with equal strictness to all visitors (i.e. irrespective of the person’s standing) governs access. Consequently, the Enlightenment will embrace even princes. To satisfy curiosity before it turns into general avarice, they sporadically open their treasure troves. In Paris, this fails in an exemplary way: the French Revolution beheads ­Ludwig XVII, nationalises the royal privy purse and in 1793 converts the Louvre into the first museum which anyone can visit at any time. Since then, the institution is no longer conceivable without the public around. The History and Theory of the Museum Building

15

Orthogonal path grid: design for a museum Architect: Jean-Nicolas-Louis Durand (1803)

Democratic access: design for a museum Architect: Ètienne-Louis Boullée (1783)

Circuit in its pure form: Glyptothek in Munich Architect: Leo von Klenze (1830)

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The History and Theory of the Museum Building

This changes the definition of museums: as of that time, they are factors in the shaping of public opinion. They provide nation states which are emerging at the time with historic legitimacy. In order to underpin the supremacy of the home country, cultural assets are again procured from nations which are to be civilised, that is to be colonised – now also in the name of science. The construction programme simultaneously expands: the multitudinous target group makes the museums more extensive and numerous than ever before. For the first time since antiquity they emerge as detached buildings. No longer bound to rulers and residences, projects take place wherever there is an audience. Virtually all cities give themselves a museum – the metropolises several. In terms of architecture, the orientation towards the public is also manifest: portals grow, as if eager to attract the whole educated bourgeoisie all at once. It is not seldom that columns cover the entire visible façade. This was also the case with Karl Friedrich Schinkel, who in 1830 places one of the first autonomous ­museum buildings on the Spree Island in Berlin. Here, the outside staircase continues through to the uppermost floor. However, true innovation occurs in the interior: now that huge crowds of people are to be funnelled through the museum, the question then arises of the room sequences! All kinds of alternatives are explored. The French revolutionary architecture which is based upon path grids is particularly radial. It is the visitor alone who decides which way to go. This form of connectivity is thus extremely “democratic” and a distant dream at that time. Consequently, that which is d ­ esigned for example by Étienne-Louis Boullée or Jean-­Nicolas-Louis ­Durand between 1783 and 1803 is not implemented. Rather, circuits are created. Examples of these in their pure form can be found in the National Archaeological Museum of Naples, which Pompeo Schiantarelli implants within the Borbonico building of the university in 1790, or in the Glyptothek which Leo von Klenze completes in Munich in 1830. The priority of the route is always education. The visitor can only digress after

Spatial hierarchies: Märkisches Museum in Berlin Architect: Ludwig Hoffmann (1908)

all exhibits have been exhausted. In extreme cases implemented ­sporadically in the twentieth century, the compulsory tour not only extends over one floor, but across the entire building. In the face of the absence of exits, signs of fatigue are inevitable – not only among the public. The educational value also remains modest – as long as only one work is lined up next to another, the museum undersells itself. Clout only emerges from the sum of the information. Key to this are the (spatial) relations which the museum sets up among its exhibits. All exhibits are ideally positioned around the core message. Irrespective of whichever system is brought into play, there always follows a main room that branches out into others.

Circuit in its pure form: Naples National Archaeological Museum Architect: Pompeo Schiantarelli (1790)

The Swiss National Museum, which Gustav Gull built in Zürich in 1898, and Ludwig Hoffman’s Märkisches Museum, which opens one decade later in Berlin, provide two examples among many. Indeed, both put the exhibition system before even the inte­riors and façades, and in an exemplary manner: for example, the detour to religion has been designed as a church here and there. At the time, no circulatory system in its pure form is realised more often than this system of cul-de-sacs. The design leeway afforded to museum designers by this organisational concept demonstrates spatial hierarchies which reflect one-to-one the class-based society of the nineteenth century. The fact that these are ultimately dead-ends only becomes apparent at a later point in time. However, the majority of museums build on hybrid forms (for example, Klenze with the Pinakothek in Munich parallel to Schinkel in Berlin). Generations of architectural historians have since superimposed their floor plans without being able to bring them into alignment. The conclusion is clear: there is still a long way to go before the ideal mix is found. Henceforth, no design for a museum is able to escape this quest. The art of planning consists in that which unites all ­museums – even from the very outset: the appearance. The ­structures ­t horoughly embel­lish themselves with the tried and tested – both inside and out.

System of cul-de-sacs: Swiss National Museum in Zürich Architect: Gustav Gull (1898) The History and Theory of the Museum Building

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The History and Theory of the Museum Building

Glyptothek in Munich Architect: Leo von Klenze (1830)

The History and Theory of the Museum Building

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A milestone in modern architecture: Museu de Arte Moderna do Rio de Janeiro Architect: Affonso Eduardo Reidy (1954)

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The History and Theory of the Museum Building

The History and Theory of the Museum Building

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Striking dome: Shrine of the Book in Jerusalem Architects: Friedrich Kiesler, Armand Bartos (1965)

The canon of shapes may steadfastly link the museum to yesterday. This was genuinely never intended for this building type. C. The Show-stopping Temple of the Masses At this point of time, one thing is clear: museums and modernity will not be likely to come together smoothly. Initially, the rendez­ vous has a hard time in a purely aesthetic sense. Firstly, only in those places where modernity is explicitly standard practice can it materialise, and even there it takes time. While bridges, ­factory halls, silos and lookout towers have long blazed as b ­ eacons of the avant-garde, it will take several decades for the first ­modern ­museum to be built. The Slovakian artists’ club, which Alois ­Balan and Jiri Grossmann built in Bratislava in 1925, can at best only be considered a modest forerunner. Since those engaged in the cultural sector build primarily for themselves, the exterior is far more moderate than the interior. Five years later in Dresden the situation is already quite different, were it not for the fact that new construction for the

Shrine of the Book in Jerusalem, section Architects: Friedrich Kiesler, Armand Bartos (1965)

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The History and Theory of the Museum Building

German ­Hygiene Museum was not anyway part of the brief, ­Wilhelm Kreis could have hardly paid homage to it here. Besides, the room dia­gram adheres to a circuit pattern and thus remains overwhelmingly conservative. Somewhat more exceptional is the first new construction which the Museum of Modern Art in New York affords itself at the end of the same decade: it initially confines itself in the cramped space between buildings in Zone 1B on 53rd Street. B ­ esides, the façade – which ­Edward Durell Stone and Philip Goodwin coat with the International Style – contains ­offices, apartments and a transformer station equally well. At any rate, the way is thus paved for the modern museum. The brash ­appearance succeeds following the Second World War. As of 1955, the S ­ olomon R. G ­ uggenheim Museum between Central Park and the East River occupies the whole façade of the block. The old master Frank Lloyd Wright places several geometric cubes on an almost floating base. I­ mmediately conspicuous is the cone which swells upwards. Three skylight rings clearly pronounce the building to be a ­museum. The circuit descends from the highest point via a spiral ramp, while visitors glide past the artwork in droves. Without any doubt this is a building for centuries to come!

Ventilation container: Centre Pompidou in Paris Architects: Renzo Piano, Richard Rogers (1977)

Since then, all museums are at least modern and exteriors can sometimes be downright avant-garde. The new development of the Guggenheim coincides with the opening in Rio de Janeiro of the Museum of Modern Art, whose suspended supporting structure designed by Affonso Eduardy Reidy need not fear comparisons with the most audacious constructions in Brasília. In 1965, ­Jerusalem inaugurates the Shrine of the Book: here, Friedrich Kiesler and Armand Bartos gather Old Testamentary scrolls beneath a dome ranging somewhere between a Jewish hat and a kippah. The Centre Pompidou, meanwhile, has a downright disturbing effect: Renzo Piano and Richard Rogers placed a ­“ventilation container” which revolutionises people and modern art in the heart of the Parisian old town in 1977. When the Museo Nacional de Arte Romano is to be built in the Spanish town of Mérida at the beginning of the 1980s, Rafael Moneo can scarcely do otherwise than design a brick factory-cathe­d ral. Meanwhile, postmodernism has not only propagated architecture parlante. It modernises disused buildings in general and finds its central project in the construction of museums. Emerging in quick succession are the “inclined box” by Rem Koolhaas (Kunsthal Rotterdam, 1992), the “pronged bishop’s cap” by Aldo Rossi (Bonnefanten Museum in M ­ aastricht, 1994), the “UFO” by Xing Tonghe (Shanghai Museum, 1996), the “lumi­nescent crystal” by Peter Zumthor and James Turrell ­(Kunsthaus Bregenz, 1997), the “broken Star of David” by Daniel Libeskind (Jewish Museum in Berlin, 1999), the “sailing ship” by ­Santiago Calatrava (Quadracci pavilion of the M ­ ilwaukee Art Museum, 2001), the “rusty flash of genius” by Roger Wood and Randell Marsh (Australian Center for Contemporary Art in Melbourne, 2003), the “black cloud” by Peter Cook and Colin Fournier (Kunsthalle Graz, 2003), or the seven-storey “stack of parcels” by the Japanese Pritzker prize winner ­SANAA (New Museum of Contemporary Art in New York, 2005, page 194). This blueprint architecture, which characterises all

Centre Pompidou in Paris, elevation and section Architects: Renzo Piano, Richard Rogers (1977)

Museo Nacional de Arte Romano in Mérida, section Architect: Rafael Moneo (1985)

Bonnefanten Museum in Maastricht, section Architect: Aldo Rossi (1994) The History and Theory of the Museum Building

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Luftbild jüdisches museum

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The History and Theory of the Museum Building

Jewish Museum in Berlin: floor plan of fourth floor Architect: Daniel Libeskind (1999)

Broken Star of David: Jewish Museum in Berlin Architect: Daniel Libeskind (1999) The History and Theory of the Museum Building

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New Museum Of Contemporary Art in New York Architects: SANAA (2007)

Stack of parcels: New Museum Of Contemporary Art in New York Architects: SANAA (2007)

those examples, dominates here more than for any other construction project: in terms of the construction of museums, it would finally mark the discovery of its very own form of appearance. The collection of examples simultaneously points to a veritable construction boom. Today, the number of museums worldwide is more than double that of three decades ago! Some countries even experience an eightfold rise, such as China! And it is not least the blueprint architecture which is responsible for the boom. Already the mere building stimulates curiosity which reduces the fear of the unknown. A broader spectrum of people finds its way into the museum. The fact that each new design leads to a spike in the number of visitors is meanwhile statistically assured. As it is, museums in most countries have long since been positioned ahead of public sports spectacles.

Inclined box: Kunsthal Rotterdam Architects: OMA / Rem Koolhaas (1992)

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The History and Theory of the Museum Building

This interrelationship is well renowned and documented as the Bilbao effect: on the shores of the Basque Country, where ETA’s attacks and decline meet at the time, Frank O. Gehry ignites a titanium vortex by the name of the Guggenheim Museum in 1997. With it the province’s capital not only enhances its harbour; thanks to its film-like settings, virtually overnight the unlovely setting proceeds to become the obligatory stop of cultural jet setters. Owing to globalisation, this has an ever widening ripple effect. Hereinafter, legions of tourists visit the just about shunned city. Bilbao experiences a surge in development – a success crying out to be replicated, no, exceeded. Ultimately, the boom thus takes on a life of its own – especially given that, according to statistics, the number of visitors stagnates in places where structural upgrading does not occur.

Evoluon in Eindhoven Architect: Louis Christiaan Kalff (1966)

While architects will only benefit from this, the boom has an impact in terms of the museums themselves. They are thus always established in non-urban locations. Sometimes they emerge in remote high mountain valleys (such as the Museum La ­Congiunta by Peter Märkli in the Swiss municipality of Giornico in 1992) or on South Sea islands (such as the Jean-Marie Tjibaou ­Cultural Centre in Noumea, where six years later Renzo Piano promi­ nently places a Kanak village which is as modern as it is monu­ mental). For industrial sites, museums have long signified the most obvious reuse: the Bankside Power Station in London which Jacques Herzog and Pierre de Meuron converted into the Tate Modern on the occasion of the millennium represents only the most prominent of countless examples. The escalating spiral even goes a step further, especially in the USA: in most cases, private developers with millions get the museum off the ground in order to push hard-up city refurbishments back into profit. C ­ urrently, Ground Zero in New York may bear an eloquent testi­mony to this fact, but non-­museum-related motifs for projects in Chicago, ­Denver, Sacramento or Covington are even more dominant. New clients also emerge outside America: in addition to private and public collectors, firms increasingly consort with one ­another. When the electronics company Philips has the Evoluon constructed by Louis Christaan Kalff and James Gardner in ­Eindhoven in 1966 and the furniture manufacturer Vitra ­develops the Vitra Design Museum in Weil am Rhein into an architectural park from the 1980s, these may, if anything, be isolated cases. E ­ xecutive suites meanwhile implement these types of projects everywhere, particularly in the vehicle sector: after Volks­wagen inflates its ancient vehicle fleet into a 22 ha large

Spaceship: Evoluon in Eindhoven Architect: Louis Christiaan Kalff (1966)

Architectural park: Vitra Design Museum in Weil am Rhein Architect: Frank O. Gehry (1989)

The Autostadt in Wolfsburg Architects: HENN (2000) The History and Theory of the Museum Building

27

Sailing ship: Quadracci Pavilion of the Milwaukee Art Museum Architect: Santiago Calatrava (2001)

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The History and Theory of the Museum Building

Titanium vortex: Guggenheim Museum Bilbao Architect: Frank O. Gehry (1997)

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Museum on a South Sea island: Jean-Marie Tjibaou Cultural Centre, New Caledonia Architect: Renzo Piano (1998)

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The History and Theory of the Museum Building

Reuse of an industrial site: Tate Modern in London Architects: Herzog & de Meuron (2000)

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31

Building for the first World Exposition: Crystal Palace in London Architect: Joseph Paxton (1851)

Autostadt (“Car City”) in 2000, all German manufacturers afford themselves something similar. An offshoot even emerges in ­China: in 2009 the International Automotive Exposition Center – whose museum core the designer of Autostadt, Gunter Henn, delivers alongside – opens in Peking. Naturally, these commercial clients look more ahead than back. The tradition of the brand is a means to an end: the museum showrooms are primarily intended to promote the continuation of the firm’s success. The associated paradigm shift also leaves its mark on public museums. Increasingly, sponsorship money is having to replace State subsidies. The guiding principle behind allocation does not ultimately entail reaching out to the general public. Museums thus look for missions which have not yet been completed. Science and technology account for an ever increasing proportion of the thematic spectrum, particularly with regard to start-ups. Even computer games and space travel, whose future clearly lies in tomorrow, are fit for museums. Content and form thus augur the same trend: museums are leaving their past behind and ­concentrating on the future! This also affects the archetype. Treasure troves and exhibition houses are passé: the programme of collected works becomes of secondary importance – even prior to the evolving virtualisation of the Internet in which originality in itself counts for nothing. The links are much more tangible: museums tend to grow more quickly than cultural heritage since an original cannot reproduce itself! The old masters thus flail, temporary exhibitions outshine permanent exhibitions and a growing number of museums are even opened without any collection. Art galleries do not get their exhibits fresh from the easel, but incorporate entire studios. Yet another revolution is illustrated by the Karlsruhe Centre for Arts and Media Technologies which Peter Schweger establishes in a former weapons factory in 1993; the ateliers have already been working here for twelve years before the actual museum comes along. The most recent construction boom only exacerbates this longterm trend anyway. As early as 1992, the Swiss architectural 32

The History and Theory of the Museum Building

theoretician Paolo Fumagalli notes that exhibition areas in the nineteenth century took up eighteen times more space (!) in the museum. The loss in density of the exhibits is at least as drama­ tic. Lumping exhi­bits together in clusters and plastering the walls all the way up to the ceiling may once have made The State Hermitage ­famous and been imitated internationally. Meanwhile, however, the ­Petersburg hanging has almost completely disappeared. An incomparably larger individual distance is attributed to each exhibit. While the display collection takes up an ever-decreasing amount of space, the importance of exhibiting is steadily on the increase. Compiling displays – still a sideline job prior to the mid-nineteenth century – is meanwhile an established profession with a formal education, its own periodicals and specialised undertakings. Once the museum affords itself a team of employees, the scenographer plays a well-established role. Not infrequently does he stand on an equal footing with the board of trustees. The ­a rchitect also finds him to be a rival who only too eagerly snaps at his field of work. Where this leads to is best indicated by the opus magnum of this profession: the World Exposition. Since Expo 1851 made its ­debut in the Crystal Palace by Joseph Paxton, the site itself has remained eminently neutral. How else ought the diverse exhibitors, gathered together in the mega-greenhouse, cultivate self-­ expression? Against this backdrop, the unifying building disappears first, then transparency. For example, the Expo in Shanghai 2010 eventually consists of every conceivable multi­media black box. Occasionally, there may be complicated geo­metry at work backstage – however, all this does not change the uniformity of the display room! The construction of museums has lagged behind this development. M ­ odernity marks its breakthrough. It bids farewell to inte­r iors which previously stayed true to the milieu and invents

Museum with an open floor plan: Eyebeam Museum of Art and Technology in New York (unrealised) Architects: Diller Scofidio + Renfro (2004)

Visitors in the repository: storage space of the Emanuel Hoffmann Foundation, floor plan of third floor Architects: Herzog & de Meuron (2003)

the White Cube. Tailored especially to the painterly style of those years, it endows their frameless works with a wide horizon, in effect. Besides, the clean room is neutral enough to be established everywhere. It is constantly on the rise, whether occupying large parts of the storeys at the premiering of the MoMA, or seizing control of the entire floor at the Centre Pompidou three decades later. In the course of brutalism, the White Cube ­simultaneously loses its colour. Display technology is the sole décor for the exposed concrete. Finally, the building and the presentation platform come to merge: the Sainsbury Centre for the Visual Arts, ­designed by Norman Foster in Norwich in 1977, largely consists of only one large stage. The open floor plan dominates a series of modern buildings: since 2006, it has thus coiled through the Mercedes Benz Museum which Ben van Berkel and Caroline Bos (UNStudio) installed in Stuttgart. Even the unrealised Eyebeam Museum of Art and Technology, which Diller Scofidio + Renfro design for New York in 2004, leads seamlessly from the pavement to the eaves. While it was true that disputes in the nineteenth century centred upon display cabinets, since that time there has been hardly any alternatives to the universal stage. In any event, today the archetype of the museum can no longer be distinguished from the exhibition hall. Occasionally the show even illustrates this vast majority of treasures which have hitherto lain dormant. By no means are visitors in the repository an absolute exception. As was recently the case with the Humboldt Forum in Berlin, entry is often formulated in terms of architecture. The Emanuel Hoffmann Foundation in Münchenstein, which Herzog & de Meuron accommodate in the Basle area in 2003, is even pure open storage space! Non-exhibition areas undergo further changes – it took a ­hundred years of the Fumagalli trend to bring their portion of the m ­ useum from just over one-tenth to more than two thirds. Even the expansion of the entry area continues unabated.

Storage space of the Emanuel Hoffmann Foundation in Münchenstein near Basle, ground floor plan Architects: Herzog & de Meuron (2003)

Storage space of the Emanuel Hoffmann Foundation in Münchenstein near Basle, section Architects: Herzog & de Meuron (2003)

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33

One large stage: Sainsbury Centre for Visual Arts in Norwich Architect: Norman Foster (1977)

Cross-section

Floor plan

Longitudinal section

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The History and Theory of the Museum Building

Museum with an open floor plan: Mercedes-Benz Museum in Stuttgart Architects: UNStudio (2006)

3D-section

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35

Master plan for the extension of the Museum of Modern Art in New York, section Architects: Kohn Pedersen Fox Associates (2004)

Projects such as the Parisian pyramid, which has adorned the Musée du Louvre since 1989, are solely intent upon this. Thereby, the new entrée at ground level is hardly any smaller than the old castle which continues to contain the showpieces. In order to avoid the overcrowding of the 8 million visitors who accumulate in the world’s largest museum magnet, I. M. Pei explicitly bases his highly controversial design on the queue management at Disneyland. Besides, the access changes its character: the entire colonnade mutates into the lounge. Here, museum visitors may exchange opinions on the works on the spot – en passant they themselves become the exhibit.

Revolving Hotel Room installation in the Solomon R. Guggenheim Museum in New York Artist: Carsten Höller (2008)

Meanwhile, for the first time new proposals constantly require space. Restaurants and shops, for example, have long become ­indispensable. It is this latter item in particular which is regarded as the silver bullet for the notorious loss-making museum: without in-house products and global merchandising, even a major brand such as the MoMA would not have managed to return profit. The boundaries within accommodation facilities also become blurred. Carsten Höller thus develops the idea of the film Night at the Museum and installs the Revolving Hotel Room in 2008/2010 in the Guggenheim in New York and in the museum ­Boijmans Van Beuningen in Rotterdam. Each guest is presented with a torch and an egg for breakfast. There is a full-size bed and a bath at the most popular exhibit. This example may mark an extreme; how­ever, it can hardly hurt the museum to supply all life’s essentials to people before they take the exhibits into consideration. Finally, the role of the museum visitor is also changing. The ­English heritage consultant Graham Black gave the most explicit declaration thereunto in 2005. Under the title of The ­Engaging Museum, he accords nothing less than a Bill of Rights to the visitor (which the American Visitor Services Associa­tion p ­ romptly adopts). In so doing, the manifesto not only focuses on the m ­ useum and its designers on the public – all in all, the paragraphs even read like a construction manual!

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The History and Theory of the Museum Building

Battle cries such as these are primarily reflected in those areas that are commonly subsumed under the category of didactics: lecture halls are well-established in any reasonably modern museum, although activities which are intrinsically spaceless, such as tours or audio guides, must also be set up somewhere. The complex expands everywhere – it not infrequently happens that it adds up to roughly a quarter of the total museum. Yoshio Taniguich’s millennium expansion of the MoMA headquarters in New York stands as a model of excellence; the master plan by Kohn Pedersen Fox brings didactics together in its own wing of the building. At the same time, methods to convey content have begun to change. That which heretofore lay solely in educating and is currently degenerating into entertainment is more inter­ active. An archetype of this shift is the workshop which museums once created ideally for their conservators. Already, public bids to archaeologically excavate, navigate ships or produce fashion are more numerous than can be listed here. Such personalised activities undoubtedly etch themselves more deeply into one’s memory than anything else during a museum visit. Thus collective memory will see to it that such actions are further entrenched. It cries out for laboratories, such as those dominating the phaeno which was built by Zaha Hadid in Wolfsburg in 2005. The workshops, in turn, not only goad on the museum’s hunger for space and its equipment needs, but also activate the public who hitherto were only the recipients of its charms. Visitors become more emancipated than every before, both in the museum and thereby also beyond it. This fits in perfectly with the overall development: since its invention, the museum is continuously expanding its recovery operations. At the same time, it shifts its focus from the collection further and further to the visitor. If this continues, we shall soon be solely responsible for exhibiting and will find that very workshop in the museum by which we follow in the footsteps of Da Vinci!

The Visitor Bill of Rights Comfort: Meet my basic needs! Orientation: Make it easy for me to find my way around! §3 Belonging: Make me feel welcome! §4 Enjoyment: I want to have fun! §5 Socializing: I came to spend time with my family and friends. §6 Respect: Accept me for who I am and what I know! §7 Communication: Help me to understand and let me talk too! §8 Learning: I want to learn something new! §9 Choice / control: Let me choose, give me some guidance! §10 Challenge and Confidence: Give me a challenge, I know I can handle! §11 Revitalisation: Help me to leave refreshed and restored! §1 §2

Graham Black: The Engaging Museum, 2005

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Museum in the form of a laboratory: Phaeno in Wolfsburg Architect: Zaha Hadid (2005)

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The History and Theory of the Museum Building

Main entrance in the form of a glass pyramid: Musée du Louvre in Paris Architect: I. M. Pei (1989)

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The History and Theory of the Museum Building

The History and Theory of the Museum Building

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Design Parameters for Museum Buildings

Design Parameters for Museum Buildings Typological Sketches and Components Hans Wolfgang Hoffmann

Congratulations! When you open this chapter, you will find yourself practically in the design phase of a museum. Lying ahead of you is a construction project that promises prestige and creative freedom like no other. There is no law in the world which has specifically zeroed in on museums. The only rules which apply are those to which any building is subject. Furthermore, no archi­ tect need fear demanding exemptions for his project. Since the vast majority of museums are in the public sector, it is up to the approval authorities to deal with the pros and cons. The construction project itself also has at least a handful of ­c hallenges in store. Their exact nature is indicated by the ­International Council of Museums (ICOM) – the umbrella association involving museum associations throughout the world. Its guidelines mainly describe the operation – the construction is only approached from specific angles, such as the exhibition, lighting, safety or didactics. These are merely recommendations – binding standards are not being set. In most cases, the guiding principles are only based on scientific evidence from an empirical point of view anyway: they reduce the actual state of the member museums, of which there are just over 50,000, to the lowest common denominator. Although no architect may be able to avoid the said design themes, alternative solutions always open up! In the end each project is unique. Significantly, its special features are marked on site by museologists who govern over the items on display, the internal procedures and the addressing of public opinion, thus setting points of reference. The task of the architect begins with summarising parameters: what does the project intend? Depending on whether it caters for an art museum, a territorial museum, a science museum or an event museum (for which ­model definitions can be found on pages 44 to 45), the priorities are very contradictory. However, they always leave their mark on the design phase and determine at the end which design is implemented.

“Each design involves a typological decision!” This sentence originates from the Italian architect and theorist Aldo Rossi, who also designed the Bonnefanten Museum in Maastricht (1992 – 1995).

More leeway is usually provided as regards the distribution of space, urban planning and aesthetics, but here too it is quite rare for architects to have complete freedom, the more so as museum planning is nearly always associated with competitions of ideas in one form or the other. In such proceedings, it is only the original that everyone immediately associates with the museum. To sketch this design is the first responsibility of architects! The following pages offer assistance in formulating the blueprint. However, we first begin with the four main groups of museums.

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Art Museum The art museum is the founding father and the ultimate discipline of the whole building project. Even if, naturally, architecture never achieves artistic freedom, here the design is freer than usual within this building category. The greatest leeway lies in the form: in extreme cases, the Junge Wilde (“wild youth”) imperial palace or avant-garde aestheticism accommodates old masters. Many variants are effective in the floor plan, as long as permanent and temporary exhibitions are operated separately. The major issue concerns the lighting: the ideal is still given precedence that art should appear in the same light in which it emerged.

Guggenheim Museum Bilbao The spectacular structure made of titanium, glass and limestone turns out to be a museum for modern and contemporary art, designed by the Canadian architect Frank O. Gehry.

Territorial Museum The territorial museum is a classic ­option, ­a lthough the group comprises a lot more: the national pavilion at the World Exposition, the monument on the battlefield of history or the birthplace of the genius are just as much a part of this. A constituent component of these museums is always the place; it is also that from which architecture is derived. Often, it even forms the basis of the single design approach. In ­order to capture the spirit of the place, the history of architecture has plenty of tricks up its sleeve. Connections can primarily be made in terms of form, material and construction. Excess marks the limit since nothing is as sensitive as the genius loci!

Albrecht Dürer's House in Nuremberg Today, the former residence of the artist has become a museum. Above the high base made of solid sandstone, the half-timbered façade marks out the mounted wooden structure.

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Design Parameters for Museum Buildings

Science Museum What connects plankton and eagles, homo erectus and Hitler, Ferraris and M ­ aseratis? Well, the science museum knows the answer to this question, which lies in establishing links between its exhibits. In so doing, the intrinsic logic of teaching runs a tight ship which also dominates the architecture. Externally, it has to stimulate interest in the topic. Internally, the design of the floor plan is tightly dictated by it. A word of caution: many an eternal truth is an illusion! In order to maintain the science museum in a manner permitting further development, its special ­storage facilities ought not to be too tightly designed.

Cité des Sciences et de lʼIndustrie in Paris The futuristic construction made of steel and glass, which was designed by Adrien Fainsilber, arose out of a hall of the former abattoir and today houses a science and technology museum.

Event Museum The most recent development within museums is keener to experiment, more adventurous, more quick-witted and more visitor-­oriented than all the previous exam­ples and has long constituted a separate building category. It is primarily technology museums, children’s museums and corporate museums which avail themselves of it, but showrooms are also increas­ ingly bringing themselves to do the same. Here, museum pieces are only sparse. Cafés and shops are fast becoming central components. Permanent exhibitions and the repository are being interspersed with workshops and lecture halls, and not even infrequently replaced by these. Even the aesthetics promise activity, particularly in the form of technoid architecture. Ferrari World Park in Abu Dhabi The largest indoor theme park in the world was covered with a steel roof – which has a surface area of approximately 200,000 m² – by the Benoy architecture firm.

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Context

2 Gebäude Gebäude Form und Kontext 2 Gebäude Form und Kontext 2 Form und Kontext 2 Gebäude FormForm und Kontext 2 Gebäude und Kontext 2 Gebäude Form und Kontext

Treasure trove

Urban context

Open-air museum

Industrial plant

Museum within a park

Amusement park

Once the museum is roughly outlined as a construct of ideas, the project has to meet a series of practical challenges. Topping the list is the urban planning. Possible starting points are outlined above, whereby the building form is deliberately adhered to in general. While other architectural tasks are mainly characterised by the milieu, museums have tried to conquer their context. Regardless of whether the museum is allowed to sprawl across greenfield development or has to make do with one room in a historically listed inner-city townhouse, the first obligation is to catch the attention of the observer. An appropriate tool may be to form a contrast with the neighbourhood. However, the pri­ mary objective is to communicate the intrinsic values externally. Particular sensitivity in the case of territorial museums may be required since the place itself is a central exhibit! Any attempt

to create ostentatious architecture would be counterproductive here. Apart from this, museums are suitable for almost any ­construction site. Any full-blown museum needs access roads in order to deliver people and material. In particular, these have to be suitable for heavy-duty vehicles if exhibits come from far and wide or when the repository and workshops are outsourced. The organisation of public access in turn means that the location of the museum must be reconciled with its visitor profile. Tourists are almost always the most important group. They only travel to remote ­museums using their own vehicles: car parks must be available here which not infrequently are larger than the exhibition area itself. ­Museums on publicly developed terrain, which are reasonably popular, require bus stops – at least within walking distance.

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Design Parameters for Museum Buildings

Öffentlicher Bereich Öffentlicher Bereich Eingangsbereich, Public Non-Exhibition Area, Eingangsbereich, Public Non-Exhibition Area, Exhibition Area. Exhibition Area.

Space Allocation Plans

Nicht öffentlicher Bereich Nicht öffentlicher Bereich Administration, Bibliothek, Restauration Administration, Bibliothek, Restauration

Horizontally divided

Spatially divided

Vertically divided

Mixed-use

Öffentlicher Bereich Eingangsbereich, Public Non-Exhibition Area, Exhibition Area. Öffentlicher Bereich Eingangsbereich, Public Non-Exhibition Area, Exhibition Area.

Public area Lobby, exhibition rooms etc.

Nicht öffentlicher Bereich Administration, Bibliothek, Restauration

The design addresses the core of the building once the formalities are cleared. The space allocation plan, which is inherent in every tender procedure, serves as the basis for the planning work. The bulk of the demands placed on museums provides a less sophis­ ticated reading than those of other architectural tasks. The exhibition space, in particular, serves as a firm point of reference. Room for man­oeuvre is almost always created in every other aspect. Since the portion of remaining spaces has increased nearly twenty-­fold in the past 150 years, stinginess here is uncalled for! In order to translate the space allocation plan into the structure of the building, the long lists must be roughly divided up. With regard to the construction of museums, the distinction between public and internal, or between non-public has become established. In a classic scenario, the two categories stand for themselves and can be

Nicht öffentlicher Bereich Administration, Bibliothek, Restauration

Area not open to the public Administration, library, workshops etc.

accessed separately. However, in the meantime, the boundaries are in flux: workshops, libraries and repositories – which previously outsiders had nothing whatsoever to do with – are increasingly opening up to visitors. Occasion­ally, in some places they are even a component of the exhibition. Therefore, the first task of the architect is to evaluate the interior components with museologists according to public relevance. The diagrams above illustrate possible alternative combinations. In addition to the clear division within the building, the option of the mixed-use space allocation plan also presents itself. As a matter of fact, interior components are the initial candidates for complete outsourcing. This is especially recommended if the ­museum is already very large and its demand for space is designed for growth, the construction site proves to be too narrow or preservation concerns restrict the adaptation of the existing building. Design Parameters for Museum Buildings

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Interior Components of the Museum

Repository

Administration

Museum administration

Entrance with security gate

Museum library

Processing zone

Catalogues and archived documents Restoration

Workshops

Repository

Functional diagram of areas not open to the public

Sample floor plan of a repository

Interior components constitute the smaller part of the m ­ useum but, in the large scheme of things, allow for wider scope. The ­d imensions and location of the area can vary considerably from museum to museum. The differences already become clear when considering that which falls within the inner area – the administration at least always keeps to itself. The supervisory staff are more effective when they are housed in the vicinity of the exhibition. Furthermore, the repository may proceed to serve as the open storage facility, the archive the public library, and the workshop for general training. Occasionally, the pendu­lum swings in precisely the other direction: all of the interior components can just as easily be subject to outsourcing. In any case, local circum­stances determine the inclusion or removal of each component. In addition to these fundamental issues, a few general rules r­ emain in force: the interior components of the ­museum almost ­a lways demand their own access. In common with the public sector, a high standard of safety must be ensured. In the core administration, curators, general administrators and the museum and building services engineering have their own offices. Seniority rankings are reflected in the graded dimensions of the workstations. Overall, the administration occupies almost the same area as the exhibition.

In the classic scenario, the archives are located along the passage­ way leading from the administration to the workshop and the repository. The features of the latter depend on the collection. The sample floor plan and the example of the dimensions for the cabinets illustrate possible storage designs.

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Design Parameters for Museum Buildings

170/185

940

Dimensions of storage cabinets

220/250

105/120

Access

Underground passage for tourists: Museum Island in Berlin

Archaeological Promenade

Since the institution has gone public, access is a mandatory issue for any museum design. The challenge is to protect the collection while making it accessible. If, in the simplest case, it is merely a matter of the spatial organisation of the exhibition area, then the planning must set in earlier, once museums become larger or more popular. Decentralised accesses are more difficult to monitor and therefore present a stopgap solution. Entrances and exits can be separated more easily. The public is often separated and ­located in a parallel format. Fast-track lanes lead day tourists to the highlights – straight through without disturbing regular visitors. Travel groups, school classes and individual visitors – as well as people with handicaps and VIPs – receive their own entrance areas, cash machines and cloakrooms. Not i­ nfrequently, the c­ entral entrée – which most people stick to – therefore grows from a simple bottle­neck to a stubborn structural element. For fixing dimensions, established museums have empirical data which represent the minimum proportions. Long after the public itself has constituted a showpiece and each construction project has resulted in a spike in the number of visitors, the access marks that part of the m ­ useum with the greatest potential for growth. Prime examples of the manifold possibilities will be presented in the following section.

Museum Island, Berlin Since the beginning of the eighteenth century, a handful of ­museums which each operate by themselves has emerged on the island in the centre of the city. In order to merge the a­ rchipegalo into the veritable Museum Island, since 1999 an underground promenade between four exhibition halls and a new, reasonably central entrance building has arisen. The new access primarily serves as a fast-track lane for short-visit tourists. The Packhöfe (“loading bays”) and workshops, both of which it replaces, are offshored in the neighbouring mainland. Problems with the subsoil have delayed the project for a number of years and increased its price by tens of millions of euros.

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Access

Solomon R. Guggenheim Museum in New York Architect: Frank Lloyd Wright (1959)

Centre Pompidou in Paris Architects: Renzo Piano, Richard Rogers (1977)

Inner spiral

External vertical access

Solomon R. Guggenheim Museum, New York Externally, the ground floor serves as the access area and inter­nally as the distribution level. The base is surmounted by the museum which is separated by its various functions. Each area is accessed separately. In the part devoted to the exhibition, lifts first lead to the uppermost floor. A spiral ramp marks the way back; located along it are display cabinets which are arranged like the segments of an orange. It is impossible to leave the exhibition without – at least indirectly – strolling past each individual exhibit.

Centre Pompidou, Paris The partially excavated souterrain serves on the inside and on the outside as an assembly point for art enthusiasts. Every vertical access is located in the building envelope. The primary route leads across an escalator in the opposite direction. Its Plexiglas® tube extends across the full broadside of the façade, right up to the vantage point on the roof. All floors have an open floor plan with variable walls. The stairwells are one-way and only lead out from the exhibition areas.

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Design Parameters for Museum Buildings

Glass pyramid of the Musée du Louvre in Paris Architect: I. M. Pei (1989)

Jewish Museum in Berlin Architect: Daniel Libeskind (1999)

Central entrance building

Access via neighbouring buildings

Musée du Louvre, Paris Ever since the French Revolution converted the royal residence into a museum, the Musée du Louvre has suffered as a result of its ­multi-­wing palace complex: the distances were far and the countless access points an insurmountable obstacle. For the 200th anniversary, I. M. Pei solved the problem by placing the entrance midway underneath the palace garden. The new souterrain, which extends across all of the courtyards, provides a highly efficient access area. It also turned the most visited museum worldwide into the largest, based on area.

Jewish Museum, Berlin The Jewish Museum focuses on cultural heritage equally as much as on its loss. The theme also exploits access points much more than usual. The access area and the entrance are located in the existing palace. A cellar passage connects it with the new wing. A word of caution: one branching point ends up in a tower which is a dead-end, a second in a hermetic garden. Only the third leads to a single-­fl ight staircase which opens up to all exhibition levels. Here as there, it goes constantly back and forth.

Design Parameters for Museum Buildings

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Public Non-exhibition Area

Public Non-exhibition Area

Library

Reading rooms

Restaurant

Loan desk

Café  / bar

Shop

Foyer

Workshops

Foyer

Security check

Conference rooms

Functional diagram of the public non-exhibition area

The public domain of the museum is always larger than the non-public, including at least the entrée and exhibition sections. Both follow clear rules which will be discussed below sep­a rately. Only a few museums today are limited to these compulsory sections – rather, continuously new services are being provided for the public. On the part of clients, public non-exhibition has come to be used as a collective term referring to these services. Which components these include is determined on a project-by-project basis. Not infrequently, they form their own area which fills around a quarter of the museum. For multi-storey buildings they usually occupy the entire ground floor. It is therefore clear that this part of the project defines the interior like no other, leading to creative freedom within the interior design. Let us consider a few typical components of the area – the library, for example. In the past it would have been the know­ ledge resource for professionals (and located accordingly), but today it assumes tasks in the field of general education. H ­ ow­ever, usually very specific documents were stored in the museum archives – unlike in public libraries. This therefore often led to a dichotomy: the cabinet consisting of a collection of rarities remains in the inter­nal domain, while the general public is only provided with facsimiles. Enquiries are conducted via computer terminals which can be located everywhere: in the exhibition, at the e­ ntrance to the museum or anywhere else in the world. Workshops too were at best located within the internal reaches of the building and it was these areas alone that were served by them. Today, visitors may increasingly test out new i­deas themselves. The do-it-yourself principle is followed by employment 52

Design Parameters for Museum Buildings

protection measures which also apply to the construction of schools. Designed for class-size groups, each unit expands to about 10 m² each. The enclosed preparatory space devours a good quarter of this, the rest is given over for practical work. In terms of didactics, the workshops would be best located w ­ ithin the exhibition; however, on the grounds of safety ­regarding the ­collection they tend to be placed outside. Auditoriums, lecture theatres and seminar rooms also operate at this interface. Still relatively young in terms of the construction of museums, they usually copy archetypes from outside. Each spatial unit almost reaches the size of the workshops. The appeal of a peripheral location for these halls is that there they can be used outside museum opening hours. Indeed, they may also be rented out as conference venues. Even stronger is the obligation of accessibility for out-of-­towners when it comes to high-quality food outlets which are almost ­a lways operated externally. Admittedly, they lose their originality once they entirely negate the museum context. At least one visual reference is desirable, and efforts should be made to ­preserve ambience. In this context, proximity to the shop which sells the ­museum’s objects and is already perfectly accommodated at the exit is helpful. The shop itself varies greatly in its dimensions: sometimes it is only a fold-out vendor’s tray, sometimes it soars to the size of a small supermarket (by then a self-contained store is war­ranted). Customers can hardly come face-to-face with counters when the route through the exhibition has been barrier-free. Instead, visitors are almost always catered for by self-service.

Entrée

Reception Reception Floor plan variants and section

270 270 9090 1515

9090

7575

115 115 7070

8585

110 110

Orientation area

Ticket desk

9090

6060 170 170

Security check

WC

9090

1515 1515 9090 6060

2020

320 320

Cloakroom < 550 < 550

< 550 < 550

Functional diagram of the entrée

Usually, the interior of the museum has its own point of access – here, however, the focus is on the entrée which a priori serves members of the public. It extends between the approach and the passing point to the exhibition which constitute the outer points of reference. Since decentralised openings are problematic for ­museums, passages should should have generous dimensions and the entrée centrally positioned. The centre of the centre is ­accorded to the reception desk which, at its simplest, combines infor­mation and ticket sales. In addition there are at least toilets and cloakrooms, as well as ideally rooms for those e­ mployees responsible for the flow of the general public which are all located on the periphery. The entrée easily takes up a sixth of the e­ ntire building, including all satellites. Detailed information on the design for individual parts of the entrée is presented above. The dimen­sions are to be understood as minimum standards. If larger crowds of people are to be managed, the entrance to the museum not only grows disproportionately but also becomes much more complex. Target group differentiation, the separation of different functions and visitor activities constitute standard strategies. Choreographed queues are out; time slot tickets are the prime choice. The cash point takes on a life of its own and quits the building. The information desk not only provides orientation but also conveys the first impressions of the exhibition. Attached to the cloakroom are lounge areas which perhaps even offer food. Finally, the shop juts out into the entrée. If the entrance and exit are separated, then the store finds its optimal location at the latter. Commercially oriented museums even count on its its rigidly enforced footfall.

The reception sends a signal: extraordinary begins here. That is just why museums cannot dispense with staff behind counters. From a practical point of view, they provide orientation – often they also sell the tickets. As the above diagrams illustrate, the counter requires only little space (even if several are laid out in a row in order to deal with more visitors or to serve various target customers). Far more large-scale is the space in front of it! ­Therefore, mass museums stagger functions and welcome visitors with staff who are able to move about.

Metropolitan Museum in New York Foyer Design Parameters for Museum Buildings

53

Cloakroom

Cloakroom

Self-service cloakroom

300 80

110

110 480 150 20

120

30

50 50 50 50

30

180 120

50 80

< 400

650

< 400 100

30

550

60

Tisch Table

90

> 0,03 m2 je Haken > 0.03 m² acc. to hook

100 Floor plan

Floor plan

90 200

170

90 Section

Staffed Cloakrooms Depositing bags and coats is mandatory in museums. During the winter season, the public at large will pass through this point. The bar with hooks which is attended by staff does not represent the most cost-­effective alternative in terms of operating costs, but rather the safest and most space-saving. It is especially the preferred choice when short-term visits prevail. A closed cubicle is only recommended where this also offers ample room for changing in front of the counter.

54

160

Design Parameters for Museum Buildings

40

20

Section

Self-service Cloakrooms Self-service cloakrooms are displayed wherever members of the public with luggage drop by, many children are expected, the average visit lasts more than half the day or the museum has open-air departments. This form of storage is flexible and cheap, but also less safe and requires more space. Nevertheless, lockers can be designed as lounge scenery, whereby the cloakroom can become a communal area with corresponding social control.

WCs

630 150

125

85

85

85

85

85

85

85

85

100

50

55

85

100

50

55

630 85

70

240 115 125

70 70

115

70

240

150

90

WC Ladies

125 70 330 125 205

70 70

330 205 45

60

60

60

40

45

60

60

60

40

70

WC 

Expertise on the size and design of WCs exists everywhere. As public buildings, museums must also make arrangements for people with disabilities for which pages 70 to 74 contain information. However, the real challenge lies in the positioning: museum toilets are mainly used during the visit to the exhibition but since they cannot be completely monitored they should be located outside. The area next to the security check provides the optimum compromise.

When integrating a wheelchair-accessible toilet into the general WC facilities, attention should be paid to ensuring that the route leading to it is also barrier-free. The door to the single cubicle must open to the outside since this makes it easier to pass through without injury to the person inside. The unisex single cubi­cle (right) has the advantage that a person of the opposite sex may a ­ ccompany the wheelchair user in the cubicle without any difficulty.

WC Men

150

150

150

90

150

150 90

Design Parameters for Museum Buildings

55

Spatial Sequences

Circuit

Open floor plan

56

Design Parameters for Museum Buildings

One-way route

Construction grid

Spatial hierarchy

Quantitatively, the exhibition area may no longer be the “­ largest chunk”: on average, it takes up barely one third of the entire building in which the dimensions vary considerably from museum to museum. Qualitatively, though, the display remains the core part of the construction project. No second museum section has a comparable number of requirements and the creative leeway afforded to the architect by the tender is not always immediately apparent. Security, climate and primarily illumination have to be managed as early as the preliminary design stage. The key determinant is reflected in the floor plan, for the organisation of which architectural history has tried out countless templates whose pros and cons are explained below. In practice, pure forms are rare; rather, hybrids are preferable. The most commonplace device subdivides permanent and temporary exhibition areas which each follow their own intrinsic logic. Circuits Ultimately, each visit represents a circuit. The focus is on pas­ sages which – at least storey by storey – lead through each cabinet. This is the classic form among all museums. A pedagogy built on instruction created it. Granted, this educational paradigm has long been deconstructed; hardly any circuits still forge a path through the entire building. From a practical point of view, they are recom­mended in all cases where each exhibit is equally worth seeing and it makes sense to offer a stringent written account.

Open Floor Plans Nowhere are open floor plans more popular than exhibition houses. Most new museums build on this concept – for temporary exhibitions it is mandatory. Of course, the freedom promised to visitors amounts to a chimera: although the architecture no longer leads the visitor by the hand, this role is usurped by the sceno­ graphy which in this context possesses the greatest possible design leeway. In terms of didactics, open floor plans that propose visual references between remote exhibits are unrivalled. Spatial Hierarchies It is here that the floor plan illustrates the intrinsic logic of the specialist subject. This gives rise to the most complex form of ­museum of all. At the same time, however, it is the least flexible: no system is synonymous with temporary exhibitions. It is far more practical in places where eternal laws prevail or the collection area can be considered self-contained: for example, with museums devoted to ancient civilisations or the foundation of sciences. In the most serious case, abstract themes only become tangible at all through spatial hierarchies.

One-way Routes This form of exhibition resembles the circuit but is much more radical: there is only one direction of movement, while e­ ntrances and exits are separated (which is why the cloakroom usually functions as a connecting link). The strengths of this monocausal arrangement come to the fore in places where masses of people are shepherded past individual exhibits. Thus, the Sistine Chapel in the Vatican or the Lenin Mausoleum in Moscow are organised as linear spatial sequences. Construction Grids The grid appears as the moderate version of the open floor plan. One step ahead are the places where span widths cannot be bridged without supports or where references between nearby exhibits are emphasised. Theoretically, visitors are provided with maximum freedom of movement since the construction grid leaves every direction open. As a matter of fact, the sceno­ graphy makes use of the reference points to vary paths and present ­exhibits individually.

One-way route: the Lenin Mausoleum in Moscow Architect: Alexei Shchusev (1924 – 1930) Design Parameters for Museum Buildings

57

Exhibition

Installation-in-space

Next to …

Object-in-space

Next to …

House-in-house

Next to …

The exhibition is the centrepiece of the museum – not automatically, however, the domain of architects! Their planning usually ends with the naked building which, if successful, provides the serviceable stage. To present the exhibition thereupon always ­denotes a separate step which is seen as worth spending millions on by no small number of museums. The greater the sums, the earlier external experts have a say – namely exhibition designers who take issue with the architecture and occasionally take over the building design, too. Therefore, the designers of museums must at least be familiar with the ground rules of scenography – regardless of whether they consider themselves to only be henchmen or whether they seize the opportunity and act as exhibition designers themselves! Despite its multi-dimensional nature, exhibition design follows clear rules. Never as durable as architecture, exhibition design is contemporary per se. Scenography emanates neither from the exhibit nor from the building, but rather mediates between the show and the visitor, gathering both in an inner room. S­­pecifically conceived for the exhibition event, didactics is its great strength (a few examples are subsequently discussed in greater detail). 58

Design Parameters for Museum Buildings

On the other hand, historical museum architecture can do very little here. Not infrequently, it is downright thwarted by exhibition design, as indi­cated in the above diagrams. Communication itself is carried out using diverse tools such as, of course, the latest information technology, although culinary art, plants, sand, water or fireworks are used in individual cases. In archi­tecture this means taking special installations into account for the scenography, in addition to the normal building technology. Usually the tender precisely lays out the minimum requirements for specific choices Particularly among temporary exhibitions, flexibility is further called for: making connection points fully available everywhere requires cavity-construction walls, floors and ceilings. At the same time, structural points of references in the premises should be kept to a minimum, which is why open floor plans represent the prime choice.

Right page: Design for the Soviet Space Programme – Galina Balashova, Architect. Exhibition in the Deutsche Architekturmuseum, curator: Philipp Meuser (2015)

Design Parameters for Museum Buildings

59

Floor Plan Arrangements

2000 1600

1700

1800

1900

2000

1900 1800

A B C D E

System of coordinates

The classic circuit has, for some time now, been regarded as a too narrow corset: it overwhelms museum designers who have to stringently relate the subject and it overwhelms the general public who are constrained by the one-dimensionality. In the meantime, modern scenography has developed countless alternatives which are consistently designed on the occasion of an exhibition. ­Sometimes the show is an end in itself, but usually its subject is the starting-point. In no event should the room and the content be arranged in such a complex manner that visitors are overwhelmed. The following constructs show the limits of feasibility.

60

Design Parameters for Museum Buildings

Thematic onion

Highlights

System of Coordinates The system of coordinates has two axes whose meaning is freely selected. Markings – which are to be placed on the floor, the wall or the individual display – provide a first orientation. Thanks to the grid, all exhibited works can be located easily and clearly in equal measure. Exhibition visitors can thus move far more effortlessly. However, in so doing, the claim to education – the agenda of the system – is not infrequently left behind. The advantage of this scheme lies in its flexibility. Thematic Onion Of all the exhibition arrangements, this is the most evocative and, accordingly, is seldom used. The thematic onion goes on the assumption that any one particular item has a ripple effect. It best realises its potential in areas where a single exquisite exhibit is on hand which could be interpreted as a trigger (and takes up space in the centre of the room) and all follow-up aspects (which nestle up against one a­ nother like the layers of an onion) build on one another. Note that each thematic layer should be coherent.

Information

Associative space

Fan presentation

Highlights This arrangement represents the slimmed-down and manifold version of the thematic onion although it is considerably simpler and more widespread. Its success is based on the experience that the general public loves highlights and usually museums have to offer several fairly prominent exhibits. While visitors move from highlight to highlight, they inevitably make discoveries: be it owing to peripheral views of trivialities or because en passant they traverse sections which they had no intention of heading towards. Associative Space This exhibition pattern is the most obvious alternative concept to the classic circuit and the most widespread after it. In the floor plan it practises that which is associated with the modern hanging on the wall, i.e. spreads the exhibits evenly, mostly on the basis of a grid. Thus, anything and everything is given the same appearance as well as its own private space. Associations are also only loosely defined; visitors themselves must assimilate these by association. The exotic in itself ultimately prevails!

Plan orientation

Fan Presentation The so-called fan presentation enables one to register everything at first glance. Its name attests to the fact that it was originally developed for sample fairs and appealed to passers-by who would otherwise have hurriedly scurried past the exhibition stands. The system has a somewhat different effect in the museum milieu: here, it finds its audience among aficionados. In the same manner, it fans out in places where engagement with the exhibit counts for less than paying homage to it! Subsequently, museums which only line up one fan presentation after the other must have ­become fatigued. Plan Orientation This principle is actually “old hat”: exhibited in each museum are plans which provide an orientation of the various departments. Now they are also located in the centre of each individual section. A novel element is that this navigation no longer builds on static maps, but rather on interactive ones. Equipped with modern tools, these include additional information. Piquing interest in such a manner, discoveries are strung together like pearls on a necklace! Design Parameters for Museum Buildings

61

Hangings

 Salon hanging

 Modern hanging

 Graphic layout

Not only the floor plan but also the walls of exhibition need to be arranged. In so doing, the focus is less on decoration than communication. The designer must always envision the counterpart – be it only the other exhibits. Furthermore, guidance values apply to facilitate the observation and the permeability of the exhi­ bition. The following pages define its measurements. The ­layout examples above are aimed at paintings, but can be extended to anything two-dimensional.

Salon Hangings The oldest hanging scheme impresses through its abundance and plasters walls with clusters of objects. This saves space and occasionally produces astonishing neighbourhoods. Modern Hangings Modernity relocates neighbouring exhibits as is shown opposite. Each individual exhibit is allocated the private space which ­complies with its ego. Anything more than artificiality is scarcely on the cards. Graphic Layout The most current layout approach works with graphics and primarily keeps in mind the exhibition as an entirety. Illustrated books are only one example of its manifold possibilities.

62

Design Parameters for Museum Buildings

Salon of The State Hermitage in St. Petersburg The salon hanging goes back to the opulently covered walls of The State Hermitage and is there­ fore also referred to as the Petersburg hanging. Here, not the individual artwork is at the centre of attention, but the abundance is meant to impress.

Museum Brandhorst in Munich The modern hanging opts for a greater distance between exhibits; an individual work of art is thus afforded greater attention so that it can be scrutinised by the visitor irrespective of neighbouring exhibits.

Deutsche Architekturmuseum in Frankfurt The graphic layout focuses on the overall impression of the works, but, in comparison to the rather more disordered Petersburg hanging, picks out reference edges in order to create a harmoniously and graphically coherent display.

Design Parameters for Museum Buildings

63

Hangings

150

100

200

100

80

60

130

120

140

250

300

120

140

130

120

160

120

70

50

40

350

55

90

Single Einzelne display cabinet Schaukasten 65

105

125 70

35

55

Required viewing distances in accordance with the size and position of objects

Double Doppelte display cabinet Schaukasten 130

80

64

Design Parameters for Museum Buildings

200

250

120

100 100

60

120

80

350

300

160 140 170 140

100

120

400

400

180

180

170

120

120/ 140 220/ 240

Passage width

Durchgangsbreite

100 Schaukasten Display cabinet

190 140

120/ 140

je nach Acc. to Bild image

Passage width

Durchgangsbreite

Image Design Parameters for Museum Buildings

65

Building Services Engineering Lighting

Avoid reflections!

Avoid shadows!

Avoid glare!

Artificial light

Natural light

Artificial and natural light

They are neither living rooms nor university laboratories. Insofar as the scope of design services is concerned, museums oscillate between the poles of room technology. In common with theatres, service equipment may characterise the architecture, particularly the lighting design – although in the case of museums it doesn’t have to. Here, room technology primarily finds itself in a service role once more. The prime mission of the services is nevertheless to provide the setting for the exhibits and the general public. For the exhibition design, the lighting, the climate, the absence of barriers and – last but not least – the safety, the construction of museums has a series of genuine approaches at hand which are presented in greater detail in the pages that follow.

66

Design Parameters for Museum Buildings

Lighting Lighting in museums is widely regarded as a science in its own right. As a matter of the fact, the challenge is based on a contradiction since while the exhibit seeks darkness for its own protection, the general public seeks enlightenment. Museums increase the paradox still further. In a classic scenario, they wish to display the original in the same light in which it emerged, that is as bright as day – a truly Herculean task! Since the conflicting aim is ultimately unsolvable, museologists carve out avenues of compromise by defining threshold values – starting with the visitor: roughly more than 20 lux is required to provide an orientation in the room. However, a flat-out 500 lux is needed to work with the museum artefacts. To be able to ­merely observe, the level is somewhere in between but requires an impressive quality of light: glare, heavy shadows and reflections are to be avoided. Instead, the human eye needs various directions of light and brightness levels in order to clearly identify three-­ dimensional objects and not become fatigued. While the contrasts in a room can vary between 1:10 and 1:100, the illumination levels within an exhibit may not vary in excess of threefold.

Ambient lighting

Spotlights

Accent lighting

Wall washer lighting

Atmospheric lighting

Contour spotlights Design Parameters for Museum Buildings

67

Building Services Engineering Lighting / Climate

For the protection of objects, the maximum level of 50 lux is regarded as the magic number. Certainly, that which the Institute for Conservation has recommended since 1962 is ultimately only determined empirically. The more actually justifiable level depends on far more variables, such as the material of the objects, but also on the quality of the lighting. Thus, the duration of the illumination is affected as well as its intensity. As for colours, yellow-green is ideal: even blue light is twenty-two times worse, which is why glass for ­museums cannot do without UV filters. At the other end of the scale, red tones are forbidden owing to their thermal stress. Darkness is more sensitive than brightness among the exhibits themselves. Insofar as sensitivity is concerned, a factor of 37 ­separates newsprint from paper for watercolours. What is really important is manifested a priori in the project. Not infrequently, the text for invitation to tender alone compels the architect to consult specialists. There is no way of avoiding recognised experts anyway following the preliminary design at the very latest. Classic devices of lighting design are explained over the previous pages. The rule of thumb is adequate for the overriding approach: to make the individual exhibit just visible, to dim the areas of the collection to emergency lighting and to allow all leftover spaces to shine as bright as day – this is how easy lighting in the museum can be! Right page: EYE Film Institute in Amsterdam Architects: Delugan Meissl Associated Architects (2012) During the day the impression emerges of a ship afloat, but at night the ­­building on the banks of the IJ appears like an illuminated shark. The extensive white building envelope serves as the canvas for light projections. The interior is easily visible from the outside owing to the lighting design.

68

Design Parameters for Museum Buildings

Climate In common with the lighting, visitors and objects pose contrary requirements: the public loves a pleasantly warm museum climate; the collection likes it cool and dry. Optimal air humidity depends on the material, whereby metal and wood mark the extremes. This fluctuates between 40 and 60 per cent which even arid areas naturally exceed. Room temperatures – which are preferably ­below 15º Celsius for each object – are similarly ill-suited to accommodating people who must hand in their jackets for reasons of safety. The reposi­tory can at best serve as a cold chamber. Therefore, standard values are temperatures between 18 and 20º Celsius. In contrast to the lighting, one major similarity between visitors and objects is that both demand consistency. In common with people, most materials react allergically to a change in climate by more than 2.5 per cent hourly, more than 5 per cent daily and more than 1 per cent yearly. The crux lies in the fact that the irregular stream of visitors caters for fluctuations. In common with the lighting, museum planning also has two alternatives in response to the climate issue: ­a ir-­conditioning installed throughout the building or arti­ficially with air-conditioning units. Sustainability is an argument for ­Passive House and thermo-active building systems: in the long term they function with less energy, thus saving considerable opera­tional costs. However, they are poured in concrete – i.e. ­pretty slow and, particularly with regard to temporary exhibi­tions, hardly recom­mendable. Air-conditioning units, on the other hand, can be adjusted. These are able to respond swiftly and flexibly to changes. The machinery better not “play up” though: for museums, the ultimate worst-case scenario is the failure of the air-conditioning system!

Design Parameters for Museum Buildings

69

Building Services Engineering The Absence of Barriers

15 max.

3 min.

The Absence of Barriers Most museums are public institutes. As such, they need to be accessible to everybody. People with physical impairments are, of course, no different – barrier-free construction is therefore an obligation. Even existing museums cannot escape this. In terms of how this is established, compromises can be sought within any concrete project. Doubt is never cast on the goal itself! Barrier-free construction creates a great deal of small-scale tasks for execution planners. Amongst other things, handrails must be made in such a way that they provide a good handhold, steps and edges must have a smooth finish, and stairways and ramps specifically marked. Signs and counters must be designed with a dual function in mind, so that they function in terms of acoustics, haptics or optics. In the best case, exhibits are also located lower down so that these can be viewed by a seated person without difficulty. Wheelchairs in particular pose challenges to the preliminary ­design since these take up space. Often they are assigned their own access – however, special ramps, lifts and WCs are in no way compulsory. In any event, the doors must be at least 90 cm wide, cul-de-sacs must provide a turning space of 2 m and the clear width of the corridors must measure more than 1.2 m. In all passages, stopping spaces of at least 1.5 m in length are also n ­ eeded. Similar landings are required every 6 m for ramps. 70

Design Parameters for Museum Buildings

15 max.

Alternatives to operating controls or display cabinets The variant on the left allows wheelchairs to be positioned under it at a depth of 15 cm; however this entails the risk of injury owing to its sharp edges. Although the 3 cm high base of the central display cabinet aids the visually impaired to find their bearings with the pole, it is an obstacle to the legs of a wheelchair user. Finally, the display cabinet on the right shows that not only can wheelchairs be pos­itioned under it owing to a circumferential curved frame at a height of 15 cm, but the visually impaired may also approach the freestanding structure safely.

Right page: Information pillar with a touch screen control panel Simple to operate for visitors of small stature or wheelchair users

Design Parameters for Museum Buildings

71

Building Services Engineering The Absence of Barriers 50

Barrier-free wall-mounted handrail

Design for treads to improve accessibility (above) and tactile walking indicators (below)

Motion sensors, outdoor lighting and an automatic door opening unit in the case of external doors

Entrances and Passages Entrances must be accessible without steps and thresholds. Here, ramps are a structural means of overcoming differences in height, whereby the gradient may not exceed 6 per cent. Electronic door openers at a height of no more than 85 cm – which should be fitted within a distance of 150 cm behind the door when open (distance in closing direction) and 250 cm in front of the door in the direction of opening (distance in opening direction) – allow effortless opening of the door. Exterior lighting controlled by motion detectors supplies light to the entrance if necessary and facilitates orientation. Steps, Treads and Handrails Even though steps are not accessible by wheelchair users, in this context, too, account has to be taken of issues relating to the absence of barriers. If treads protrude over the risers, a foot can get caught when going up and this may lead to a fall. Nosing shall project no more than 2 cm for inclined risers. Tactile walking indicators help to draw attention at an early stage to steps and to prevent a fall. These must be installed across the entire width of the tread at a depth of 60 cm. In addition to the correct height for the handrail, its form is also crucial for safe use. Handrails which do not provide a good handhold are of no use in the event of a fall. Ideally, the handrail is round or oval in cross-section with a thickness of between 3 and 4.5 cm. It is attached from below, so that a secure grip from above can be effortlessly achieved. Information on matters of grasp and hold can be provided at the beginning and end of the handrail. Tactile information at the end of the handrail

72

Design Parameters for Museum Buildings

150

180

150

150

180

150

85

150

Ramp with illuminated access Elevation and section

250

150

External lifting platform which is almost invisible when not in use Design Parameters for Museum Buildings

73

Building Services Engineering Security

Driveway Chimney

Protection of exhibit

Staff entrance and exit

Skylights

General access

Air channels Membrane

Ground floor windows Sewerage

Side not open to the public

Public side

Visitors' entrance and exit

Security Is this a dream? No, this is real life! Masterpieces are disappearing via the most ludicrous routes – across the roofs, the windowsills or even via the sewerage system. Since thieves allow themselves to be locked up in museums overnight, it is not unheard of them to use insider knowledge. They are hardly ever concerned with the exhibit in itself, but rather with the extortion of ransom money. Just as spectacular as thefts are destructive attacks by malicious visitors. The collapse of the air-conditioning system may bring about the worst-case scenario, but how do ­museums arm themselves against the multiple dangers to which they are constantly exposed? In addition to the material value, objects are usually of irreplaceable cultural or historical value as well. ­Museum associations have a few recommendations for preventing this up their sleeves. The instructions of insurance companies, upon whom each museum is relying to secure liability and repayment, are important. These set standards which offer no leeway and in most cases are specifically tailored to each case. The safety of the staff, the visitors and in the construction of the museum is considered indirectly at best. The preservation of exhibits is always the first priority! 74

Design Parameters for Museum Buildings

Safety Zones Safeguarding the collection is the oldest challenge of all for ­museums. Architects must also address this. Their construction scheme can greatly simplify matters through minimised entrances and exits as well as clearly outlined safety zones. The external membrane of the building, which ideally should be closed, represents the outermost rampart. The next step protects the collection area as a whole: surveillance must be concentrated here. Located in the innermost circle is the individual object of protection which is visible but stored in an inviolable manner. Outer Ramparts This is not an argument for windowless façades! However, no rampart is more secure than its weakest part. This context calls for archi­tects. As the coordinators of all planning and ­construction services, they see the gaps in the system and ensure that these are bridged. Particular attention should be paid here to aspects which may at first appear exceedingly absurd: skylights, ­chimneys, windowsills, fire ladders, emergency access routes, manholes, air-­ conditioning ducts, the sewerage system and suchlike. Under no circumstances is this list complete without a little criminal imagination.

100

Lower object with railing

je nach Acc. to sculpture Skulptur

Field of direct vision

Blind spot

Field of indirect vision

Location surveillance

100 Cordoned-off suspended object

Exhibition Supervision Security technology has undoubtedly made progress. However, no one can intervene on site more rapidly than the supervisor. He however comes with a price which is beyond most museums. ­A rchitects can assist in the exhibition sector by dispensing with the need for walls or at least positioning them in such a way that there are no blindspots. It is thus possible to keep an eye on several exhibition rooms from a passageway. What is required is planning which tailors staffing levels and key positions to each other. Protection of Items The days when objects are cordoned off are over. In order to maintain distance between the individual showpieces, (hidden) alarm systems are the prime choice nowadays. Valuable goods in particular also require safety glass casing. Certainly, the common cabinet is by no means the only option available. Rather, there are spatial arrangements which are a safety and a presentation feature: one effective device is to place the general public and exhibition objects on different levels. Underground object Design Parameters for Museum Buildings

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David Zwirner Gallery in New York Architects Selldorf Architects (New York), Annabelle Selldorf, Sara Lopergolo Project management Julie Hausch-Fen, David Moore, Susan Parapetti Employees Matthew Kanewske, Laura Samul, Dylan Sauer Structural engineering DeSimone Consulting Engineers (New York)

In recent years, the West Chelsea district of Manhattan has undergone marked changes. More and more galleries and studios have moved there, and the area has become a centre of the art market with many buildings by prominent architects in close proximity to this new gallery for David Zwirner. Although the former structure, a three-storey parking garage, was not suited to conversion, the new building reflects the industrial heritage of the district. At the same time, the new c­ ultural usage is ­suggested by the careful ­e xecution of the work and by the windows and entrance front in teak. The gallery spaces are designed to provide a restrained background for the works of art. White walls are complemented by concrete, oak and travertine floors; and exposed concrete surfaces ­internally lend the entrance area and the impres­sive skylit staircase their specific note. 76

David Zwirner Gallery in New York

Smoother forms were used for the slender concrete stair flights, which are contrasted with the lively textures of the walls. The carefully designed formwork patterns of the street façade and the internal exposed concrete walls are characterised by lightly sealed pine boarding roughly 20 cm wide and by precisely positioned tie holes. Close supervision of the pouring and vibration helped to produce even surfaces. What’s more, every storey was completed in a single pour, the walls finished slightly higher than the adjoining floor slab in each case, so that the joints coincide exactly with those between the boards of formwork. Because of the location of the site, all concrete had to be poured from the street front. For the exposed concrete walls, a relatively fluid yet dense mix was used. A high proportion of slag helped to achieve a good asses­sment of sustainability according to the US LEED system.

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Section through street façade   scale 1:20  1 waterproof, moisture-diffusing coating  2 sheet-metal covering to 1 % slope  3 305 mm exposed concrete, sealed self-adhesive sealing layer 76 mm lam. rigid-foam PIR insulation ­between galvanised steel angles (angles adhesive fixed on outer faces with sealing strips) bearing structure: galvanised steel rails galvanised expanded-metal mesh as plaster lathing, lined with paper on rear face 25 mm elastomer rendering  4 610 mm substrate layer; filter mat 51 mm gravel drainage layer 6 mm protective mat 2 ≈ 51 mm exp. polystyrene thermal insulation drainage layer root barrier impermeable coating sloped lightweight concrete reinforced ­concrete slab 76 mm sprayed foam thermal insulation cold fluid applied waterproofing membrane gypsum plasterboard suspended ceiling  5 305 mm exposed concrete, sealed 76 mm foamed thermal insulation cold fluid applied waterproofing membrane channel-section supports to dry construction gypsum plasterboard, painted  6 teak door  7 teak threshold  8 102–203 mm substrate layer; filter mat 2 ≈ 51 mm polystyrene thermal insulation drainage layer root barrier impermeable coating sloped lightweight concrete reinforced ­concrete floor 76 mm sprayed foam thermal insulation drawn under soffit 914 mm inside façade cold fluid applied waterproofing membrane gypsum plasterboard suspended ceiling  9 102–203 mm layer of gravel, with galvanised steel angle divisions 10 triple glazing in solid teak window frame 11 white acrylic-bonded mineral cladding to sill 12 radiant heating loop at edge of floor slab to minimise thermal bridges (automatically ­controlled) 13 concrete flooring 14 dual-purpose blind (antiglare, blackout)

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David Zwirner Gallery in New York

2 Formwork boards 8 inches (20.3 cm) wide in standard lengths of 10, 12, 14 and 16 feet (305 – 488 cm) were laid next to each other in ­random order – not unlike wood-strip flooring – to create staggered vertical joints. The quality of the lightly sealed pine boards was precisely ­specified in order to obtain the desired texture, ­including knots.

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Art Museum in Ahrenshoop Architects Staab Architekten (Berlin) Employees P. Pedersen, A. Hafner (project management), S. Hehemann, M. Zeeh, D. ­Angly, M. Ebener, H. Groß, J. Jensen, M. Jochheim, Z. ­K aluzna, D. Karg, D. Schendel, ­T. Steib, F. Weber, S. Zoske, N. Braune (site management) Building services PHA Planungsbüro für Haustechnische Anlagen (Breuna) Lighting design Licht Kunst Licht (Berlin) Landscape design Levin Monsigny Landschaftsarchitekten (Berlin) Structural engineering ifb frohloff staffa kühl ecker (Berlin)

Ahrenshoop, located on a chain of islands in the Baltic Sea named Fischland-Darß-Zingst is known for its artists’ colony, which was established back in the 1880s. From the era of classical modernism to our present day, numerous artists have lived in this former fishers’ village and, through their work, responded directly or indirectly to the surrounding landscape. The museum, established in 2005 through the initiative of the ­organisation Kunstmuseum Ahrenshoop devotes its attention to these artists and their works. With the completion of this building, it now has spaces in which the exten­sive collection, consisting of more than 500 paintings, graphics and sculptures, can be presented to the public in appropriate fashion. Taking the artists’ rootedness in this place as point of departure, the design of the museum building also picks up on regional characteristics; it is inserted harmoniously in the fine-grained built fabric on the edge of town. The five low-slung structures appear to be grouped around 82

Art Museum in Ahrenshoop

a square – like a village – and their steep hip roofs are reminiscent of the reed roofs native to this region. But the individual structures, which house the exhibition spaces, are in fact linked by the foyers: this produces a larger complex. The choice of material also makes reference to traditional models, yet only in the figurative sense: what from a distance – due to the stripe-like structure and golden brown tone – could be interpreted as reed, turns out upon closer inspection to be irregularly folded brass sheet that sheathes not only the museum’s roofs, but also its façades. The individual panels of wood that accom­pany the windows are the only interruption in the homogeneous envelope. However, the exhibition spaces receive light primarily from above: the seemingly truncated roofs are topped off with coffer-like skylights. The resulting construction provides the interiors with diffuse light. Thus, the white wall and ceiling surfaces in combination with light-grey screed floors furnish a restrained background for the works by Ahrenshoop’s artists.

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Extension of the Kimbell Art Museum in Fort Worth Architects Renzo Piano Building Workshop (Genua), Kendall/Heaton Associates (Houston) Lighting design Arup (London) Acoustical and audiovisual planning Harvey Marshall Berling Associates Inc. (New York) Structural engineering Guy Nordenson & Associates (New York), Brockette/Davis/Drake (Dallas)

With his design for a new pavilion at the Kimbell Art Museum, Renzo Piano achieves a balance between deference toward Kahn’s masterpiece and a self-confident architectural statement. At the urban scale it mirrors the tri-partite structure of Kahn’s building: two exhibition spaces flank a foyer. To the west, education rooms, an auditorium (situated partially underground), and addi­tional exhibition spaces are tucked away in a second unobtrusive structure. A central, park-like zone provides access to both the original building and the new pavilion. The latter’s main spaces are nearly equal in size. Eleven pairs of laminated beams – bound together by spacers – span each of these interiors. They extend the length of the space and can be interpreted as a reference to Kahn’s barrel vaults: both systems provide column-free space and facilitate a fully glazed 88

Extension of the Kimbell Art Museum in Fort Worth

entrance façade between the solid walls of the exhibition wings. The beams rest on a colonnade of reinforced concrete columns situated just beyond the transparent skin. The roof ’s layers consist of: sprinkler pipes, gutters, arched glazing units, maintenance catwalks, and solar control louvres with integrated photovoltaic cells. Bracing members run between the paired beams. Electric channels for the lighting are positioned in the latter’s interstitial space. The overall roof assembly is clearly visible in the foyer, but in the exhibition spaces, the fabric mounted between the beams ­obscures the different components and filters the daylight. Each of its layers cantilevers farther than the one below it, creating an elegant roofline. The glazed roof is ultimately analogous to a finely tuned mechanism that generates open, lofty architecture.

Renzo Piano Building Workshop, Kendall / Heaton Associates

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Site plan  scale 1:7,500 Section / floor plan  scale 1:750  1 Amon Carter Museum (Philip Johnson)  2 KAM Extension (RPBW)  3 Kimbell Art Museum (Louis Kahn)  4 Modern Art Museum (Tadao Ando)  5 Entrance  6 Access to parking  7 Foyer  8 Café  9 Shop 10 Exhibition space 11 Delivery 12 Access to basement 13 Auditorium balcony 14 Auditorium void 15 O ffice 16 Education

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Extension of the Kimbell Art Museum in Fort Worth

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13 solar control: textile 14 thermal glazing: 8 mm toughened glass + 12.7 mm cavity + laminated safety glass of 2 ≈ 8 mm heat-strengthened gl., all low-iron glass, in post-and-rail façade aluminium 15 glare control: textile 16 glass fin: lam. safety gl. of 3 ≈ 12 mm heatstrengthened gl., low-iron glass 17 alum. grating over underfl. convector 18 floor covering: 38 mm parquet with oak finish 57 mm plywood supporting structure precast concrete unit

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A Covering for Cour Visconti at the Musée du Louvre in Paris Architects Mario Bellini (Mailand), Rudy Ricciotti (Bandol) Project management Giovanna Bonfanti, Gérard Le Goff (Paris) Structural engineering Bérim (Pantin), Hugh Dutton Associés (Paris)

Twenty-three years after opening its glass pyramid, the Musée du Louvre has completed a further spectacular contemporary intervention, this time accommodating the recently established Department of Islamic Art in the interior courtyard of the southern wing. Calling to mind a billowing sail, the undulating translucent roof appears to float above Cour Visconti, and at some points, almost touch the ground. The architects won the competition with a concept that does not completely cover the courtyard, but instead introduces a lattice structure situated at a slight distance from the edges. This gesture, which allows the historic eighteenth-century courtyard façades to remain open and visible is evidence of a thoughtful approach to the existing building, and the lightweight planar load-bearing structure of steel and glass yields exhibition spaces that receive ample daylight. The metal mesh, which completely sheathes the undulating surface of the roof both outside and inside, provides the necessary ­fi ltering ­effect. From the adjacent collections, the visitor enters the courtyard by passing through opaque connecting corridors, which, situated at the former exits, lead directly to the new pavilion. The ornamentation of the pavilion makes it a ­fitting envelope for the exhibition. The floor ­area – totalling 2,800 m² – extends two ­levels. The collection numbers some 3,000 objects, and a majority of the most important works of Islamic art, created between the seventh and nineteenth centuries, and originating in settings as 96

Cour Visconti Roofing Structure at the Musée du Louvre in Paris

far-flung as Andalusia and India, are on display. On the ground floor, which is characterised by loftiness and transparency, smaller scale works of art are presented in glass display cases; this space is connected by stairs and openings to the lower level, whose mood is determined by dimmed light and integrally coloured, black concrete walls and is therefore reserved for items that are sensitive to light, as, for example, rugs. In addition to architectural exhibits such as timber portals and ­mosaic-covered wall cladding, here visitors encounter a voice reciting Turkish, Persian and Arabic poetry. The gesture of gently undulating fabric appears at first glance simple, but its realisation required a complex technical system. Consequently, the geometry of the design was calculated by a computer programme, which broke the 1,700 m² surface area down into small d ­ iamond-shaped and triangular forms. This made it possible to determine the shapes of the 1,800 panes of glass and 2,350 metal-mesh panels that would fit the free form. The double-lattice structure, relatively lightweight at 135 metric tons, is constructed of welded steel tubes; it is supported by steel columns that are slanted at different angles to increase the lateral stability. Delivery logistics and the limited availability of space for staging and working presented further challenges. Because using a crane to heave materials above the existing building and into the courtyard was not permitted, all material had to be delivered through a 2.70 m wide passage.

Mario Bellini, Rudy Ricciotti

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Site plan Scale  1:10 ,000 1  P yramid (I. M. Pei, 1989) 2 Cour Visconti (2012)

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Louvre-Lens Architects SANAA (Tokyo), Kazuyo Sejima + Ryue Nishizawa with Imrey Culbert (New York / Paris) and Catherine Mosbach (Paris) (landscape planning) Exhibition design Studio Adrien Gardère (Paris) Structural and façade engineering Bollinger + Grohmann (Frankfurt / Paris), SAPS / Sasaki and Partners (Tokyo) (preliminary design)

These shimmering boxes have been the centre of attention in Lens, an unadorned city in northern France, for the past few months: here, in a former coal-mining district, the country’s most renowned museum is presenting some of its masterpieces. Five of the region’s cities competed for the museum project, and Lens, a city with a population of 35,000 that – thanks to its location on the TGV route – is well connected to Paris, Lille and ­London, was selected. In 2005 the architecture firm SANAA won the international competition with a design that captivated the architectural world with its weightlessness. Surrounded by the blue-collarworkers’ simple homes and nestled in a new park, the five nearly rectangular, subtly curved segments of the building line up next to each other amid the former coal fields. With their shimmering alum­inium skins – in which both the surroundings and the different moods created by the changing light are reflected chimeri­ cally – at first glance they bring to mind a large land art instal­ lation that merges with the sky. Yet the ensemble does make an unapproachable impression: as central piazza, the entrance building, whose four walls are glazed, can be entered from different sides. From here the visitor may proceed to the exhibition buildings on both sides of it, and may continue onto the audi­torium or the glass pavilion. To create this spacious, flowing sequence 100

Louvre-Lens

of spaces, the architects situated the auxiliary rooms, workshops, depot, and building services on the lower level; the restaurant and administration each occupy a freestanding structure in the park. The lofty 68.5 ≈ 58.5 m ­entrance hall is a transparent pavilion with slender steel columns and freely placed glass bubbles containing the café, bookstore, and museum shop. An intricate, hidden structural system (makes the building’s astonishing delicateness possible. The 6 m high glass façades also seem to be on the verge of dematerialising: the ephemeral spatial definition they provide links exterior and interior. The two introverted exhibition halls, which receive light from the partially glazed roof, constitute the foil to the entrance pavilion. Special narrow T-beams were developed and placed close together: as a result, the roof also appears to be unusually lightweight. ­A lthough they span 26 m, the steel beams more closely resemble louvres that artfully disperse the light than conventional structural members. Both exhibition halls provide optimal, adaptable conditions for the artwork, which is exchanged regularly based on a rotating system. While the gallery for temporary exhibitions to the west of the foyer is classically subdivided into discrete rooms, in the 120 m long, column-free Galerie du Temps the works on display are arranged chronologically and cover a 5,000 year time span.

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Studio Adrien Gardère developed a novel exhibition concept for the 3000 m² exhibition hall Galerie du Temps (Gallery of Time): there are 205 works of art in the open space – including, at the outer limits, sculptures from ancient Egypt and paintings dating to about 1850 – not arranged in separate categories as in the Louvre in Paris, but chronologically, along a timeline engraved on the south wall.

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While strolling between the works of art that are situated on pedestals, plinths and low partition walls, visitors can discover new links between the works of different epochs and cultures. The reflections of the aluminium panels and the delightful contrasts with the sculptures and paintings reinforce the effect of the space.

1 fixed solar protection 50 mm grating double glazing: 10 mm toughened glass + 12 mm cavity + 2 ≈ 8 mm l­aminated safety glass 2 secondary structure: 40/60 mm steel RHS frame 3 adjustable louvres to darken interior 4 200/600 –1,100 mm steel T-beam with 12 mm web, coated 5 1,500/6,050/23 mm sandwich element, aluminium honeycomb core 1.5 mm aluminium sheet, anodised cramp iron, aluminium 140 mm thermal insulation 280 mm reinforced concrete 6 1,500/6,050/21 mm sandwich element 7 150 mm screed, reinforced, polished 9 0 mm thermal insulation with heating pipes 240 mm reinforced concrete

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Luxembourg City Art Museum Architects Diane Heirend & Philippe Schmit Architectes (Luxembourg) Project management Philippe Schmit Employees Jessica Fischer, Peter Merten, Jeannette Witrahm Structural engineering Ney & Partners (Brussels / Luxembourg)

In the middle of the green zone flanking ­Luxembourg’s historic centre and resting atop the ramparts of the former Fort Vauban is a museum of the same name. Since 1959 this institution has housed the city’s collection of paintings. In 2002, Diane Heirend & Philippe Schmit Architectes were commissioned to refurbish and extend the building – a late-nineteenth-century bourgeoisie villa nestled in the idyllic park landscape (designed in the 1870s by Edouard André). Despite the considerable size of the new programme, the architects were able to sensitively insert the addition to the museum into this historic setting. Seen from the street, the single-storey building massing allows the original building to continue to occupy centre stage. The new structure’s inclined roof surfaces allude to the gently modulated landforms. When viewing the addition from the park, one becomes aware of its actual size: the design takes advantage of the topography of the former fortress’s moat to provide illumination to the first basement with daylight ceilings. The second basement, on the other hand, is fully embedded in the earth. The architects offset the lack of daylight with a generous room height of 6 m. With its space allocation plan, the extension meets the requirements of a modern museum. In addition to the exhibition rooms – in which 106

Luxembourg City Art Museum

collections of old and contemporary artwork from the seventeenth to twenty-first centuries (painting, graphic arts, sculpture, ­­photo­ graphy) are visible – there is also a teaching workshop and a storage space for paintings. A light-filled entrance foyer connects the new building with the original one. The imposing enclosure wall of the fortress, which is uncovered in the basement and dates back to the eighteenth century, now engages in an exciting dialogue with the newly added exposed concrete. This has been skilfully bush-­ hammered to give it a rough surface which gains its pattern from an admixture of white quartz. However, the new building has more to offer than skilfully modelled materials, massing and spaces: the treatment of the façades makes a substantial contribution to the museum’s convincing mix of autonomy and restraint. Dark perforated metal that has been bent into a gentle V-shape cloaks the new structure; the surface is animated by the play of sunlight and the shadow created by the nearby trees. Owing to a specially developed perforation, the effect of a homogeneous metallic skin is maintained, but at the same time, the perforation is per­ ceptible from a considerable distance. At dawn and at dusk, a special mood comes about: illuminated from within, the semitransparent façade cladding almost appears to melt into thin air.

Diane Heirend & Philippe Schmit Architectes

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 6 Gallery  7 Children’s atelier  8 Void  9 Storage 10 Fortress wall Diane Heirend & Philippe Schmit Architectes

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Luxembourg City Art Museum

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Diane Heirend & Philippe Schmit Architectes

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The Hepworth Wakefield Architects David Chipperfield Architects (London), David Chipperfield, Oliver Ulmer Project management Nick Hill, Kelvin Jones, Demian Erbar Structural engineering Ramboll UK (London)

Like other cities in Northern England, Wakefield was faced with the decline of mining and manufacturing. Its new museum commemorating Barbara Hepworth, a sculptor who spent her early years in Wakefield, demonstrates its will to look to the future. The art museum is the prelude to a larger-scale urban intervention: the regeneration of the river front to the south of the city centre. The site is visible from all directions; accordingly, the architects developed a building with no clear back or front. Thanks to the museum’s scale and building massing – which calls to mind geological formations – the building does not enter into competition with the historic warehoues and factory buildings, but instead is well integrated in its surroundings. The nature of the composition is additive and has its source in the programme: the collection is presented sequentially in rooms that are similar in character, yet with different dimensions, responding to the proportions of the respective artworks they contain. In this manner, with a system of recurring angles, a densely packed cluster of 112

The Hepworth Wakefield

irreg­u larly shaped cubes is arranged around a central stairway. The exhibition spaces, all in white, are all situated on the upper level and employ controlled indirect daylight emanating from skylights. In some rooms there is a window in an exterior wall, providing views to the river, the sculpture garden, or the relics of the days of manufacturing. These views allow visitors to orient themselves. The auxiliary functions typically associated with a museum are located on the ground foor: the foyer and café face west, where the new access bridge docks onto the building. The concrete surfaces of the load-bearing exterior walls and the roof underscore the impression that the building is monolithic. Inside, concrete columns, arranged in most cases in pairs, support the building; they are concealed within thick, non-load-bearing plasterboard walls. These walls also contain the building-services ductwork. Barbara Hepworth’s artwork – including prototypes, models, and drawings – constitutes the core of the museum’s collection. The permanent collection also includes work by Henry Moore, who had his origins in Yorkshire.

David Chipperfield Architects

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Site plan scale 1:10,000

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David Chipperfield Architects

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Extension of the ­Städel Museum in Frankfurt am Main Architects schneider + schumacher (Frankfurt), Michael Schumacher, Kai Otto, Miriam Baake (project management), Hans Eschmann (site management) Structural engineering Bollinger + Grohmann (Frankfurt) Presentation of the collection Kuehn Malvezzi Architects (Berlin)

Ongoing additions to its collection of European art have led to ­repeated extensions of the Städel Museum. The latest development provides a further area of roughly 2,600 m² for the presentation of contemporary art. In an international architectural competition, the winning concept placed the new gallery beneath the museum gardens. With a height of up to 8.2 m, the exhibition space is naturally lighted via 195 circular skylights. The roof, with a glass and concrete dome, forms a grassed mound in the courtyard. As a means of access, the architects complemented the exist­ ing stairs in the Main embankment wing of the museum with additional flights, so that the spatial structure now extends quite 118

Extension of the Städel Museum in Frankfurt am Main

naturally into the new gallery. With the dome rising to a height of 2.26 m, the roof shell over the garden hall is borne solely by twelve columns and the peripheral concrete walls. Cold-formed, convex glass skylights with diameters of 1.5–2.7 m ensure a high level of natural light. Direct insolation is prevented by an internal shading system. Artificial lighting has also been unobtrusively integrated. Beneath the skylights is a white translucent mesh. Separated from the walls, in which the columns are concealed, the white ceiling has a lightweight, floating quality. Hung with works of art, the space can now be perceived in its true form, and the extension enters into a dialogue with the existing buildings.

schneider + schumacher

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Site plan scale  1:4,000 Plan scale 1:1,500 1 Städelschule 2 Western wing 3 Garden hall 4 Garden sing 5 Main sing 6 Garden courtyard 7 Old foyer 8 Bookshop 9 Main foyer

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Extension of the Städel Museum in Frankfurt am Main

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Extension of the Städel Museum in Frankfurt am Main

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Glazed Roof at the Victoria and Albert Museum in London Architects MUMA (McInnes Usher McKnight Architects)(London) Structural engineering Dewhurst Macfarlane & Partners (London)

The Victoria and Albert Museum is one of the world’s most important museums of design and applied arts. The floor area of the exhibition space totals 45,000 m² , divided among 145 rooms, and the musuem has about 4 million items in its collection. In 2001 the Future Plan was implemented, including a renovation phase expected to last about ten years. The site, in South Kensington, has been in use for over 150 years; it had become necessary to remodel several galleries, but also to come up with new ideas for the café and garden as well as for the entrance situation, signage system and pedagogical concept. Access to the so-called Perimeter Galleries on the museum complex’s southeast side was difficult because of the many different levels. In addition, there was almost no visual connection between adjacent exhibitions. In this wing, the Medieval and Renaissance Collection provides a glimpse of Europe’s art and culture, from the decline of the Roman Empire to the beginning of the modern era, in an exhibit of 1,800 artefacts – among them Leonardo da Vinci’s notebooks. Ten galleries were returned to their original state; the scale, proportions and rhythm of the original sequence of rooms were reinstated and a clear circulation concept was 124

Glazed Roof at the Victoria and Albert Museum in London

implemented. The architects removed existing stairways between the different wings so that the courtyards could be used in new ways. In addition to the new vertical circulation tower, which makes these six levels of the museum accessible to all visitors, they created a hall bathed in daylight to house large fragments of historic buildings. The curved back wall of the apse in the East Hall and the slightly skewed exterior walls of the adjacent wings provide the spatial definition of the new, four-storey-high space. Now a notable glazed roof spans the space. In combination with transparent panes of glass, the beams of translucent glass create a great variety of moods and, depending on one’s standpoint in the room, it appears to be either open to the sky or enclosed. The radial beams mediate between the differing geometries of the adjoining surface areas. Their supports remain hidden from the public: on the side of the apse, they are concealed behind the existing stone ledge, whereas on the opposite side they disappear into wall recesses. The new features, such as the glazed roof and the stair tower, are designed in a clear and understated manner, whilst still being unequivocally discernible as modern interventions. However, on account of their design, materiality and conceptual logic they blend well with the existing building.

MUMA

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Glazed Roof at the Victoria and Albert Museum in London

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Sections scale 1:10  1 120/60 mm cast stainless-steel clamping plate holding cold-bent insulating glass elements in place  2 roof enclosure: insulated glazing element, transparent, cold-bent: 6 mm toughened glass + 12 mm cavity + laminated safety glass of 2 ≈ 5 mm ­toughened glass  3 distancer: 100/35 mm stainless-steel, satin-polished  4 steel channel adhered with silicone to top edge of glass beam  5 455 –545/39 mm laminated-safety-glass beams, translucent, of 3 ≈ 12 mm toughened white glass with white PVB interlayer  6 cover plate: 2 mm stainless steel, black  7 aluminium panel, perforated (black felt backing, metal angle substructure)  8 parapet construction (new): 18 mm water resistant plywood, black 12/50 mm battens, 400 mm centre-to-centre mineral fibre thermal insulation between 100/50 mm timber frame (fixed to steel shoe/ glass beam support) 25 mm water-resistant plywood vapour retarder 40 mm rigid foam thermal insulation between 40/50 mm battens, 400 mm centre-to-centre 12 mm water-resistant plywood weather-proofing membrane, moisture diffusing 10/50 mm battens, 400 mm centre-to-centre 12 mm water-resistant plywood zinc-coated cladding, fleece backing  9 steel shoe to receive glass beam 10 brick masonry (existing), cleansed 11 brick (existing) removed to mount the glass beams and later filled in 12 2 mm stainless steel cladding, matt, removable 13 niche in masonry (existing) 235 mm deep/900 mm high, surface rendered

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Can Framis Museum in Barcelona Architect BAAS, Jordi Badia (Barcelona) Employees Jordi Framis (project management), Daniel Guerra, Marta Vitório, Mercè Mundet, Miguel Borrell, Moisés Gacia Structural engineering BOMA, Josep Ramón Solé (Barcelona)

The Can Framis Museum presents itself in a pleasantly restrained way, situated among the mostly new multi-storey commercial buildings within the former industrial quarter of Poble Nou, located between Barcelona’s centre and the coast. A total of 300 works by Catalan artists – created since the 1960s – are displayed on the exhibition levels. The starting point of a visit is on the uppermost floor which visitors can reach by lift. From here the route leads through the galleries and continues downwards via a staircase. While only two commercial buildings and a smokestack remain of the factory’s former four blocks, it comprises an important testimony to the then-important textile industry. The architects complemented the almost parallel existing buildings with a new reinforced concrete wing between them. A matching light grey colour covers the quarry stone f­ açade and the building apertures infilled with masonry in the existing construction, joining new and old in harmony. 130

Can Framis Museum in Barcelona

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Can Framis Museum in Barcelona

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HEART – Herning Museum of Contemporary Art Architects Steven Holl Architects (New York) Employees Noah Yaffe (project management), Chris McVoy, Lesley Chang, Jong Seo Lee, Julia Radcliffe, Filipe Taboada, Christina Yessios Structural engineering Niras, Aarhus

The new museum for contemporary art (HEART) in H ­ erning lies on a hill between an industrial estate and an expressway, near a former shirt factory. The building makes reference to the significance of the site, the history of the textile industry, and to the museum’s collection, in large part donated by the industrialist Aage Damgaard. The museum appears to rise up from the reflecting pool and the grass-covered berms: four arms radiate out from the building’s centre and extend outdoors in the form of elongated berms connecting architecture and landscape. This inter­play furnishes surprising changes in view, and the play of light and shadow underscores the sculptural quality. Five strips of roof 136

HEART – Herning Museum of Contemporary Art

segment are arranged and laid over one another like shirtsleeves. The architectural leitmotif is even evident in the façades: the white concrete walls appear to be cloaked in a pattern of creases. Treasure troves – the exhibition spaces – are the heart of the building; they are surrounded by the foyer, concert hall, library, restaurant and open-air stage. These can all be used without disturbing the quiet atmosphere in the exhibition spaces. The interiors are characterised by vaulted ceiling elements whose convex surfaces are reminiscent of billowing fabric or of sails. Contrary to first impressions, the roof elements are not monolithic shells, but rather are constructed of steel lattice girders and a plastered sub-structure.

Steven Holl Architects

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Vertical section of fair-faced concrete façade scale 1:20 1 10 mm plaster on 120 mm mineral wool vapour barrier; 15 mm exterior grade plywood 25 mm hat channel steel sheet bent to shape, galvanised lower chord of truss: 180 steel Å-beam 2 220 mm reinforced concrete with white cement, white sand, titanium dioxide, textured surface, water proofed 25 mm air layer thermal insulation between 150 mm steel studs 25 mm hat channel with thermal insulation 2 ≈ 13 mm plasterboard, vapour barrier betw. them

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Steven Holl Architects

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1 roof construction: plastic sealing layer, white 2 ≈ 120 mm mineral wool thermal insulation, vapour barrier 60 mm mineral wool thermal insulation, 100 mm corrugated metal 2 primary structure: 180 mm steel Å-beam in truss 3 secondary structure: steel sheet bent to shape, galvanised 4 2 mm sheet steel, galvanised, coated white, 19 mm plywood

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5 translucent glazing: 232 mm profiled glass, sandblasted, reduced iron-oxide content with translucent therm. ins. capillary insert PMMA consisting of 40 mm plastic pipe in aluminium frame 6 40 mm sound-absorbing plaster on mineral wool, 3 ≈ 13 mm plasterboard 25 mm hat channel 7 double glazing: lam. safety glass, in aluminium frame

8 floor construction: 100 mm concrete with heating and cooling tubes, integrally coloured black, surface power trowelled, waxed 150 mm foam-glass thermal insulation 100 mm concrete foundation course 150 mm lightweight expanded clay ­aggregate levelling course 9 grating with integrated convector element

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MAXXI in Rome Architects Zaha Hadid Architects (London), Zaha Hadid und Patrik Schumacher, ABT (Rome) Employees Gianluca Racana (project management), Paolo Matteuzzi, Anja Simons, Mario Mattia (site management) Structural engineering Anthony Hunt Associates (London), OK Design Group (Rome)

On former military grounds on the northern side of Rome, near Pierluigi Nervi’s Palazzetto dello Sport and Renzo Piano’s Parco della Musica, MAXXI, Italy’s new national museum of twenty-first century art and architecture, opened in 2010. The time had come for Rome to grapple – both in terms of a building and of its content – with cultural innovation. Interwoven and interlinked building tangents, which begin at the front building, extend to embrace the old barracks, integrating them in the design; the supple building massing takes cues from the main directions of the urban grid encompassing the L-shaped site. Thus, the concrete sculpture, moderate in height, has become astonishingly well integrated in its context. The design concept’s key element becomes apparent inside in the gallery spaces: walls and light are the elements that define a museum. Concrete walls, which function as 30 m long free-span longitudinal beams, give definition to the design’s grid. An interior facing ­layer provides a neutral background for the artwork, and accommodates and conceals all of the technology necessary to operate the museum. The ceilings are kept free for the painstakingly articulated skylights replete with fins running the length of the space that can be used to suspend artwork or partition walls. Heavy loads will be positioned on the floor. Because the load-bearing 142

MAXXI in Rome

structure is restricted to walls, the museum is free of columns. Of special importance to the designers was to naturally illuminate the works of art. A sophisticated automated lighting concept ensures that artefacts are exhibited free from shadow or glare and are protected from excessive amounts of radiation. This idealised standard section serves as the basis for extruding the sinuous gal­ lery areas. These tangents are crossed and overlapped – like bridges. The spatial sequences culminate at the highest point in a large gallery. It terminates in a window extending the entire width of the space and affording a view to the surroundings, including the outdoor spaces designed by Zaha Hadid. It is up to the visitor to decide whether to drift along this flowing river of rooms and follow the winding paths or whether to take shortcuts and discover the building on their own initiative. Fins of glass-fibre-reinforced concrete – and reminiscent of railway tracks – give the ceiling a graphic quality and emphasise the curvilinear flow of the galleries. These spaces nevertheless make a calm impression; nothing much will distract from the art on display here. The intersections, ramps and stairs, on the other hand, supply the dynamic quality. Above all the foyer impressively dramatises movement: a multi-storey space is interlaced over the entire height of the building with black stairs and translucent bridges with glowing undersides.

Zaha Hadid Architects, ABT

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cc 1 400 mm reinforced concrete exterior wall 50 mm thermal insulation panel 2 steel grating for light diffusion, galvanised, lacquered 3 12 mm concrete shell element, glass-fibre reinforced 4 solar-protection glazing: 8 mm toughened glass + 15 mm cavity + 11 mm laminated safety glass 5 automated window-cleaning system 6 blackout roller blind 7 fluorescent tube 8 6 mm acrylic glass pane, translucent, light diffusing 9 12 mm high-transp. toughened glass, machine ­operated for maintenance, 3 ≈ 600 mm panes, held lengthwise in alum. frame, joints open for ventilation

10 steel truss supporting structure 11 track for suspensions 12 aluminium light-directing louvres adjustable 13 emergency lighting: fluorescent tube 14 5 mm sprayed acoustical plaster; 12.5 mm perforated plasterboard; 20 mm soundabsorption mat 15 12.5 mm glass-fibre reinforced plasterboard, 25 mm MDF board; 12.5 mm glassfibre reinforced plasterboard; galv. steel supporting structure 16 exhaust air duct 17 crossbeam: HEM 900 steel beam, encased for ­fire-resistance 18 cladding: aluminium sheet, coated 19 screw-driven linear actuator, electric, for light-­ directing louvres

Zaha Hadid Architects, ABT

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Brandhorst Museum in Munich Architects Sauerbruch Hutton (Berlin), Matthias Sauerbruch, Louisa Hutton, Juan Lucas Young Structural engineering Ingenieurbüro Fink (Berlin)

For four decades, Udo and Anette Brandhorst collected modern art, before endowing a foundation with some 700 works, which they made available to the State of Bavaria on permanent loan. The main focus of the collection is on works by Cy Twombly and Andy Warhol. A site close to other major state galleries was made available, and a new home for the collection was designed by Sauerbruch Hutton. The entrance, set in a taller structure at the northern end of the complex, seems to address the ­urban surround­ings rather than the other nearby public galleries. The three-storey cubic volume occupies the site to the maximum permissible extent. Externally, its appearance is dominated by the texture of the façade cladding, which consists of small glazed cera­mic strips in different colours. These create a soft, multi-­ faceted effect. A horizontal window strip with outwardly e­ xtended light-­deflecting elements and a ground-level grating capable of bearing foot traffic indicate that daylighting plays a special role internally; and indeed, through the subtle interweaving of spaces, all levels receive ­natural light. The galleries were conceived as quiet, clas­sical exhibition spaces of similar type but of different proportions – smaller ones on the ground floor and larger ones on the upper floor, culminating in the polygonal gallery with a height of 9.5 m specially designed for Cy Twombly’s Lepanto cycle. 150

Brandhorst Museum in Munich

Soffits consisting of translucent mesh ensure an even distribution of light internally. On the ground floor, the concentrated zenith light from the external light-deflecting elements is reflected and scattered by the hyperbolic ceiling construction as top lighting through the suspended soffits. The white walls compensate for any change in tone of the deflected daylight. Only in the sculpture gallery was side lighting preferred as more advantageous for the three-dimensional works. In the basement, which projects out beyond the line of the head structure, is a large central patio to which daylight penetrates via a glass roof covered by an external grating. On this level, there are also smaller, artificially lighted cabinets for photography and video works. The flooring in all rooms consists of light-coloured oak boarding, which is meant to suggest the original private character of the collection and to allow direct, intimate contact with the works of art. The staircase leading to the various levels is also clad entirely in oak. With flights of stairs offset from each other, this structure extends through the building like a powerful sculpture in its own right. Mechanical services are cleverly concealed. A complex activation of the building elements is achieved by means of large-diameter pipes laid in the walls and floors. Fresh air is fed into the gallery spaces from above and below to reduce the circulation of dust to a minimum.

Sauerbruch Hutton

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Centre Pompidou-Metz Architects Shigeru Ban Architects Europe (Paris), Jean de Gastines Architectes (Paris) Structural engineering Ove Arup (London), Terrell (Paris), Hermann Blumer (Waldstatt)

Like the parent building in Paris, the new C ­ entre Pompidou in Metz was conceived as an innovative location for the arts. In addi­t ion to volumes for exhibitions stacked above each other in offset form, there are halls and other facilities for various activities. The aim is not only to teach visitors to appreciate art by varying exhibitions, but also to never cease to impress them with a diverse cultural programme. The bright and distinct exhibition areas, comprising approximately 5,000 m², may be inter­connected as and when required to form expansive areas or separated into small indi­v idual rooms. The three rectangular 158

Centre Pompidou-Metz

exhibition levels appear to push their way through the membrane and offer views of a few landmarks of the city through largeformat windows. In the evening, the hexagonal pattern of the load-bearing timber roof structure is visible through the translucent covering ­membrane. Around the central mast and the exhibition boxes, the structure is fixed to large steel rings and extends inwards to four funnel-shaped supporting piers. ­Internally, the 37 m high hall is flooded with light. Through façades in transparent corrugated polycarbonate sheeting, the building opens itself to the outside world.

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Chopo University Museum in Mexico City Architects Enrique Norten / TEN Arquitectos (Mexico City) Employees Salvador Arroyo, Jorge Pérez, Victoria Grossi, Natalia Lomeli, Carlos Marín Structural engineering Colinas de Buen (Mexico City)

In 1902, this structure stood in Düsseldorf, where it housed part of a large-scale exhibition. The hall was designed by Bruno Möhring and Reinhold Krohn to be dismantled subsequently and reused elsewhere. It was, in fact, transported to Mexico City and re-erected there between 1903 and 1905. Used as a museum of natural history, it flourished around 1913; but by the 1960s lack of funds finally forced the institution to close its doors. Today, it belongs to the university and serves as a gallery for experimental art. An extension and modernisation became necessary, since the open structure no longer complied with international standards. A volume in steel, glass and concrete was incorporated that left the existing building virtually untouched, while almost doubling the available floor area. There are two upper levels. From the top, one has a view of the cast-iron trussed girders at close quarters. The intermediate level contains the exhibition spaces, which are enclosed in satin-finished glass. At the bottom of the building are two basement auditoria. 164

Chopo University Museum in Mexico City

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Galeriehaus am Kupfergraben in Berlin Architects David Chipperfield Architects (Berlin) Project team David Chipperfield (company owner), Alexander Schwarz (design), Harald Müller (project management), Barbara Koller (project leadership), Martina Betzold, Laura Fogarasi, Andrea Hartmann, Hannah Jonas, Elke Saleina Structural engineering Ingenieurgruppe Bauen (Berlin)

Erected by the collectors, Céline and Heiner Bastian, the new gallery building has a scuptural form and occupies one of the most prominent gaps in the urban landscape of Berlin. It is set on the bank of the river opposite the Museum Island. The restrained volumetric design of the gallery takes up the eaves height and colouration of the neighbouring historical buildings. For the seemingly monochrome façade, carefully cleaned light reddishyellow bricks from demolished buildings were reused, laid in English bond with raked-out joints. Since there were to be no vertical expansion joints in the brickwork, the outer skin had to be at least 250 mm thick, so that any reactive forces caused by changes in temperature could be absorbed without causing cracks. The bays of brickwork are defined by large openings and on each storey by horizontal sand-blasted precast concrete strips with stone additives. These elements are divided by 5 mm abutment joints. Lateral move­ ment in the brickwork is absorbed at the reveals and the ends of the building. Vertical forces are transmitted to the concrete strips 170

Galeriehaus am Kupfergraben in Berlin

on which the walls bear without sliding joints. On the other hand, along the topmost horizontal precast concrete element at eaves level, an expansion joint was necessary to absorb vertical movement and changes in height. The joints are reinforced at particularly critical points. The architects and the company executing the work developed a special process for the façade coating: the wall was pointed and slurried in a single operation. Coloured lime mortar was applied over the face of the brickwork and worked into the joints before being partly removed from the surface with small trowels or metal scouring devices. The large window openings are positioned on the façade in such a way that the view from these overlooking the city can be seen as a work of art in itself. The windows are divided by folding shutters and frames in ipe – a tropical wood that is robust enough to be left untreated apart from the smooth, planed finish. The simple floor plan of the 5.50 m high storeys (decorated in shades of white and grey) varies at each level and makes reference to the building openings.

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85 mm concrete slab at edge of roof 50 mm bed of gravel; filter mat 160 mm compression-resistant thermal insulation; sealing layer 340 mm reinforced concrete roof slab 15 mm plaster 235/200 mm precast concrete element, with high white-cement content and stone aggregate, sandblasted 100 mm precast concrete lintel bearing on facing brickwork, with high white-cement content and stone aggregate, sandblasted and fixed with pins to upper precast element 60 mm sandwich panel with 2 mm sheet-steel lining internally, painted grey double glazing: 8 mm toughened glass + 16 mm cavity + 2 ≈ 5 mm laminated safety gl. 30 mm stone slabs, 10 mm thin bed of mortar; 60 mm anhydrite screed with underfloor heating; separating layer 30 mm impact-sound insulation 50 mm thermal insulation 320 mm reinforced concrete floor; 15 mm plaster

 7 40 mm stone slabs in bed of sand protective mat; filter mat 120 mm compression-resistant thermal insulation sealing layer; 320 mm reinforced concrete slab to falls; 15 mm plaster  8 250 mm facing brickwork with recycled bricks (250/120/65 mm) in English bond, pointed and slurried with lime mortar; with 10 mm horizontal and vertical joints, raked out 3 – 5 mm, low-alkali mortar with added colour, ties through 130 mm thermal insulation 300 mm reinforced concrete wall  9 8 mm sheet steel bent up at edges, glued 10 mm steel grating; stainless-steel gutter 10 25 mm wrought ipe (tropical wood), untreated; door leaf: 68 mm sandwich element with insulation 11 190/50 mm laminated timber, painted grey 12 2 ≈ 49/235 mm laminated timber rail, with 155/12 mm steel plate between 13 80/80 mm ipe cover strip clipped on 70/5 mm mullion cap 14 30 mm laminated construction board folding shutter 15 20 mm ipe opening element 80 mm sandwich slab with insulation

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The Unteres Remstahl Arts Educational Centre and the Stihl Gallery in Waiblingen Architects Hartwig N. Schneider Architects (Stuttgart), Gabriele Schneider, Hartwig N. Schneider Employees Dennis Mueller, Ingo Pelchen (project management) Structural engineering Fischer und Friedrich (Waiblingen)

The Unteres Remstahl Arts Educational Centre and the Stihl Gallery of the town of Waiblingen in southwest Germany rest like two pebbles on the banks of the River Rems. Their slightly abstract air softens the transition between the narrow alleyways of the old town and the broad open spaces beyond. Viewed from the river, the narrow point between the two poly­gonal channelglass façades of the buildings looks like a modern interpretation of a historic town gateway. At first glance the two buildings seem identical, but the horizontal division of the façade of the arts centre gives a hint of the differences in the interior: it marks the line of the mezzanine overlooking a central hall extending 178

over two floors. The art gallery opposite is designed as a single, free-flow space, zoned ­only by the load-bearing cores into a foyer, exhibition area and storage space. At the main entrance a translucent expanded-metal gate pivots open along the full height of the building. At this point the architects have broadened the 0.50 m narrow cavity in the double-skin façade into a 2 m wide lobby that acts like a filter, preparing the visitors to enter this modern art temple. The translucent curtain of spun-glass-filled channel glass creates a neutral lighting situation, sunblinds in the ­façade cavity enable lighting levels to be adjusted for sculptures and sensitive graphic art exhibits.

The Unteres Remstahl Arts Educational Centre and the Stihl Gallery in Waiblingen

Hartwig N. Schneider Architekten

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The Unteres Remstahl Arts Educational Centre and the Stihl Gallery in Waiblingen

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Gallery in La Pizarrera Architect Elisa Valero Ramos (Granada) Employees Leonardo Tapiz, Juan Fernández, Jesús Martínez (site management), Luis Ollero (building services)

The gleaming glass slabs, geometrically laid out in the grass, look like land art, but they are skylights over a private gallery of impor­tant works of Spanish art. The new exhibition space, its underground location and ground plan dictated by the need to preserve the garden’s oak trees, connects two existing residential buildings. Getting as much natural, evenly distributed light as possible into the exhibition space was the biggest challenge. The solution was to incorporate forty-five almost flat skylights of equal size into the flat roof. The laminated safety glass is fitted flush with the upper surface of the steel window frame. A remov­ able system of aluminum louvres can be inserted for shading. 184

Gallery in La Pizarrera

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Refurbishment and Extension of the Art Museum Moritzburg in Halle Architects Nieto Sobejano Arquitectos (Madrid) Employees Dirk Landt, Vanesa Manrique, Nina Nolting, Olaf Syrbe, Sebastian Sasse, Miguel Ubarrechena, Udo Brunner, Susann Euen, Nina Nolting, Sebastian Sasse Exhibition design Steinert & Bitterling (Leipzig) Structural engineering GSE Ingenieurgesellschaft mbH Saar, Enseleit + Partner (Berlin)

Moritzburg in Halle is among the most impressive castles built in central Germany in the late middle ages. Originally the sumptuous seat of Magdeburg’s archbishops, it was reduced to rubble during the Thirty Years’ War. Over the ages, a variety of functions and styles have been foisted on the castle. Since 1904, the municipal museum of arts and crafts has been housed in the south and east wings. The ruins on the north and west were made fit for occupation again to provide much-needed additional exhibition space. An aluminium-clad roof, articulated by skylights rising and falling irregularly in response to the extant, non-uniform structures, tops off the historic shell. It appears to 188

Refurbishment and Extension of the Art Museum Moritzburg in Halle

hover above the old walls. The new circulation tower – on the site of the former southwest bastion – and the entryway projecting out from the façade adopt the formal vocabulary of the roof. They pay homage to the art of Lyonel Feininger and to the Moritzburg’s eventful history. The interiors of the west and north wings – at one time the archbishops’ state rooms and living quarters – remain intact and have been re-consolidated. The entire first storey consists of a single space that provides optimal flexibility. Catwalks lead to the exhibition spaces – in white cubes suspended from the roof structure – on the second storey. The multi-storey voids are a foil to the tapered, volumetric skylights.

Nieto Sobejano Arquitectos

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Vertical section scale 1:20 1 stone with slurry seal perimeter insulation; sealant reinforced concrete beam existing masonry 2 smoke and heat vent, sash of 2.5 mm galvanised steel sheet, coated 50 mm mineral wool, thermal conductivity group 035 2.5 mm galvanised steel sheet, coated 3 ventilation grating: galvanised steel, coated 4 0.8 mm deflector

 5 8 mm aluminium plate, corrosion resistant, (shipbuilding aluminium), sanded, K40 60/60/3.6 mm steel SHS, galvanised 100/60/6.3 mm steel RHS, galvanised EPDM sealant; 160 mm pressure-­resistant thermal insulation vapour barrier 40 mm corrugated metal  6 steel Å-beam HEB 180, F 60 7 steel Å-beam HEA 100, F 60  8 steel section, galvanised, with membrane sleeve  9 370/450/10 mm steel frame, ­galvanised 10 double glazing U = 1.1 W/m²K 10 mm toughened glass + 16 mm cavity + 16 mm lam. safety gl. 11 black-out shades/glare protection 12 illuminated ceiling with fluorescent tubes 13 membrane stretch ceiling, light-scattering effect

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14 fire-resistant board F30 2 ≈ 12.5 mm plasterboard 15 40 mm ins., thermal cond. group 040 16 fire-resistant board F90 2 ≈ 20 mm plasterboard 17 2 ≈ 12.5 mm plasterboard 18 � 80 mm ventilation pipe, insulated 19 250 mm channel made of welded 10 mm steel flats 20 vent. duct: 2 mm steel sheet, galv. 21 8 0 mm cement screed with underfloor heating, sanded; polythene sheeting 70 mm insulation 140 mm reinf. concr. ­composite ceiling 22 17 mm acoustic panel, plastered 23 100/60/4.5 mm steel RHS 24 250 mm reinforced concrete Nieto Sobejano Arquitectos

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New Museum of Contemporary Art in New York Architects SANAA / Kazuyo Sejima + Ryue Nishizawa (Tokyo) Employees Florian Idenburg, Toshihiro Oki, Jonas Elding, Koji Yoshida, Hiroaki Katagiri, Javier Haddad, Erika Hidaka Partner architect Gensler (New York) Structural engineering Guy Nordenson and Associates (New York), SAPS – Sasaki and Partners (Tokyo)

Situated in the Bowery in the south of Manhattan, the New ­Museum was erected on a site only 20 m wide. The extensive spatial programme has been distributed vertically over nine levels, creating a 53 m high tower that forms an urban landmark. The overall volume is visually reduced by articulating the structure into a series of individual stacked boxes offset from each other. S ­ ituated over the museum shop and café on the entrance level are the three exhibition storeys. Above these are an education centre, the administration, a multi-purpose hall with terrace and, right at the top, the services storey. The building is wrapped in a homogeneous skin of aluminium mesh, a material with a tough, raw quality like the Bowery itself, yet with a multivalent effect. Depending on the incidence of light, the volume may assume a sculptural appearance or have a textile-like lightness. The façade consists of a total of 988 mesh panels roughly 1.20 m wide and 2.10–2.90 m high. These are overlapped by 25 mm at the edges in order to create a jointless 194

New Museum of Contemporary Art in New York

appearance and to allow a certain tolerance for assembly. Fixed with stainless-steel clips at a distance of 76 mm from the actual façade – which is clad in ribbed sheet aluminium – the grating appears to float in the air. The building volume opens to the outside world at only a few points. The room-height glazing on the ground floor mediates between life in the Bowery and the activities in the museum, while the glazed front to the multi-purpose space on the sixth floor affords a panoramic view over the rooftops. The offset arrangement of the boxes allowed the creation of skylights oriented in different directions over the three gallery levels. The steel loadbearing structure on the inside of the façade facilitated a layout with column-free, flexible exhibition spaces, the neutral, restrained character of which is attributable to the grey, polished concrete floors, white walls and unclad soffits. The offices are also of unusual design: they have an exposed steel structure with a sprayed fireresisting coating, and partitions consisting of polycarbonate slabs.

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Museum of Contemporary Art Denver Architects Adjaye Associates (London) Employees Joe Franchina, Dieter De Vos, Sergio Pineda, Yuko Minamide Structural engineering Martin and Martin Structural Consultants (Lakewood)

This museum for contemporary art (Museum of Contemporary Art – MCA Denver) forms part of a street block with mixed uses. The building closes a gap in the urban fabric where industrial developments once stood. Works of art from regional, national and international artists are shown at temporary exhibitions on two levels featuring a total of five galleries. Concepts of sustainability and the use of cost-saving materials played a major role both during the demolition phase and in the construction of the museum. Fifty per cent of the demolished structures found their way into the recycling chain, and 20 per cent of the new building consists of recycled materials. The museum was awarded the LEED Certificate in gold, a US seal of recognition for the highest standards of sustainable construction. Major aspects of this include the planted roof, the sanitary installations (operated with a minimum of water), the internal furnishings and fittings, 198

Museum of Contemporary Art Denver

which have an ecological seal, and last, but not least, the façade. More than 50 per cent of the façade is in a two-layer form of construction, comprising an outer curtain wall of tinted, sand-blasted double glazing and an inner skin of 38 mm translucent sandwich panels with a honeycomb core. This material is commonly used for the enclosing structure of lorries, where translucence, lightness, stability and simple processing are important. The 1.22 m wide room-height panels filter daylight, thereby ensuring an even level of natural lighting in the internal spaces. The cavity between the inner and outer façade skins functions as a thermal buffer zone and ventilating space, balancing out temperature extremes and reducing cooling loads, as well as providing an extract route for vitiated air. Moisture is added to the air intake by means of an evaporative cooling system – an important aspect for the museum exhibits in view of the climate in Denver.

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Extension of the Nelson-Atkins Museum of Art in Kansas City Architects Steven Holl Architects (New York), Steven Holl, Chris McVoy Employees Martin Cox, Richard Tobias (project management) Local architects Berkebile Nelson Immenschuh McDowell Architects (Kansas City)

Until recently, the Nelson Atkins Museum looked like a conservative, neoclassical palace for the arts. Eight years ago, when an archi­tectural competition was held to create an extension for modern art, Steven Holl took the opportunity of o­ pening the museum to new visitors and to the cultural life of the city by creating an architectural landscape. Concealed in large part beneath grassed areas, the roughly 16,000 m² extension is recognisable in the form of five glass cubes rising boldly from the sculpture park. Because of their ability to deflect daylight into the interior, Holl refers to these glass cubes as “lenses”. ­Internally, a continuous ­sequence of spaces follows the gentle slope of the site. The ­entrance structure marks the beginning of an extensive p­ romenade architecturale. Visitors can choose between a downward route via a sequence of long ramps or through the exhibition ­spaces, which are stepped down slightly from each other. With the aid of T-shaped wall elements that arch out at the top, daylight is drawn in from all sides and deflected into the internal spaces. The glazed façades consist of an outer layer 204

Extension of the Nelson-Atkins Museum of Art in Kansas City

with translucent U-section glass elements and an inner layer of single glazing. This form of construction has advantages in terms of the building physics and also provides comprehensive protection against UV radiation. Depending on the time of day and ­position, direct sunlight is diffused, d ­ eflected, ­reflected, dif­ fracted or absorbed by glazing with various textures. U ­ -section glass elements usually have a green tinge because of the ironoxide added to them. In the Nelson Atkins Museum, this was avoided completely. As a result, the building has a gleaming white glass skin that creates an almost m ­ ystical lighting mood, especially in the circulation areas next to the façade. A converse effect occurs when the “lenses” begin to gleam at night like abstract sculptures. A solid, introverted temple of the muses with fixed routes is now contrasted with a finely articulated new museum flooded with light. The existing building is, in fact, ­enormously enhanced in status – perhaps because it now resembles a time-­honoured ­exhibition piece itself alongside S ­ teven Holl’s modern ­a rchitecture.

Steven Holl Architects

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9 2 mm glass-fibre thermal insulation between 92 mm steel channel posts vapour-retarding layer; 16 mm plasterboard 2 Ø 19 mm steel suspension rod 3 1.5 mm sheet steel, painted white vapour-retarding layer 40 mm thermal insulation 4 heating duct: 2 mm perforated sheet steel heating pipe; 2 mm sheet aluminium, painted 5 3 mm (approx.) spray-applied acoustic plaster 12.5 mm plasterboard; 25 mm insulation slab on 35 mm steel supporting structure 6 double glazing: lam. safety glass (2 ≈ 4.7 mm) + 12.7 mm cavity + 6.3 mm toughened glass 3 ≈ 16 mm steel-flat frame, painted 7 6 mm perforated sheet steel 8 200 mm planted layer; bed of gravel 100 mm polyurethane thermal insulation drainage layer; bituminous sealing layer 100 reinforced concrete on 90 mm trapezoidal-­ section sheet metal

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Casa das Mudas Arts Centre in Calheta, Madeira Architect Paulo David (Funchal) Employees Rodolfo Reis, Filipa Tomaz, Silvia Arriegas, Luis Spranger, Luz Ramalho, Susanne Selders, Dirk Mayer, Inês Rocha, Patrícia Faria Structural engineering Miguel Villar (Lisbon)

Madeira is known as “the island of flowers” because of its mild climate and luxuriant vegetation. Its landscape is characterised by terraced vineyards and banana plantations and the volcanic rock of the mountains. Landscape is also the theme of Paulo David, the local architect who designed this arts centre. The artificial topo­graphy of the new museum, clad entirely in stone, is visibly related to the surroundings. With its basalt outer skin, the complex seems to merge with the cliffs on the western coast of the island. The exter­nal spaces look as if they had been cut out of the cubic volume, creating something akin to an urban fabric, with open squares and narrow lanes between the sections of the building. A ramp leads down from the highest point of the development to a square courtyard that functions as a distribution space. From here, visitors have access to all parts of the centre. The route through the exhibition galleries was conceived in a flexible form, although the beginning and end are always the courtyard, which is directly 210

Casa das Mudas Arts Centre in Calheta, Madeira

linked with the museum shop, the restaurant and the library. The three exhibition areas are designed in different forms and laid out on two levels. Provision has also been made for the addition of seminar spaces for interactive or pedagogic purposes, should the need arise later. The auditorium is a multi-functional space containing seating for 238 visitors. It can be used as a theatre, as a concert or conference hall, or as a venue for dancing. The three storeys of the library are linked by a vertical space, with a roof terrace on top that affords an impressive view of the coast. The roof is articulated with linear planting beds that alternate with top-light strips. Most of the roof area is accessible to visitors. The whole surface reflects the striped pattern of the basalt paving, which merges seamlessly with the façade cladding, thus creating the impression of a monolithic structure. In a similar manner, the openings in the building – sensitively designed as minimalist elements devoid of distracting details – are homogeneously integrated in the overall picture.

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21st Century Museum of Contemporary Art in Kanazawa Architects SANAA, Kazuyo Sejima + Ryue Nishizawa (Tokyo) Employees Toshihiro Yoshimura, Yoshifumi Kojima, Koichiro Tokimori, Kansuke Kawashima, Tetsuo Kondo, Shoko Fukuya, Mizuki Imamura, Naoki Hori, Junya Ishigami, Erika Hidaka, Keizo Eki Structural engineering Sasaki Structural Consultants (Tokyo)

This museum for twenty-first-century art stands in the centre of Kanazawa on the west coast of the island of Honshu. ­Situated in a small park, the low, circular, pavilion-like structure with a diameter of 112.5 m is accessible from all sides. To attract visitors and to integrate the complex into the urban environment, the public facilities, such as the restaurant, library, lecture hall, theatre and children’s studio, are laid out along the glazed outer façade. The various exhibition galleries are located in the centre, surrounded by circulation zones and interwoven with ­courtyards. Visitors can wander freely through this labyrinth, which resembles a miniature city. The galleries were designed with different proportions and light conditions. They range in height from 4 to 12 m and in area from 18 to 324 m². Some spaces are illuminated by roof lights, while others are artificially lighted. Four fully glazed atria together with large glazed areas along the corridors allow ample daylight to enter the interior. The steel structure within the walls of the various volumes bears a large part of the loading and also provides bracing. 216

21st Century Museum of Contemporary Art in Kanazawa

In the foyers, the load-bearing elements are reduced to slender, white, round steel columns, which, together with the 122 curved panes of glass (3 x 4.5 m in size) in the outer façade, ensure a sense of transparency and lightness. Smooth surfaces, minimal jointing details and the concealed installation of mechanical services in the floor and partitions help to create a neutral, calm spatial atmosphere. Eight works of art specially commissioned for the museum are directly related to the construction of the complex. James ­Turrell and Anish Kapoor, for example, both work with light and spatial e­ xperiences within the galle­r ies. Turrell cut a square ­opening in the roof, eliminating the spatial depth between the g­ allery space and the sky. Kapoor created an elliptical black ­opening that r­ eflects no light and allows no perception of depth. ­Leandro ­Ehrlich and Patrick Blanc each designed one of the courtyards. Ehrlich installed a shallow, glazed, imitation swimming pool that affords a view between ground level and the basement. Blanc, a botanist, created an installation with 3,000 plants from all over the world.

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1 Entrance 2 Theatre 3 People’s Gallery 4 Exhibition space 5 Courtyard 6 Discussion space 7 Administration 8 Curators 9 Information terminal

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1 Section through display cabinet in courtyard  scale 1:20  1 1.5 mm PVC roof sealing layer with clear ­coating  2 85/5 mm satin-polished stainless-steel section   3 1.6 mm stove-enamelled steel sheeting   4 30 mm stainless-steel panel   5 3 mm coated sheet-aluminium soffit panel 3.00 ≈ 3.00 m   6 25/150 mm steel flat bearer   7 rail for lighting system   8 Ø 18 mm steel rod, painted white   9 double glazing: 2 ≈ 8 mm toughened glass + 12 mm cavity 10 10 mm clear wired glass 11 light-diffusing soffit in lam. safety glass: 2 ≈ 6 + 10 mm toughened glass; lower layer with ceramic printing 12 welded steel Å-beam 200/200/9/12 mm 13 Ø 6 mm threaded rod, painted white 14 55/55/5 mm satin-polished stainless-steel ­fixing piece for glazing 15 façade glazing: lam. safety glass (2 ≈ 15 mm) 16 70 mm reinforced coated screed 1.2 mm sheet steel 17 stainless-steel grating

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Visitor Centre Kosterhavet Architects White arkitekter (Göteborg) Employees Ulla Antonsson, Mattias Lind, Agne Revellé, Magnus Bunner, Magnus Gustavsson, Anders �keflo, Mathias Nilsson, Pär Andreasson, Anna Graaf, Karin Sjödin, Andreas Laessker Structural engineering ELU (Göteborg)

In 2009, the region surrounding the Kosterfjord on Sweden’s west coast was named a national maritime park, the country’s first. A new visitor centre has been set up to assist tourists and other interested persons in gathering information on the flora and fauna – both above and below the water’s surface. In addition to an exhibition space and a lecture hall, it also has offices for the admini­stration of the national park. The new building is in Ekenäs, a small port town on the island Sydkoster, the largest in the area; it has been carefully inserted in the town’s existing fabric. Like the traditional boathouses nearby, gables are lined up one next to the other; these define the appearance of the visitor centre. In this manner the architects were able to integrate building massing that is considerably larger than the other buildings. The irregular form of the building footprint and the shift between the gables on the two long sides of the building create a complex roof geometry in which the ridges run at diagonals. 224

Visitor Centre Kosterhavet

The three-dimensional structure is visible inside the building; it creates an intriguing interior space. There are only a small number of windows, and the utmost care was taken in determining their positions: they frame the surrounding landscape, making it appear to be part of the exhibition. Wood is ubiquitous in the visitor centre. The interior of the building is completely clad in it. The floor is of pine, and softwood boarding with a scumbled finish cloaks the ceilings and walls. The façades and the roof are also clad with the same softwood boarding, but were treated with tar and painted the dark red typical of Sweden for these uses. This colour concept by the architects is another design decision that allows the visitor centre to blend in with its surroundings. Ecological criteria also played an important role in the planning. The expected energy consumption per annum of 40 kWh/m² is to be attained through the use of geothermal energy and electricity from renewable sources. On top of that, all materials employed in the building are free of toxins.

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Martin Luther’s Death House in ­Eisleben Architecture/interior design VON M (Stuttgart), Myriam Kunz, Dennis Mueller, Matthias Siegert Exhibition design neo.studio – Neumann Schneider Architects (Berlin) Structural engineering Hilpert Ingenieure (Halle/Saale)

It is an open secret that Martin Luther did not pass away in the home on Andreaskirchplatz designated Sterbehaus (Death House). In 1546 his life journey did in fact come to an end in Eisleben, Saxony-Anhalt, the city in which he was born in 1483. Both his place of birth – just 500 m away – and the house where he purportedly died are on the UNESCO List of World Heritage Sites. In 1863 the Prussian State erroneously purchased this building when a chronicler mistook the residence of the ­Drachstedt family, who were friends of the Luther family, for the site of Martin Luther’s death. In the following years ­Friedrich August Ritter remodelled it and reconstituted the original façade in the neo-Gothic style. Thirty years later, based on the ­reports written at the time of Luther’s death, Friedrich Wilhelm ­Wanderer introduced furnishings in an attempt to recreate the scene. The ­negotiating room,(the purpose of Luther’s extended stay in Eisleben was to settle an inheritance dispute), the sleeping chamber, and the death room are the core of the exhibition. 230

Martin Luther's Death House in Eisleben

Visitors can ponder the pall that covered Luther’s coffin, as well as his death mask. In addition to designing the rectilinear ­bipar­tite addition, the architects r­ eturned the historic building to its eighteenth-century state and restored the original fabric and the furniture. The addition’s façades – ­executed in grey-beige bricks in an irregular bond – correspond harmonically with the existing walls. Together with the historic outbuildings, the ensemble creates a protected courtyard that is inhabited by a mature oak tree. The tour through the museum begins in the new foyer – whose floor is flush with the surrounding ground level. An ­adjoin­ing multi-purpose hall opens toward the ­Curate’s ­Garden. In ­addi­tion, a large hall and accompanying terrace provide space for tempo­ rary exhibitions. Continuing from this hall, one passes through a narrow passage clad in wooden louvres before entering the existing structure. The manner in which these spaces are topped off alternates between light-toned vaults and more intimate, dark wood panelling.

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Danish Maritime Museum in Elsinore Architecture / interior design BIG – Bjarke Ingels Group (Copenhagen), Bjarke Ingels, David Zahle (project management) Exhibition design Kossmann.dejong (Amsterdam) Structural engineering Rambøll Danmark (Copenhagen)

Situated on a tongue of land between the North Sea and the Baltic stands Kronborg Castle in Denmark. Here, the Danish Maritime Museum was housed from the time of its foundation in 1915. When plans were made in 2000 to place the castle on the U ­ NESCO list of World Heritage Sites, the museum had to be moved to a new location. A sixty-year old disused dry dock nearby was chosen for this purpose – the biggest exhibit of all. The architects did not plan the main structure in the dock itself, which is 150 m long and 25 m wide, but organised the spaces underground around the empty basin. Access to the exhibition begins immediately next to an existing road bridge over the dock. A ramp that runs down diagonally across the open space and turns back in V ­ -form from the opposite wall leads to the main entrance. The storey-height bridges suspended from these ramps also serve as cross-links. The path through the museum is a long, sloping itine­rary, too. The only level area is the café at the “stern”, with a gallery above. At the end of the route through 238

Danish Maritime Museum in Elsinore

the museum, a tapering staircase with a broad foot rears itself up. The substructure of the road to the castle is more complex: two floor slabs sloping in counter-directions create space for a large auditorium with a view of the temporary exhibitions and a small platform below. The sloping floors of the bridges as well as the stairs suggest a ship’s deck heaving in a storm. After the walls of the dock were exposed, the floor was subject to strong uplift. A grid of bored piles anchored more than 30 m deep resists this pressure, and an outer ring of walls provides relief for the long sides of the dock. As an additional means of resisting horizontal thrust, the slab of the road bridge was constructed in reinforced concrete, whereas the sloping floors are of steel and connected only at their point of intersection. Flexible bearings help prevent damage to the glazing. The two levels of the access ramps were prefabricated in steel, and the floor levels were suspended from them with steel chains – yet another reminiscence of seafaring.

BIG – Bjarke Ingels Group

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Danish Maritime Museum (BIG, 2013) Culture Yard (AART architects, 2010) Glacis (restored) Kronborg Castle

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Danish Maritime Museum in Elsinore

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Two intersecting triangular floor ­structures sloping in counter-­ directions create a sequence of ­three-dimensional, interlocking ­spaces: a large auditorium with a view to the temporary exhibition space leads into a smaller platform a­rea for school classes beneath. Weighing roughly 100 tonnes, the load-bearing floor elements – ­hollow-steel sections reinforced with longitudinal Å-sections – were ­prefabricated in a Chinese wharf, shipped to Elsinore and lifted into place with special cranes.

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World of the Celts at the Glauberg Architects kadawittfeldarchitektur (Aachen) Employees Oliver Venghaus, Benjamin Beckers (project management); Rami Aljerf, Frank Berners, Astrid Dierkes, Christoph Helmus, Simon Kortemeier, Christiane Luiz, Ute Schmidt, Eva Strotmeier, Kerstin Tulke Exhibition design kadawittfeldarchitektur (Aachen) Exhibition graphics, media design Kaiser Matthies (Berlin) Structural engineering Bollinger Grohmann Ingenieure, Frankfurt am Main

Some years ago, a Celtic settlement was found near Frankfurt together with important princes’ graves from the fifth century BC and a place of worship. The new Celtic museum now forms the focus of an archaeological park and research centre. It includes the recessed glazed entrance area featuring a café, museum shop and ancillary facilities. From here, visitors can immerse themselves in the Celtic world via a broad staircase and gain insight into the archaeological excavations. There is no defined route in the neutral spaces; the diverse space-defining islands and partition walls – featuring a variety of integrated display cases, media stations and glass cabinets – invite the visitor to discover 246

World of the Celts at the Glauberg

on their own just like an explorer valuable grave finds and the practically life-size sandstone statue of a Celtic ruler. As with an archaeological excavation, Celtic history and culture are disclosed in layers within the mysterious aura of the exhibition: black meandering strips are transformed into showcases, ­tables and seating; and behind a panorama window, the burial mound directly opposite becomes an exhibit itself. The hybrid structure consists of two parts: a reinforced concrete core, which acts as an anchor for the cantilevered steel exhibition volume that projects from the slope. Two full-height longitudinal trusses linked by a Vierendeel girder distribute the weight of the cantilevered section.

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World of the Celts at the Glauberg

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World of the Celts at the Glauberg

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Kaap Skil in Oudeschild, Texel Architects Mecanoo (Delft) Employee Francesco Veenstra Exhibition design Kossmann.dejong (Amsterdam) Structural engineering Pieters Bouwtechniek (Utrecht)

Texel, the largest of the West Frisian Islands, has a long maritime history, which is presented in this museum. The façade consists of driftwood, a material commonly found in traditional types of construction. It consists of recycled hardwood planks that once formed the sheet piling to the North Holland Canal. Behind these elements, which had stood in the water for more than twenty-five years, an all-glass skin and glazed rooflight strips allow a view of the sky from the interior. The steel roof structure is borne by steel columns tied into the ceiling over the concrete ground floor construction. Striking internal features are the ­interplay of natural and artificial light and the sequence of open and closed spaces. 254

Kaap Skil in Oudeschild, Texel

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Kaap Skil in Oudeschild, Texel

Floor plans / sections scale  1:400  1 Model of the Texel roadstead  2 Storeroom  3 Mechanical services  4 Entrance  5 Foyer  6 Office  7 Copy room  8 Cloakroom  9 Rear entrance 10 Kitchen 11 Store 12 Exhibition space

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Riverside Museum in Glasgow Architects Zaha Hadid Architects (London) Employees Jim Heverin (project director), Johannes Hoffmann (project management) Exhibition design Event Communications (London) Structural engineering Buro Happold (London)

Once a rich industrial metropolis with shipyards and factories manufacturing railway trains, Glasgow suffered an economic decline after the Second World War. Some years ago, it began to revitalise the industrial wasteland along the River Clyde. The newest structure to form a visitor magnet in this area is the Riverside, the transport museum that was opened in 2011 and which attracted some 500,000 visitors within only seven weeks. Its popularity is attributable in part to the exhibition concept, but also to the building itself, which catches the eye from a distance with its expressive, parametric roof design. The parallels between the wave-like form of the roof and the river are evident; and the abandoned shipyard cranes on the opposite bank of the Clyde are mirrored in the curved, reflecting glazing. The huge areas of glazing are framed by a sheet-zinc enclosing skin with perfectly crafted folds that extend from the plinth over the angled edge of the roof with its five sections of varying pitch, down to the 260

Riverside Museum in Glasgow

ground again on the opposite side. The entire roof, with spans of up to 80 m, is supported in the longitudinal direction solely by the steel sections of the two end faces, so that the internal space is free of columns. This striking effect is heightened by the fluorescent lighting tubes along the valleys. The formerly travelling exhibits that now stand motionless are counterpointed by the dynamic sense of movement conjured by the building itself which accompanies visitors through the charming, somewhat overladen exhibition. More than 3,000 of these exhibits are crowded onto an area of approximately 7,000 m². Beginning with skateboards, bicycles and motorbikes, through to cars, buses, locomotives, trams and even ships, any and every mode of transport can be found here. Numerous exhibition pieces are complemented by three authentically rebuilt historic streets featuring contemporary stores and vehicles, which take visitors back in time to the period spanning 1890 to 1980.

Zaha Hadid Architects

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roof/wall construction: 0.8 mm sheet zinc with, 25 mm standing seams, polythene separating layer, 18 mm plywood, 200 mm non-combustible mineral wool; vapour barrier, trapezoidal-section metal sheeting, 140 mm deep on steel structure 2 18 mm galvanised sheet-steel bent to shape at ridge 3 removable element over eaves drainage 4 drainage gutter (to bear foot traffic) 5 drainage outlet with vortex filter 6 sheet-steel reinforcing rib (according to struct. calculations) 7 10 mm glass-fibre-reinforced plasterboard on channel sections

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Extension of the San Telmo Museum in San Sebastián Architects Nieto Sobejano Arquitectos (Madrid), Fuensanta Nieto, Enrique Sobejano Employees Miguel Ubarrechena (project management), Stephen Belton, Juan Carlos Redondo, Pedro Guedes, Joachim Kraft, Alexandra Sobral Miguel Mesas Izquierdo (site manager) Structural engineering NB 35, Madrid

At the foot of Monte Urgull, which closes the bay of San Sebastián to the north, stands the San Telmo Museum. Set between the densely developed old city and the lush green hill, the museum extension accentuates this boundary, while at the same time mediating between the urban realm and the natural environment. The shimmering, linear metallic structure, which fans out on the plaza, resembles an ­a rtificial rock face with natural vegetation. The new building complements the existing museum complex – a former Dominican monastery dating from the sixteenth century with an annex erected in the 1930s. The extension contains a new entrance lobby, a hall for various events, an exhibition space, a café and a library. This narrow, 150 m long volume was inserted in the tight residual area between the monastery and the hillside. The rock face was removed in part, and the outer wall functions as a retaining wall. A window strip in the new building and the courtyards between this and the original structure allow natural daylight to enter the exhibition rooms. The gallery for twentieth-century Basque works floats within the atmosphere of the new hall for temporary exhibitions. The architects covered the restored cloister with a glass façade and thus expanded the exhibition space on the first floor. The entire 266

Extension of the San Telmo Museum in San Sebastián

museum now covers a surface area of approximately 11,000 m². In contrast to the sandstone façades of the existing buildings, the front face of the new structure consists of a homogeneous clip-on skin of perforated cast-aluminium panels that unites the various functions and visually reduces the overall volume. The skin is partly overgrown, with mosses and ferns that thrive on Monte Urgull sprouting from the openings. Over the areas of glazing, the perforated panels function as a light filter, while affording glimpses of the plaza from the interior. At night, the building radiates light from within, hinting at the spatial complexity. Drawn close to the existing structure, the extension is then set back to create internal courtyards. At the northern end, an external staircase leads to the hill. Parallel to creating the extension, the architects undertook the restoration of the existing buildings. Internally, therefore, the ensemble is distinguished by a uniform use of materials and textures, which provide a restrained background for the rich collection of objects from the history of the Basque Country. In addition to filigree glass walls and doors, as well as the dark iroko of the floors and stairs, the exposed concrete surfaces in the new structure are striking for the fine gain of the boarded formwork that was used.

Nieto Sobejano Arquitectos

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The architects developed their green wall in collaboration with artists Leopoldo Ferrán and Agustina Otero. The planted façade, which may be seen as an extension of the environment transformed by art, consists of perforated castaluminium panels fixed to a steel framework. The cavity between the panels and the concrete wall serves as a maintenance space. Quilted mats with soil and gratings were fixed to the inside face of the panels for the planted areas. The vegetation grows through the openings. Watering and fertilisation is computer controlled. Selected in accordance with the location and degree of exposure to sunlight, the plants reflect the vegetation on the slope to the rear. dd 5

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Protective Structure and Museum for A ­ rchaeological Site in Pedrosa de la Vega Architects Paredes Pedrosa Arquitectos (Madrid), Ángela Garcia de Paredes, Ignacio Pedrosa Employees Clemens Eichner, Álvaro Rábano, Eva U ­ rquijo, Andrea Franconetti, Eva Neila Structural engineering Gogaite S.L., Madrid, Alfonso Gomez Gaite, Alfonso Redondo Gómez

The Villa La Olmeda, situated some 300 km north of Madrid, is one of the best preserved Roman houses in Spain. The 4,500 m² excava­tion site contains valuable floor mosaics dating from the fourth century AD. In order to protect them from the weather, the area has been covered by a large roof. A small museum and facilities for visitors were also created. Using a limited range of materials, the architects designed a building of simple construction. ­Externally, the preoxidised steel envelope harmonises with the surrounding landscape, while internally the structure provides a ­restrained background for the various functions. For the two parts of the villa, which date from different periods of the Roman ­Empire, 272

Protective Structure and Museum for Archaeological Site in Pedrosa de la Vega

the design concept foresaw two exhibition halls linked by steel walkways, with additional offices, a museum space and a lecture hall. Natural lighting is provided by a peripheral band of trans­ lucent polycarbonate panels. The arched roof structure, consisting of a prefabricated, lozenge-shaped steel grid, was not only costsaving; it also conveys a sense of lightness. The arches are borne mainly by 110 steel columns. For the three arches in the large exhibition hall, four additional steel columns and two longitudinal girders were provided. Their position – together with the artificial lawn and metal-mesh screens – marks the location of the former villa courtyard and allows a subtle interweaving of old and new.

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Ningbo Historic Museum Architects Amateur Architecture Studio (Hangzhou), Wang Shu, Lu Wenyu Employees Song Shuhua, Jiang Weihua, Chen Lichao Structural engineering Shentu Tuanbing (Hangzhou)

Set in the modern, commercial centre of Ningbo in eastern ­China, this museum resembles a huge and striking stone sculpture in a large urban space. The expressive form and planar volume stand in contrast to the nearby towers of the office and government district. The four-storey rectangular building is divided vertically into various angular volumes, with raking walls reaching dynamically ­upwards in all directions. The entrance to the museum is via a public route that cuts through the ground floor of the building. From the entrance hall, one has access to two exhibition spaces on the same level and, via a narrow escalator and a grand open staircase, to the upper levels. The layouts here are dissected by bold openings in the volume in the form of courtyards and terraces as well as by a labyrinth of alleyways, staircases and footbridges. The focal point of the museum is the exhibition on the history of the city 278

Ningbo Historic Museum

of Ningbo, whose culture dates back 7,000 years and which was founded 1,200 years ago. A further exhibition area shows how people lived at the turn of the nineteenth and twentieth centuries. Visitors also have the opportunity to marvel at ornate bamboo carvings from the Ming and Qing dynasties. The monolithic yet animated character of the façade is based on traditional masonry and consists largely of stones from demolition work. The complex layers of the outer wall are made up of a reinforced concrete core and a skin consisting of roughly twenty different kinds of grey and red rubble stones and bricks. These were taken from a dozen ­r uined villages in the region, villages that had had to make place for new office and government developments. With its archaeological nature, the façade lends the building a lively character and plasticity, while making traces of the past and tradition visible.

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Pavilion of the Ecomusée de la Grande Lande in Sabres Architect Bruno Mader (Paris) Employee Michael Guzy Structural engineering 3B Bet Bois Batut (Montauban)

Since 1970, the outdoor museum Ecomusée de la Grande Lande, located in the wooded stretch of back country near France’s ­Atlantic coast, has depicted life in the countryside during the nineteenth century. Visitors travel back in time in a vintage train to the museum village Marquèze. Adjacent to the train station is the new Pavillon des Landes de Gascogne. From a distance the elongated exhibition building is reminiscent of an over-sized shed. The sizable building massing – clad entirely in locally sourced pine – has been sensitively inserted in the rural setting. As one approaches the pavilion, the different parts of the building – corresponding to its different functions – can be discerned. With its blend of a modern vocabulary and one inspired by local traditions, the new building points the way to the future without destroying the idyllic setting or contradicting the message on sustainable development. The capacious space for temporary exhibitions is situated b ­ ehind the entrance. Exposed beams filter the light entering from the sheds above. When ­required, 284

Pavilion of the Ecomusée de la Grande Land in Sabres

this area can be linked up with the audi­torium. From here the visitors proceed to the gallery. U ­ nusually large windows – an updated version of traditional casement windows – and a skylight illuminate the permanent exhibition found here. The building’s irregular shape does not necessitate complex construction techniques: the surfaces are sheathed in rectilinear mate­rials. Most of the building components were prefabricated off site. By selecting glue-laminated timbers as structural members for the exhibition wing, the architects have made the structure adaptable: partition walls – in wood-stud construction – and the windows can be altered to meet changing needs. In order to withstand weather­ing, the entire volume is cloaked in heat-treated wooden louvres. In front of the work spaces and instruction rooms, they are consolidated as pivoting elements which admit sufficient light in winter and block the sun’s rays on hot summer days. The louvres also provide the roof with shade, helping to keep the museum cool in summer.

Bruno Mader

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Heldenberg Museum in Kleinwetzdorf Architects Atelier Peter Ebner + Franziska Ullmann (Vienna) Employees Markus Zilker, Oliver Noak Structural engineering Werkraum (Vienna)

Heldenberg, or “heroes’ mount”, is a well known ­curiosity which can be found in ­Austria. Built in the nineteenth century in the town of K ­ leinwetzdorf by a militarist and army supplier as a private ­memorial to Austria’s war heroes, it features a neoclassical building set in extensive gardens dotted with the busts of officers. Also in the grounds is a burial chamber for the patron and Field-Marshall Radetzky. In 2005 the Heldenpark was restored and a new extension built in which to house temporary exhibitions in the summer months (on themes unrelated to the military). This new section is buried mainly underground, an arrangement that not only asserts its separate identity but also impinges as little as possible on the 290

Heldenberg Museum in Kleinwetzdorf

existing structures. All that is visible above ground are the ­entrance and exit, and three differently shaped skylights. The northern entrance projects from the hill like a slightly raised glass pulpit. Inside, attention focuses entirely on the quality of the space; the visitor enters into another world. He meanders through a series of variously shaped white rooms, pierced intriguingly by carefully placed openings – part light shaft, part viewing aperture – that illuminate this a­ bstract continuum of space. The building systems in this low-budget project are restricted to flexible strip lighting on the ceilings and a ventilation system fitted in the central skylight. Even the existing toilet block was kept and revamped.

Atelier Peter Ebner + Franziska Ullmann

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Documentation Centre in Hinzert Architects Wandel Hoefer Lorch + Hirsch (Saarbrücken) Project team Wolfgang Lorch, Nikolaus Hirsch, Andrea Wandel, Christine Biesel, Alexander Keuper Structural engineering Schweitzer Ingenieure (Saarbrücken)

After the Second World War, a small cemetery was the only remaining token of the concentration camp that once existed here. An architectural competition was held, therefore, to create a centre to document the events of this place. The architects’ winning scheme proposed the creation of a building and exhibition that form a single whole. The expressive structure, with its skin of preoxidised steel, opens in a glazed façade at the end facing the former camp. Printed on the glass is a historical photo of the prisoners’ quarters, which thus seem to be overlaid on the landscape outside. The self-supporting skin of the building consists of more than 3,000 different triangular steel panels. These were 294

Documentation Centre in Hinzert

welded together in a workshop to form twelve large elements that were then assembled on site. The angles between the individual panels were calculated to ensure that the elements would have an adequate structural height and that the entire construction would form a rigid folded plate. Based on various prototypes, the doors and windows were designed in such a way that they could be integrated in the façade. The internal spaces are also dominated by walls and soffits in a triangulated wood-panel construction. Along the sides of the building, the external and internal skins are to a great extent discrete structures, with ancillary functions, archives and reading recesses housed in the space between the two.

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State Museum of Archaeology ­Chemnitz Architects ARGE Auer Weber (Stuttgart), Knerer und Lang (Dresden) Exhibition design Atelier Brückner (Stuttgart) Structural engineering Erfurt+Mathes (Chemnitz)

For more than eighty years, people strolling through the various floors of the Schocken department store in Chemnitz were a familiar sight. Built in 1930 by Erich Mendelsohn, the structure now houses the State Museum of Archaeology. With great care and restraint, the architects have refurbished this icon of modernism with its eye-catching banded façade. Atelier Brückner has designed a state-of-the-art exhibition extending over four storeys with a segmental layout, where visitors pass through 300,000 years of human history. From a sunken atrium on the ground floor, a vertical space rises over all three levels. Here, a mobile map of S ­ axony is suspended, and on every floor, at the end face of the stepped ramp that links the individual storeys, visitors can see a 21 m high cross-section that brings to life different layers of archaeo­logical excavation. Spatially defining elements articulate the individual exhibition levels into distinct zones. The exhibits themselves are displayed in showcases that are so finely designed that they are 298

State Museum of Archaeology Chemnitz

almost invisible. The fact that these transparent cabinets have complex air conditioning to protect the often delicate objects inside is not evident. On every level, floor graphics indicate the specific historical themes. Although the layout is initially ­organic and has a natural curvature, the geometry becomes increas­ingly orthogonal. On every floor, 40 m long curved panoramic walls are set parallel to the façade. On the first two levels, one sees extensive views of the landscape. On the third floor is the so-called Wall of Everyday Things, where roughly 1,200 objects are presented, also in actively or passively air-conditioned acrylic showcases. The outer areas oriented to the façade are used as exhibition zones, too. Here, the mise en scène is more restrained, allowing greater latitude to the architecture. These study bays are devoted respectively to Erich ­Mendelsohn, Salman Schocken and his department store. The furnishings are designed accordingly; the drawers, for example, are reminiscent of those where plans are kept in architects’ offices.

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“Ideally, space itself should be the narrative medium” Interview with Uwe R. Brückner

Atelier Brückner is one of the leading offices in the world for scenography. Its projects range from classical exhibition design for museums to staging brand images and the planning of entire Expo pavilions, as in Y ­ eosu, South Korea, in 2012. The atelier in Stuttgart is an open workspace that radiates the character of a creative environment, and the atmosphere is pronouncedly international. Not only are the projects undergoing development intended for a variety of locations throughout the world; the roughly eighty assistants come from eighteen different countries. More than half of them are trained architects and interior designers. The remainder represent fifteen different professions, including typography, media design and history. Uwe R. Brückner, the creative head of the office, is a trained architect and stage designer. As Professor of Scenography in Basle (and Shanghai), he teaches with an interdisciplinary ­approach. DETAIL spoke to him about the aims and scope of scenography as well as about the underlying concept and development of the State Museum of Archaeology in Chemnitz (smac), which opened in May 2014. Christian Schittich: What makes scenography such an exciting subject for you? Uwe R. Brückner: The purpose of scenography is to bring complex contents to life in a spatial form that can be physically experienced. In contrast to classical architecture, it has a strongly narrative – a dramaturgic – ­element. Ideally, space itself should be the narrative medium. Using space, using light and other ­media, I can lend the relevant content a quite different expression. ­Scenography is dynamic: time plays a major role. 304

Interview with Uwe R. Brückner

What are the distinguishing features of successful s­ cenography? It should reflect the needs of the contents. A good example of this is the National Museum of Natural History in Paris, where the exhibition designers have staged – in a historical ­building – an experience of natural history that actually embraces the architecture. The birds are housed right at the top of the building in a large hall, for example, and the marine creatures right at the bottom. That may sound banal, but it is implemented in a very subtle way. On the entrance level, there’s a large train of stuffed animals that looks like the one entering Noah’s ark. It’s an injunction and a grand gesture; at the same time, it’s representative of the contents of the entire museum. There’s a congenial interplay between the space and everything in it – an example of a permanent exhibition that’s more than twenty years old, but which has lost none of its relevance. Nevertheless, in this period of time, exhibition design has altered a lot. What are the biggest changes? One major change has certainly been the development from an additive to an integrated form. Integrated design means that visitors don’t have a series of descriptions they must read ­consecutively in order to keep up with things. In such cases, viewers are exhausted after 20 or 30 m. An integrated system combines all significant information yet always focuses on the crucial aspect. The exhibition is “staged”, so to speak, a word that was a term of abuse ten years ago, but which has an almost inflationary use today. Another major development has been the arrival of digital media in exhibition design. That has had a great influence on the form of depiction, as well as on our visual ­habits – and not always to the benefit of a project. As far as

Uwe R. Brückner

possible, we try to apply digital media as serving instruments that are scarcely evident. After all, there has been a real paradigm shift in terms of the shelf life of permanent exhibitions. In the past, they were programmed for at least twenty years; today for seven to ten years at most. You have projects throughout the world – not just in European countries, but in China, South Korea, Saudi Arabia. Do differences exist in the acceptance of electronic media? Yes and no. The younger the local target groups are, the closer their attitudes are to ours in the West. The older generation, on the other hand, is usually more attached to tradition. In the Arab countries in particular, there’s still a strong division between the sexes which we have to take into account. Many topics are ­taboo there, of course, and museums have a different significance in terms of the cultural background. You don’t simply go to a museum for pleasure; you do it for didactic reasons – with the school or as part of your studies. But even there, the authorities are increasingly investing in attractive venues for exhibitions with the purpose of securing their viability for the future and keeping skilled employees in the country. In Asia, the situation is somewhat different. In China, for example, museums offer not only cultural advancement; they also serve the purposes of prestige and propaganda. Not uncommonly, there is neither a collection nor a true content. Nevertheless, huge museums (by Western standards) are planned and erected. The number of v­ isitors is at least as important as the actual contents. In South Korea, in contrast, the m ­ useum is more a location for the upper s­ trata of society. But there, too, a great effort is being made to attract a broader public to exhibitions.

How is the consistency of content you mentioned earlier affected, when there are so many different themes – like an automobile museum, the CERN particle accelerator in Geneva or an archaeological exhibition? Part of the assignment for the redesign of the BMW Museum in Munich was to integrate the listed structure by Karl Schwanzer. That’s why we followed his approach of continuing the road in the indoor space and adopted the ramp system of his existing building – a “key” work – in the converted west wing. Theoretically it would be possible to drive a car through the entire museum. What’s more, the joint concept of the designers and curators did not foresee the organisation of the display in a chronological order, but following the individual brand values of the concern. These we grouped together in vertically accessible thematic realms along the system of ramps, which is altogether a kilometre in length. That ensures a constantly shifting perspective of the architecture and exhibits. It also allows the 5,000 m² museum to appear much larger than it really is. In the case of the CERN European particle generator in Geneva, the challenge lay in making investigations of the Big Bang theory in laboratory tests comprehensible in the spatial context. For us as exhibition designers, that required an elaborate induction process in a highly complex topic in order to understand to some extent what we were actually doing. Our aim wasn’t simply to present tangibly recognisable exhibits, but to demonstrate virtual processes. For the spatial design, we applied the researchers’ computer programmes, for example. The spatial model was, in a sense, based on that used in particle physics, and in an associative form, the atmosphere was inspired by the processes taking place in the Interview with Uwe R. Brückner

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BMW Museum in Munich, 2008 Sketches by Uwe R. Brückner for ramp system

BMW Museum in Munich, 2008 Sketches by Uwe R. Brückner for ramp system

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Interview with Uwe R. Brückner

BMW Museum in Munich, 2008 Ramp and walkway system, view towards BMW Plaza

State Museum of Archaeology Chemnitz (smac), 2014: development of concept behind Wall of Everyday Things Design sketch by Uwe R. Brückner

smac in Chemnitz 2014 Full-size mock-up in the office

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smac in Chemnitz 2014 Model of three-dimensional showcases Interview with Uwe R. Brückner

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Interview with Uwe R. Brückner

smac in Chemnitz 2014 smac circulation: conceptual sketches and ­implementation

accelerator. That permitted an easier access to these extremely complex topics. Our leitmotif, “form follows content”, means that the design is always generated from the requirements imposed by the subject matter – the contents. In the case of the State Museum of Archaeology C ­ hemnitz, our task lay in integrating a fascinating exhibition in ­Erich ­Mendelsohn’s listed Schocken department-store building – a genuine icon of the Modern Movement. We wanted to preserve the horizontal character of the individual storeys. What’s more, in accordance with our competition brief, the architects, Auer Weber and Knerer und Lang, developed an impressive multi-functional partition structure between the museum and the façade space. This dividing wall, which functions like a membrane between inside and outside, made it possible for us to design classical, artificially lighted exhibition spaces internally, while allowing the external façade to be experienced in its original form. In the smac project, what kind of collaboration took place ­between the scenographers and the curators on the one hand and the architects on the other? In 2008, international applications were invited to find an exhi­ bition designer for smac. We were awarded the contract and subsequently drew up the brief for an architectural c­ ompetition in conjunction with the client. We developed only a general ­concept for the smac project, simply to define a few parameters for the archi­tecture relating to museum design. For example, at the start, we determined the time frames that should apply on

the various floors. It was also clear to us from the outset that an open access system to them would be needed which would not interrupt the narrative flow. In addition, we wanted to let people experience the verticality of the building. That was above all a response to the content: namely, we had to make the vast period of time – 300,000 years – visible somehow. The jury determined that the best design had been submitted by the consortium Auer Weber and Knerer und Lang, who were declared winners of the competition. What were the distinguishing features of the design? The façade space with the galleries – the dividing membrane wall mentioned previously – and above all the convincing circulation system in the form of a stepped ramp that leads from the bottom to the fifth floor at the very top. On the way, one passes an archaeologic­a l cross-section that corresponds roughly to the period covered by the exhibition. This allowed the creation of the harmonious links that are necessary to avoid any interruption of the narrative flow. That’s something I would describe as design synchronism reflecting the contents. What’s more, in both the concept and the actual design submitted by the architectural collaborative, floor openings were foreseen that form visual links between storeys to allow a vertical reading of the museum, too. Originally, the architects proposed five slightly offset openings with plan forms of different sizes. In later discussions, however, it was agreed that these should be reduced to a central opening to allow the installation of the interactive, vertically mobile map of Saxony in the area of the permanent exhibition. Interview with Uwe R. Brückner

309

smac in Chemnitz 2014 Conceptual studies

smac in Chemnitz 2014 Conceptual sketch: map of Saxony

And how did the smac exhibition concept come about? We developed the basic concept in collaboration with Thomas Spring, who was project manager at that time, and who is now head curator. Fortunately, he drew us into his considerations at an early stage. We then discussed our suggestions for spatial images and mise en scène, mainly in comprehensive workshops with the archaeologists from the State Office. Afterwards, we adapted our proposals accordingly in order to present all the exhibits and the stories behind them in an optimum form. What’s more, the matter of converting a department store into a cultural institution was something that inevitably kept us on our toes.

on for cleaning or assembly purposes and occasionally for VIP events, too. This occurs for only a short time, because otherwise the lighting intensity would be too great. Then there’s atmospheric lighting. With this, it’s possible to introduce different colour tones and thereby generate certain moods. This form of lighting can be used to create a cooler or warmer a­ mbience and thus influence emotions, ­perceptions or the basic atmosphere. Beyond these aspects, there’s a third kind of lighting, namely spot light, with which I can ­i lluminate exhibits in a concentrated form or deliberately create shadows. For smac, we produced an integral kind of soffit lighting that combines all three types. This was developed by the lighting designers, Belzner and Holmes, in a form that was so reduced and attuned to the architecture of the Schocken building that the original spatial impression – with a clear view of the existing soffits – was preserved.

People from other disciplines are also involved in exhibition design – lighting planners, typographers, media designers and so on. When do you turn to specialists from your own team and when to external partners? Some clients choose their own design partners. In the case of the BMW Museum, for example, it was laid down from the start who would be responsible for media. In most instances, though, we help our clients to find the right partners. We then organise a small internal tendering process between different lighting or media planners and select the appropriate specialists in consultation with the clients. In principle, we work with different lighting planners, media and graphic designers so as to ensure the best possible constellation for each task. The same applies to the contents. In Europe, it’s customary for these to be provided by the museum itself, but in other places, we often have to take care of the exhibits, too. What kinds of illumination exist in smac, and what role do they tend to play? There are three main types of lighting for exhibitions. There’s the basic illumination, so-called cleaning lighting, which is switched 310

Interview with Uwe R. Brückner

The colour of the background lighting there changes in a ­certain rhythm. Isn’t that a bit too much atmosphere? Dynamic lighting has the advantage that it captures the attention of visitors. “A lighting change is like a change of scene,” the great Max Keller, head of lighting in the Munich Kammerspiele theatre, once told us students of stage design. The same applies to exhibi­tion lighting. Museum staff should also have a sense of wellbeing and come to terms with dynamic lighting. It’s something that has functioned marvellously for years in the Frankfurt stock exchange, for example. Nowadays you can control and a­ djust such things quite simply with a laptop or even a smartphone. Sometimes you generate atmosphere by means of film, as in the natural history exhibition you’ve just planned for Dhahran, Saudi Arabia. Yes, there we shall project spectacular films on to the enclosing walls of the Natural History Gallery, showing the different

smac in Chemnitz 2014 Sketches for exhibition concept

smac in Chemnitz 2014 Panoramic view of landscape

Interview with Uwe R. Brückner

311

Visitors’ centre at the European Centre for ­N uclear Research (CERN), Geneva: European particle accelerator, 2010; permanent exhibition, Universe of Particles

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Interview with Uwe R. Brückner

climatic zones and the fascinating and largely untouched landscapes of Saudi Arabia. To shoot the films for this project, we had to bring in the media planners from iart and the film director Marc Tamschick and even organise a helicopter and a pilot from Switzerland who could fly through narrow canyons, for example. In addition to the archaeological display in smac, there are exhibitions in the façade spaces with natural lighting. In the Mendelsohn-Schocken gallery, daylight is used quite delib­ erately. There’s a focus on this. That’s why all the Mendelsohn sketches on display there are kept in self-closing drawers to minimise the amount of light to which they are exposed. The models are presented more openly, but also in an air-­conditioned space that is screened off from the visitors’ area by a layer of glass. As a result, after the façade had been refurbished by the architectural collaborative, we were able to restore it externally to its original condition as it looked when it formed part of the Schocken department store. Erich Mendelsohn’s concept, which is strongly oriented to the horizontal façade bands, is effectively brought out by day and by night.

When architects display their own work, the settings often looks much alike. You yourself are an architect as well as a sceno­g rapher. What tips would you give your colleagues? I’d certainly recommend architects to allow their work to be experi­enced spatially – to make their creativity accessible for people to move around in and to exhibit it as an experience in itself. There are occasional examples of this. Some years ago, OMA staged a big exhibition in the National Gallery in Berlin and presented a huge spatial installation in the form of a creative itinerary, the theme of which could be experienced by visitors. Or think of the Herzog & de Meuron exhibition ten years ago in the Schaulager, Basle, which had an interesting three-­d imensional approach in the form of large-scale models that visitors could literally take apart to gain a deeper understanding of the whole design process. As a rule, architectural exhibitions are far too didactic and oriented to conventional art exhibitions. I’m curious to see when an architectural colleague will come to me – and who it will be – to ask whether I wouldn’t like to stage his or her work. Uwe R. Brückner was interviewed by Christian Schittich on 1 July 2014 in the city of Stuttgart. Interview with Uwe R. Brückner

313

BMW Museum in Munich Architect (1973) Karl Schwanzer (Vienna) Architects and exhibition designers Atelier Brückner (Stuttgart) Media productions and interactive installations ART + COM (Berlin) Graphic design and visual identity Integral Ruedi Baur

Hardly any other building ensemble conveys the performance and philosophy of a corporation as effectively as the four-cylinder BMW administrative building and the bowl-shaped BMW museum. The “bowl” however, built more than thirty years ago by Viennese architect Karl Schwanzer, no longer meets the spatial demands of a contemporary exhibition concept. By incorporating the adjacent BMW low-rise administrative building, the available exhibition area was quintupled. This enabled creating an innova­tive museum concept. The guiding idea in Schwanzer’s ­architectural design was the “continuation of the road in an enclosed space.” Atelier Brückner adopted the idea and, based on it, developed a ramp system as central motif for architecture and exhibition which seems to be floating in empty space and connects the new exhibition areas with the “bowl”. Visitors begin their roundtrip in the new museum area housing the permanent exhibition. Along ramps leading below, they descend into a fictitious city. The ­façades of the 13 m tall exhibition houses consist of double satinised clear glazing backlit by more than 1.7 million LEDs. The oversized screens can project diverse images. Each of the seven houses has a motto and identity of its own, with a specific visual appearance as well as a corresponding exhibition design. The individual topic of an exhibition house pervades all building levels. The House of Design for instance deals with the design process of an automobile, from idea to design icon. Point of origin of the three-fold dramatiaation is the kinetic sculpture in the 314

BMW Museum in Munich

inspiration space. The installation consists of 714 m ­ etal ­spheres that are suspended by delicate, flexible steel cables and can assume vehicle shapes t­ ypical for BMW by individual computer control. Beginning in a state akin to brainstorming, the choreo­ graphy moves from associative ideas and geometrical shapes to the illustration of renowned vehicles. The completely black treasure chamber in the House of Design presents design icons that have ­defined BMW’s design until today. Rarities and one-offs are dramatised by directed illumination. Other spaces are based on rather technical inspiration and equipment: a 30 m² media table presents itself as an interactive chronicle of the ­history of BMW. 100 years of company history are ­documented by ­means of texts, pictures and films, which provide information on vehi­ cles and motors. The table can be operated via a multi-touch ­surface ­sensitive to the touch. Despite all multimedia ­inno­vation, ­technology is mostly concealed. The goal is to have visitors inter­ act with the displayed content. All elements can be ­operated intui­tively and react to the presence of visitors. The BMW museum becomes a sensual and surprising experience, rich in its communicated content. Designers had the “unique opportunity to make an abstract brand name tangible – to link it with its history while at the same time demonstrating potential for the future. ­There­fore, there is more to it than just presenting the rich collection of a company. Rather, it is a question of staging the brand within the space of a museum.”

Atelier Brückner

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Atelier Brückner

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Museum of Archaeology in Seró Architects Estudi d’arquitectura Toni Gironès (Barcelona) Site manager Ignasi Gilabert Team Toni Gironès Saderra, Dani Rebugent Structural engineering Boma Impasa, Estudi XV (Barcelona)

In 2007, in the course of drainage work, fragments of megalithic stelae were discovered in the Catalan province of Lleida. The museum built to house these objects is situated on the outskirts of the nearby village of Seró. There it will become an integral part of community life and the surrounding built fabric, which consists largely of functional agricultural structures embedded in the terraced topography. The museum was constructed with only three visible materials, which at first sight lend it a rough appearance. The bays of the concrete skeleton frame are filled with red brickwork. The pavings consist of bricks and brick chippings, and the balustrades and gratings are made of rusted reinforcing steel. 322

Museum of Archaeology in Seró

In the Wine Room, empty corked bottles were inserted in the openings of the cored brick f­ açade, creating a simple form of glazing for the winter months. In summer, individual bottles can be removed to allow ventilation. The exhibition begins with a space containing display panels and smaller objects in showcases, all illum­inated by cylindrical light fittings suspended from the ceiling. Visitors then proceed along a labyrinthine corridor to a room with the 4,800-year-old stelae. Here, wind and mist are perceptible through the layers of the cored brick walls. On leaving this central space on the opposite side, the labyrinthine route continues in the reverse direction to the exit and comes to an end in a cornfield.

Estudi d’arquitectura Toni Gironès

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Museum of Archaeology in Seró

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Patrimonio Wine Museum in Corsica Architects Perraudin Architectes (Lyon), Gilles Perraudin Employees Delphine Blanc, Romain Crozetière, Carine Midoun, Nobouko Nansenet Structural engineering Anglade Structures Bois (Port-Vendres)

The wine museum in the city of Patrimonio in the north of ­Corsica not only serves as showcase for the wine of this cultivation area, but also provides information on production methods as well as the cultural and geographic context. Numerous smaller buildings are tightly grouped around terraced courtyards, stairs, and pathways. On top of a pedestal made of natural stone embedded in concrete, 60 cm strong walls consisting of massive, saw-cut limestone blocks rise upwards. Below the ceiling and ceiling joists, the walls dissolve into blocks oriented perpendicularly to the façade. In front of them, profiled glass is set into the façade, flush to the exterior. This permits light to enter the interiors via a small 328

Patrimonio Wine Museum in Corsica

window band. The stone walls react slowly to temperature c­ hanges and feature only few openings. In combination with the roof planting, this contributes to low temperatures in the interior in the hot summer months, when the majority of visitors is e­ xpected to come. The distribution of spaces across smaller individual ­buildings is also advantageous for a cooling cross-­ventilation. This mode of construction recalls traditional buildings of the region in a modern form. The architects deliberately decided to omit any further insulation or mechanical ventilation and air conditioning technology. A series of pools in the open spaces, in part situated in front of windows, contributes to evaporative cooling.

Perraudin Architectes

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Patrimonio Wine Museum in Corsica

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A limited selection of natural materials, employed in a targeted way, characterise the overall impression of the wine museum. Using local construction materials as far as possible wasn’t always easy, due to subsidising of mainland imports. For instance, a portion of stone blocks was delivered from the Luberon region, since the local quarry had closed. Both exterior and interior walls consist of solid, yet only 12 or 30 cm deep stone blocks. This block construction method already found use in a number of the architects’ other projects.

1 extensive roof planting; sealant layer 20 mm wood sheathing; thermal insulation 2 ≈ 100 mm framing; 40 mm wood sheathing 2 frame, sheet metal, perforated 3 220/140/10/6 mm steel }-profile, welded 4 pergola, wood beams, Aleppo pine 5 232/60/7 mm profiled glass 6 400/250/120 mm limestone block 7 120/240 mm wood beam, European black pine 8 frameless awning windows, welded steel frame

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Archaeological Museum in Vitoria Architect Francisco José Mangado Beloqui (Pamplona) Employees José Maria Gastaldo, Richard Král'ovič, Eduardo Pérez de Arenaza Structural engineering NB 35 SL Ingenieros (Madrid)

Vitoria, in the province of Álava, is the capital of the Basque community in Spain. Erected on a small site within the densely built-up old city centre, the new complex for the archaeological museum adjoins the rehabilitated Bendaña Palace, which dates from the sixteenth century. The two buildings are linked by a common courtyard. The new museum presents a virtually closed front to the street: clad with ribbed bronze sheeting, the façade is interrupted by only a few openings. The building was designed rather like an outsize jewellery casket to form a safe housing for the exhibits. The deep cedar-clad reveals give some indication of the double-skin external wall construction, in which showcases and the technical services for the museum are integrated. 334

Archaeological Museum in Vitoria

Here, the exhibits are displayed like objects in a shop window or showcase. Temporary exhibitions are held on the ground floor. From this level, visitors ascend via a cascading staircase to the permanent displays on the upper levels. There, the exhibition spaces are free of intermediate columns, and the wood finish to all surfaces is almost black. The top storeys are penetrated by five raking light shafts. These elements are in a steel skeletonframe construction clad with translucent glass and are topped by lanterns that e­ xtend above roof level. The shafts conduct daylight into the depth of the museum. Fluorescent tubes integrated within them ensure a pleasing night-time lighting atmosphere for visitors.

Francisco José Mangado Beloqui

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Archaeological Museum in Vitoria

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 1 1.5 mm bronze sheeting, bent to form, matt waxed  2 40 mm conc. slabs 400/400 mm to bear foot traffic PVC supports; 50 mm polyurethane insulation neoprene roof seal; lightweight concrete to falls 320 mm reinforced concrete roof  3 20 mm wenge wood boarding  4 stainless-steel ventilation grating  5 20 mm wenge boarding on battens fixed with 40/40 mm steel angles 50/50 mm steel SHS supporting structure  6 spotlight as direct lighting for showcase  7 fluorescent tube in recess  8 6 mm toughened glass  9 10 mm sheet aluminium 10 1.5/185 mm bronze sheeting with saw-tooth ribs at 150 mm centres, matt waxed 40/40/4 mm steel SHS supporting structure 50 mm polyurethane insulation 150 mm concrete blocks; 75 mm cavity steel bearers; 2 ≈ 13 mm plasterboard 11 20 mm cedar t + g boarding, sealed 12 50/80/3 mm galv. steel RHS window frame fixed double glazing: 10 mm toughened glass + 10 mm cavity + 2 ≈ 6 mm lam. safety glass sheet stainless-steel cover/glazing strip

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Glass Pavilion of the Toledo Museum of Art Architects SANAA (Tokyo), Kazuyo Sejima + Ryue Nishizawa Project management Toshihiro Oki, Takayuki Hasegawa Executing architects Kendall/Heaton Associates (Houston) Structural engineering SAPS – Sasaki & Partner (Tokyo), Guy Nordenson & Associates (New York)

The new glass pavilion at this art museum in Toledo, Ohio, is a study in dematerialisation. Built to house an important collection of glass art plus glass workshop, this single-storey structure stands in landscaped grounds, its fully glazed envelope achieving maximum integration with the natural setting. Glazed inner courtyards pierce the almost square (57 ≈ 62 m) pavilion. ­A rranged behind the glass skin is a series of cellular-shaped rooms with transparent glass walls. The roof seems to hover above, supported on ultra-slim columns of white-coated steel and the non-glass wall e­ lements of some rooms. Each glass panel was cut, rounded and sealed, then fixed into steel profiles set flush with the floor. Sealing strips of Teflon incorporated into these profiles accommodate stress changes in the glass. The interstitial spaces act as a buffer between inside and outside, while air-handling systems integrated in the hollow floor regulate moisture and temperature in the rooms. Transparent white curtains mute the incoming light and further enhance the ethereal effect. 342

Glass Pavilion of the Toledo Museum of Art

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Glass Pavilion of the Toledo Museum of Art

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Glass Pavilion of the Toledo Museum of Art

1 3 mm roofing membrane 110–125 mm XPS insulation 2 mm vapour barrier 50/50/2 mm trapezoidal sheet steel I-section, 255 mm deep 2 steel I-section 330 mm deep 3 5 mm anodised aluminium 30 mm metal fixing 3 mm roofing membrane 15 mm wood composite board fixed to 40 mm insulated sheet metal 2 mm vapour barrier surround profile, 300/80/20 mm steel channel section 4 190/80/12 mm steel angle

 5 thermal separation, 280/60 mm XPS in steel sheet  6 radiant heating panel  7 110/80/10 mm steel angle fixed to 200/10 mm end plate  8 2 ≈ 10 mm laminated glass, vertical joints sealed  9 2 ≈ 13 mm laminated glass 10 acoustic panel, 12 mm white-painted gypsum board 11 76 mm polished cement screed with underfloor heating 2 mm separation layer reinforced concrete floor slab 12 2 mm cover sheet 250/50/10 mm steel-profile edging

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Museum of Modern Literature in Marbach am Neckar Architects David Chipperfield Architects (London / Berlin) Project team Alexander Schwarz (design), Harald Müller (project managment), Martina Betzold (project leadership), Laura Fogarasi, Andrea Hartmann, Christian Helfrich, Hannah Jonas, Barbara Koller, Franziska Rusch, Tobias Stiller, Vincent Taupitz, Mirjam von Busch Exhibition design Element GmbH Architektur Produkt- und Ausstellungsgestaltung (Basle) Structural engineering Ingenieurgruppe Bauen (Karlsruhe)

There can hardly be a more ideal location for a museum of l­iterature than Marbach, since the small serne city on the R ­ iver Neckar has long enjoyed a reputation as a venue for literature. Friedrich Schiller was born here in 1759 and in 1903 the Schiller National Museum was built in his honour on a hill on the outskirts of the city. From this facility there evolved over the years a ­national insti­t ution: the German Literature Archive which has been signalling its presence since 1973 through its own library and administrative building. David Chipperfield Architects have added the Museum of Modern Literature to this ensemble. Here we are presented with a stock of twentieth and twenty-first century literature – treasures which previously lay dormant in the storerooms. The new building blends so seamlessly into its historic setting that it seems as if it has always stood here: a templelike pavilion before the wide expanses of the Neckar landscape concealing the larger part of its volume on the slope and inviting one to stroll and linger along its passages and terraces. Inside, the e­ xhibition rooms themselves have nothing in common with an art ­museum: whereas in the latter paintings or sculptures are 348

Museum of Modern Literature in Marbach am Neckar

enhanced in light-filled gallery rooms with white walls, the rooms of the literature museum are clad in dark tropical timber and focus e­ xclusively on sensitive exhibits in display cabinets. These are exhib­ited at 50 lux, an uncomfortable temperature of 18 °C and a constant humidity of 50 per cent. Each of the six artificially lit rooms – which differ in proportion and room height – is adja­ cent to at least two naturally illuminated ones. Owing to these daylight loggias, the route through the rooms becomes complex and varied. It is up to the visitor to decide whether to drift amid the semi-dark maze of reflective glass cases in which exhibition pieces ­appear to float, or to dwell upon individual exhibits and to examine these more closely. More than 1,300 exhibits have been displayed in the permanent exhibition since it was opened – a tiny fraction given the immense inventories in the whole ­a rchive. Each exhibit is associated with a keyword and an anecdote, relating a story to interested visitors. Another part of the exhibition focuses on the tools and resources of literature – the letters, characters, words, styles. Interactive projections enable viewers to play round with these in an installation.

David Chipperfield Architects

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Museum of Modern Literature in Marbach am Neckar

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David Chipperfield Architects

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Museum of Modern Literature in Marbach am Neckar

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David Chipperfield Architects

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Museum of Modern Literature in Marbach am Neckar

Section scale 1:20  1 semi-finished precast concrete unit   2 250/250 mm reinf. conc. column 1   3 roof construction: two-layer bituminous seal polystyrene rigid-foam to falls perlite filling between upstand beams vapour barrier reinforced concrete roof slab 2   4 ipe wood panel   5 shell-limestone covering in bed of permeable mortar   6 80 mm shell-limestone slabs 730/1,260 mm with 10 mm joints   7 floor construction (south loggia): 30 mm shell-limestone slabs in bed of permeable mortar filter mat; drainage concrete drainage mat separating ­layer polystyrene rigid-foam thermal insulation two-layer bituminous seal foam glass to falls 240 mm reinf. concrete floor slab   8 glazed façade: laminated-timber frame fixed to concrete column 30/200 mm ipe wood glazing bead 30/30 mm ipe wood internal fixing strip ipe wood internal lining to reveal toughened glass internally; lam. safety glass externally   9 shelf and top: ipe wood boarded units (removable) 10 load-bearing plinth wall: precast concrete blocks (390/390 mm) with 10 mm joints; all visible faces sandblasted

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Architecture Firm’s Office and ­Exhibition Space in Shanghai Architects Archi-Union Architects (Shanghai), Philip F. Yuan Employee Alex Han

For their office, the architects selected a warehouse than had originally been used to store fabric. The compound – which consisted of three neighbouring, identical halls – had not been occupied for many years. Their remodelling concept stipulated that the crumbling stucco be removed completely: this revealed the existing brick masonry walls. The roofing of the middle warehouse was also dismantled, and in the process the old trusswork came into view. A large green provides a serene spot for a short break and connects the two converted halls: one of them accommodates the architecture firm, the other, exhibitions. To tie the ensemble together, the architects introduced a porous wall fronting three sides of it. The form of the wall was determined through parametric methods; the folds of silk fabric billowing in the wind served as inspiratin, a reference to the buildings’ previous use. The wall was erected of readily available, hollow concrete blocks. By simply rotating individual blocks it was transformed into a complex structure. This device obscures 356

Architecture Firm's Office and Exhibition Space in Shanghai

the modularity of the conventionally laid blocks and creates an animated effect. Through the variation of the angles – which were attained with the aid of simple cardboard templates – the ratio of transparent areas to closed areas produces an enigmatic aura, enables views in or out, modulates the light entering the compound, and provides protection from the sun. Porosity as a theme appears inside, as well. Two of the design goals were to r­ etain the warehouse character and make it possible to see the roof trusses: to this end, the conference rooms were placed within the space as independent structures. The aesthetic of the simple steel and wood profiles employed harmonises with the existing fabric. The translucent polycarbonate-sheet skin supplies sufficient light. In the conference rooms, similar to the façades, by rotating the frame elements a complex construct is attained. A playful approach to arranging simple elements: this is the m ­ anner in which the architects went about designing their exterior and interior realms.

Archi-Union Architects

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Entrance Hall of the Vienna Technical Museum Architects querkraft (Vienna), Jakob Dunkl, Gerd Erhartt, Peter Sapp Project management Dominique Dinies Employees Corinna Bach, Aleca Bunescu, Christoph Fraundorfer, Robert Haranza, Carmen Hottinger, Lola Rieger, Lisi Wieser Structural engineering Werkraum (Vienna), Peter Resch, Peter Bauer Project management Jan Umlauff

Soon after its opening in 1999, the modern steel-and-glass extension to the museum revealed a number of shortcomings in the indoor environment and routeing. A competition was held to alleviate these problems. The new concept is distinguished by tall sculptural objects – so-called trees of light – the plastic lower s­ ections of which are shaped to provide seating. At the top is a textile membrane that masks the light fittings and acoustic insulation. Assembled on site, these objects open out at the top, yet without obscuring the view of the monumental museum façade. They also house the steel columns and thus conceal the load-bearing structure, so that the glass roof seems to float above the lighted treetops. 360

Entrance Hall of the Vienna Technical Museum

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Joanneum Visitors’ Centre in Graz Architects Nieto Sobejano Arquitectos (Berlin), Fuensanta Nieto, Enrique Sobejano eep architects (Graz), Gerhard Eder, Christian Egger, Bernd Priesching Employees U. Brunner, M. Fenske, M. Görhardt, D. Landt, A. M. Osorio, N. Rostek, D. Schilp, A. Stachelscheidt (NSA); O. Dullnig, I. Espinoza-Tratter, G. Michor, M. Schaberl (eep) Structural engineering Manfred Petschnigg (Graz)

Axonometrics / sections Special forms of cones for illumination of the depot in the second basement 

To mark the 200th anniversary of the founding of the Joanneum, a museum that is scattered about various locations, a visitors’ centre was recently opened in Graz. The concept foresaw the creation of a focal point for three existing buildings grouped about a rear courtyard. The new facilities were to include a foyer and audi­torium, service areas, a museum shop and a library reading room and depot. The architects did not succumb to the temptation of creating a vis­ually striking new object between the carefully rehabilitated existing structures. Instead, they focused their attention on the ­intermediate space between them, a gesture that was effective both architecturally and in terms of the urban planning, and which resulted in an upgrading of the surroundings. Extending between the older buildings is a homogeneous area, beneath which the new spatial programme was realised. The area is punctuated by ­inverted, truncated glass cones scattered seemingly at random about the square. These elements are the central feature of the design. The round glass forms projecting from the ground allow a glimpse 364

Joanneum Visitors' Centre in Graz

of the spaces in the basement below. In the largest of the sunken courtyards, two escalators lead to and from the visitors’ centre. The glass cones are also the dominant feature of the underground level with its otherwise restrained design. Between these light wells, one finds fascinating, fluid spatial situations. The glazing to the cones, which are of various dimensions, is vertical at one point, from where it splays out at an increasing angle about the circum­ ference, lending these volumes a dynamic quality. First and foremost, though, they allow the ingress of daylight into the visitors’ centre and library, as well as creating many visual links upwards; for example, from the study places in the library reading room, which are laid out about the deeper courtyards. The façades of the existing buildings are also reflected in the sloping glass surfaces. At night, in contrast, the urban space is illuminated from below through the cones. These bear a certain resemblance to modern art installations, so that the presentation of works by contemporary artists here, as proposed, would establish a dialogue with them.

Nieto Sobejano Arquitectos, eep architekten

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Joanneum Visitors' Centre in Graz

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 1 35/23/3 mm polished stainless-steel handrail, laser-welded from 3 mm sheet steel  2 glass balustrade/segments of cone: lam. safety glass bent to curve, c.o. 2 ≈ 12 mm low-iron float glass; surface 2 printed with dotted grid (radii of dots increasing downwards); surface 4 in floor depth fully printed; borne horizontally on two sides with adhesive/clasps fixed to steel supporting structure (structural glazing); 24 mm silicone joints; braced by handrail at top  3 stainless-steel angle sealing flange  4 circular sheet-steel supporting structure fixed with adjustable brackets to peripheral reinf. conc. downstand beam; attached metal sections for fixing glazing segments  5 segments of cone/curved low-E glazing: 12 mm low-iron float glass + 16 mm cavity + lam. safety glass, c.o. 2 ≈ 8 mm low-iron float glass; surface 2 printed with dotted grid (radii decreasing towards base); surface 4 in floor depth fully printed; edges ground matt; supported horizontally on two sides; without posts and cover strips (structural glazing); 24 mm silicone joints  6 expanded-metal-mesh soffit cladding heating/cooling elements suspended supporting structure/acoustic mat  7 mastic asphalt, smoothed  8 mastic asphalt on raised precast concrete unit  9 cable for heating gutter

9 The glazing segments of the cones are printed with a dotted grid that decreases in density downwards. In the depth of the floor, the glazing is completely opaque. The skylights set flush with the pavings to the square ­allow natural lighting in part of the darker areas below.

Nieto Sobejano Arquitectos, eep architekten

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Nebuta Museum and Cultural Centre in Aomori Architects molo design (Vancouver), Stephanie Forsythe, Todd MacAllen Frank la Rivière Architects (Tokyo), Frank la Rivière, d/dt Arch (Tokyo), Yasuo Nakata Structural engineering Kanebako Structural engineering (Tokyo)

Red ribbons of steel, reminiscent of a curtain, form the o­ uter enve­lope of the Nebuta Museum in Aomori, a port city in north­ern Japan. Situated behind the striking envelope are an exhibi­t ion hall, a theatre, rehearsal rooms, and a restaurant. The cultural centre is dedicated to Nebuta Matsuri, one of Japan’s largest fest­ivals, on two floors. The giant nebuta figures are made by hand of paper; they are bursting with colour and, on top of that, are illum­inated from within. They represent famed warriors, ­a nimals and demons; the figures – as decorative floats – are carried through the centre of the city each year in ­August. Visitors can observe the magnificent and brightly lit works of art first hand on the darkened exhibition level situated on the second floor. Each year these are replaced anew. A type of tunnel presents the 300-year history of the parade and the figures in numerous photographs and drawings. The architects developed their design for the façade with the same attention to detail as is afforded the nebuta figures – without taking recourse to computer-­supported design. A paper maquette at the scale 1:50 served as the model for the 748 ribbons, which were then 370

Nebuta Museum and Cultural Centre in Aomori

transferred to full scale in sheet steel. Each of the ribbons was formed individually: a machine was developed to attain the respective shapes. The varying silhouettes of the steel ribbons are employed to articulate the façade: in some areas it seems closed, while in others it opens up. In the façade’s upper zone, the individual ribbons are parallel to the edge of the roof and fan out at different angles to the building, taking into account the chang­ing angle of sunlight over the course of the day. Between the mount­ ings, the ribbons rotate around their own axes. It appears as if the wind is causing the ribbons to move – demonstrating what a delicate impression steel can make. The steel ribbons are 12 m high, 30 cm wide and 9 mm thick and are suspended from above; they were each affixed – with leeway – at three additional points so that they can absorb thermal expansion and bending caused by the maritime winds. This outer building envelope cre­ates a peripheral inter­stitial space around a square ground plan, which alludes to the traditional Japanese engawa, or veranda. It constitutes the threshold for the transition from the present day to the realm of the nebuta’s myths and legends.

molo design, Frank la Rivière Architects, d /dt Arch

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Nebuta Museum and Cultural Centre in Aomori

Entrance Entrance hall Museum shop Restaurant/café Exhibition hall Engawa Rehearsal Artist’s space Administration Museum Foyer Theatre Studies Multi-purpose space Void Gallery

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molo design, Frank la Rivière Architects, d /dt Arch

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Pavilion of the XVI. Architecture Biennale in Santiago de Chile Architects Felipe Assadi + Francisca Pulido Architects (Santiago) Exhibition design Arbol Color (Santiago) Employees Pablo Casals, Francisco Duarte

The XVIth biennale in Chile in 2008 was held in the Museum of Modern Art in Santiago. Since the existing building was too small for the entire display, a temporary pavilion was necessary. Its structure consisted of building scaffolding erected to an open layout to provide flexibility. The façade was constructed with interwoven recycled aluminium-zinc strips formerly used as solar screening. The manufacturer has also developed a method of preparing the metal in such a way that it can be reused without a high-energy melt-down process. Even the internal carpeting consisted to 80 per cent of recycled textiles. After dismantling the structure, all elements found a further use – even the cardboard furniture. 376

Pavilion of the XVI. Architecture Biennale in Santiago de Chile

Felipe Assadi + Francisca Pulido Architects

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Pavilion of the XVI. Architecture Biennale in Santiago de Chile

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1 110/110/12 mm aluminium-zinc post 300 mm long 2 blind rivet 3  Ø 80/1.6 mm aluminium-zinc tube 600 mm long (previously a sunscreen element), with polyester coating 4 0.5 mm aluminium-zinc strip, ­partially perforated (previously a ­sunscreen element) 5 cotton fabric coated with t­ hermoplastic 6 aluminium scaffolding tubes 7 0.2 mm polyester-cotton fabric ­covering 8 carpet (80 per cent recycled ­material) 9 18 mm perforated plywood, painted

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Felipe Assadi + Francisca Pulido Architects

379

Porsche Museum in Stuttgart Project management Delugan Meissl Associated Architects (Vienna), Martin Josst Architects (execution planning) Wenzel + Wenzel Architects (Stuttgart) Concept behind the exhibition design hg merz architects museumsgestalter (Stuttgart) Structural engineering Leonhardt, Andrä und Partner Beratende Ingenieure (Stuttgart)

The new museum sets a bold architectural accent in a ­hetero­geneous industrial environment. The volume containing the ­exhibi­tion is based on a polygonal plan and is clad in white-coated, lozenge-­ shaped aluminium panels. It is raised above a flat plinth structure that houses the foyer, restaurant and openly visi­ble m ­ useum workshop. The gently sloping forecourt area – covered by this cantilevered exhibition structure – provides access to the sunken ­entrance. Much of the sense of weight of the raised steel v­ olume is relieved by the polished stainless-steel sheeting on the under­ side, which creates changing reflections of the forecourt, plinth and staircase tracts. The view upwards from the foyer to the web-like ­glazing overhead heightens this effect, arousing the ­interest of visitors and inviting them to proceed further. ­L eading through this partly glazed access strip is a central staircase with 380

Porsche Museum in Stuttgart

two flanking escalators. The route narrows again: one passes from the brightly lit foyer through a reflecting intermediate zone into the broad, white museum landscape with its gently sloping ramps and stairs. The spatial load-bearing structure of the exhibi­t ion volume, which seems almost to float in the air, consists of peripheral trussed girders that extend over the full height of the building, with three-dimensional beam grids in the floor and roof planes. The latter have an average span of 60 m and cantilever out by as much as 50 m. The structure also has to accommodate horizontal movements of up to 8 cm. This flexurally rigid upper volume is supported by three cores with a total of five vertical and raking piers. With the aid of a para­metric computer model, the planning of each element was integrated into the overall system.

Delugan Meissl Associated Architects

381

Site plan   scale 1:3,000

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Porsche Museum in Stuttgart

Spatial load-bearing structure: steel peripheral trussed girders and beam grids; cores: selfcompacting, high-strength prestressed concrete with steel elements; plinth: point supported reinforced concrete flat slabs/wall-like girders; combined pier and slab foundations.

Delugan Meissl Associated Architects

383

Section Scale 1:1,000

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Plan at intermediate level Plan at entrance level scale 1:1,000 1 Foyer 2 Restaurant 3 Café 4 Shop 5 Museum workshop 6 Mechanical services 7 Deliveries 8 Garage access

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384

Porsche Museum in Stuttgart

Exhibition layouts scale 1:1,000 1 2 3 4

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Delugan Meissl Associated Architects

385

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Porsche Museum in Stuttgart

Exhibition design The restrained, largely monochrome design of the exhibition by hg merz refrains from distracting media effects. It relies entirely on the colourful exhibits, the background to which is formed by seamlessly joined, mineral-based sheeting with a white finish. Visitors can follow a spiralling route through the space via a series of ramps that lead to a gallery at the end, or they can stroll freely about the exhibition landscape. A prologue wound round the circulation strip describes the activities of Ferdinand Porsche prior to the creation of his car brand. This is followed, in a recess around the edge, by a chronological depiction of the history of the product from 1948 onwards. Here, a black, light-absorbing background brings out the effect of the various models. Scattered along this route, special exhibits, showcase presentations and research terminals serve to illustrate individual themes. In accordance with the concept of a mobile exhibition, most of the vehicles on show are in running order, and their participation in vete­ran rallies is foreseen from time to time. All exhibits are freely accessible to visitors.

Visitors’ route Delugan Meissl Associated Architects

387

Museum and Exhibition Centre in Veenhuizen Architect Atelier Kempe Thill (Rotterdam) Employees David van Eck, Teun van der Meulen, Cornelia Sailer, Sebastian Heinemeyer, Kingman Brewster, Jeroen Heintzbergen, Takashi Nakamura Structural engineering ABT (Velp)

For the renovation of this listed prison campus in Veenhuizen, the architects’ guiding principle was to recreate the historic mise en scène. The concept not only involved opening the classicist building complex – located 170 km north of Amsterdam and long isolated from the outside world – to the public, but also telling of the history of its architectural elements. Planned in the early nineteenth century as a reformatory for the “uncultivated underclass” to be visited of one’s own accord, it soon evolved into a penal colony whose occupants were under lock and key. It was not until recent years, when the conversion of some of its parts was already under way, that its historic significance as ideal 388

Museum and Exhibition Centre in Veenhuizen

city came to light. The Courtyard for Handicrafts, a collection of small workshops to keep the prisoners occupied, was converted to a ­museum and centre for historic handwork. First the sheds and appendages that had accumulated over the years were removed, re-establishing the original, rigid character. Fixed structural glazing 4 m in height, with doors of black enamelled reflecting glass, closes in the gaps left by the demolition, and is legible as a new layer. Due to its impressive roof structure, the old blacksmith’s shop is best suited to serve as a museum space. Detailed with restraint and bearing a unified colour concept – even the floor is white – the space is now a blend of new intervention and existing building.

Atelier Kempe Thill

389

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Museum and Exhibition Centre in Veenhuizen

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The refurbished museums and handicrafts complex is grouped around the former Courtyard for Handicrafts – covered in concrete paving and gravel surfaces – and makes up only a small part of the listed ideal city Veenhuizen. While a large adjacent courtyard to the north still serves as a prison and a further building nearby has served the same purpose since 2005, the new Courtyard for Handicrafts will host various functions. In addition to the museum in the former blacksmith’s shop, it accommodates workshop buildings in which people with handicaps will be employed.

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Atelier Kempe Thill

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Museum and Exhibition Centre in Veenhuizen

brickwork (existing) 3 mm aluminium sheet, bent to shape EPDM sheeting 5 mm steel sheet, galvanised, welded 140 mm steel channel rockwool thermal insulation 2 mm aluminium sheet, bent to shape 10 mm adhesive anchor bolt door closer 41/5 mm steel section, coated 100/30/4 mm steel RHS door: tubular steel profile all sides 10 mm toughened glass pane, back side enamelled black 45 mm air cavity 35 mm PU rigid foam board 12 mm plywood 2 mm aluminium sheet, powder coated, attached with adhesives wooden window frame (existing) 2 mm polyurethane coating 70 mm underfloor heating screed 11 mm thermal insulation; screed (existing) 2 mm aluminium sheet, bent to shape 180/180/16 mm steel angle, galvanised grating 5 mm steel sheet, concealed connection silicone seal, black glass adhered to aluminium extruded section double glazing: 12 mm toughened glass + 12 mm cavity + 10 mm toughened glass fin: 148/10 mm steel RHS and 74/20 mm steel RHS, welded 2 mm aluminium sheet, coated HEB 120 steel section door handle: Ø 25 mm tubular stainless steel

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Exhibition Building in Busan Architects Mass Studies (Seoul) Employees Cho Minsuk, Kisu Park, Joungwon Lee, Hyunseok Jung, Sanghoon Lee, Young Kim, Younkyoung Shin Structural engineering Teo Structure (Seoul)

Designed and realised in just ten months, this building’s irregularly shaped massing cantilevers over the solid plinth. The façade’s vertical foil cushions make the large volume appear lightweight. Its translucent ETFE membrane is illuminated from within at night. A real estate showroom (for up to seven show flats) is paired up with cultural amenities. The interior is clearly organised: parking and services occupy the plinth zone, and complexly interlocked non-profit and cultural offerings the next two levels. Event spaces are inserted as volumes in the interior landscape, through which a variety of stairs and paths lead. The neutral exhibition space on the third storey is in marked contrast to the dynamic sequence of spaces below it. 394

Exhibition Building in Busan

Mass Studies

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Exhibition Building in Busan

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397

Mercedes-Benz Museum in Stuttgart Architects UNStudio (Amsterdam) Museum concept/Exhibition design hg merz (Stuttgart)

Alongside its main works located in Untertürkheim, Stuttgart, ­Mercedes-Benz has created a monument to its brand image, its history and above all its automobiles. Interwined spaces, created by the double-­helix structure, facilitate switching from one ­exibition vector to another. The museum entrance is lifted up from the ground surface by one storey in order to elevate the ­museum function from its industrial surroundings. Accompanied by audio-­v isual sequences, a lift brings visitors from the atrium to the uppermost floor where the circuit through the ­building begins. The clover leaves circle around a triangular atrium, forming five horizontal levels which each consist of a one- and a two-storey section. The five two-storey Legend rooms which are oriented ­towards the atrium display the highlights of the company’s history – the legendary Mercedes brand – in chronological order. The five single-storey collection rooms – the ­Collections – ­oriented towards the outside are thematically arranged and form the counterpart to the Myth Spaces. Cross linkages on each level permit visitors to create an individual route through both units. The tour culminates in a spectacular finale in the exhibition section entitled Races and Records. The roughly 80 m long Illustrated Chronicle is adapted to the curved external wall. Its sub­structure consists of steel consoles which serve as fixtures for aluminium frames suspended between them. These carry the facing and provide fastening points for twenty-seven showcases featuring pictures or objects (exchangeable if ­necessary). Their built-in boxes contain all technical components, such as projectors, glass-fibre lights, illum­inated frames and fluorescent tubes. The photographs placed in the showcases are rastered and printed on to two consecutive panes of glass. The bright raster dots are 398

Mercedes-Benz Museum in Stuttgart

located on the front pane, with the darker ones on the rear pane in order to create a sense of depth. A third pane featuring lettering is placed in front of it. An illuminated frame is placed behind the panes which consists of two fluorescent tubes and an acrylic glass diffusion panel with white raster dot print to reflect the light. The number of raster dots thus regulates the light intensity to counter­balance the different levels of brightness. The showcases featuring objects only have a front pane of glass to display lettering. Its rear wall illuminates and bears the exhibits. ­Behind each object, the illum­inated rear wall is coated with a grey surface so it does not dazzle viewers. Glass-fibre spotlights in the ­upper showcase cover direct the light with total accuracy on to the objects. In addition, the ­entire display cabinet is uniformly ­i lluminated by a fluorescent tube. The Workbenches – 11 m long tables – ­focus on getting across the most important technical and creative inno­­vations. Exhibits, texts, graphics and films present a detailed asses­sment of topics, such as the compressor and diesel technology as well as the development of ABS and airbag. The ­Workbench casing is composed of up to forty components. H ­ owever, their surfaces a­ ppear seamless, yet are visually divided by a designed ­placement of grooves relating to exhibits and featured illustrations. The ­company’s global expansion forms the centrepiece of Myth 6 ­Global and Individual. Five vehicles with high mileage demon­strate the international flair and individuality of the brand. The media ring hovers above this setting: including forty-eight monitors, with a diameter of 19.5 m and weighing 11.5 tonnes, it comprises the most impressive built component of the museum interior. When visitors watch the installation for a couple of minutes, they can experience the sun’s movement across the globe.

UNStudio

399

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a Mercedes-Benz Museum b Piazza c Open-air arena d Mercedes-Benz Centre

1 Exhibition: Fascination of Technology 2 Services 3 Store 4 Route to Mercedes-Benz Centre 5 Main entrance

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Mercedes-Benz Museum in Stuttgart

 6 Foyer  7 Atrium  8 Space over Fascination of Technology area  9 Caféteria 10 Hall 11 Space over atrium 12 Steep curve / Races and Records (Myth 7) 13 Administration

14 Void over steep curve 15 Stands 16 Myth level 17 Ramp between myth levels and Illustrated Chronicle 18 Collections level 19 Space over myth area 20 Arrival platform 21 Start of exhibition (Myth 1) 22 Events level 23 Roof terrace

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Mercedes-Benz Museum in Stuttgart

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lining with air-bag material 5 mm foam on 13 mm chipboard 19 mm medium-density fibreboard strips 60/40 mm aluminium RHS supporting structure 3 mm sheet-steel built-in casing, screw fixed through oblong holes  4 15/15/3 mm aluminium angle for screw fixing showcases to inbuilt casing  5 anodised-aluminium showcase frame  6 6 mm transparent polycarbonate sheet, printed  7 5 mm float glass, screen-printed  8 6/10 mm matt perspex, printed (picture/object showcases)  9 illuminated frame system: 10 mm matt-perspex ­diffusing pane, printed; rear-lighted top/bottom 10 MDF closing strip/joint; white satin-painted 15 ­finish 11 3 mm sheet-metal cladding, painted 12 projector 13 adjustable glass-fibre spot 11 14 6 mm translucent perspex diffusing pane 15 fluorescent tube 16 recess for haptic element 17 showcase 18 media station 19 pull-out showcase 20 monitor with film of exhibits (folding down) 21 micro-cinema 22 synthetic ceramic surface 23 composite wood board backing 24 cross-current ventilation 25 cladding to monitor (removable for inspection) 26 ventilation holes 27 60/30 mm steel RHS brackets for monitor 28 loudspeaker 29 perforated, bead-blasted sheet stainless steel, painted white 30 10 mm non-reflecting toughened flint glass (removable for inspection) 31 glass-fibre spot, adjustable 32 10 mm white perspex diffusing pane 33 screen (removable for inspection) 34 fluorescent tube (removable for inspection)

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Las Arquerías Documentation Centre in Madrid Architects Aparicio + Fernández-Elorza (Madrid), Jesús Aparicio Guisado, Héctor Fernández-Elorza Employees Joaquín Goyenechea Structural engineering Cristóbal Medina/AEPO Ingenieros (Madrid)

Las Arquerías is a state-run architectural documentation centre in Madrid. It is located in the arcades of the Nuevos Ministerios. ­During the 1980s parts of the arcades were converted into an exhibition room by Alejandro de la Sota, but little of this now remains inside. This recent project provided a new lecture hall and underground vaulted exhibition room. Access to the new lecture hall is direct from the Paseo de la Castellana, through a heavy steel sliding door. This leads onto a gallery overlooking an impressive and very simply designed auditorium; this bright, high space, with good, largely glare-free illumination, was created by removing the vaulted ceiling of the underground level. A staircase leads down from the gallery, past a steel-framed projection and interpreting booth, to a basement with a U-shaped liner of exposed concrete. This solid concrete structure takes over the job of cross-bracing the building from the former ceiling. All installations are hidden in the junctions with the existing walls and floor. The hall levels with 404

Las Arquerías Documentation Centre in Madrid

the underground railway station on the north side; this ­permitted an additional entrance that also doubles as an emergency exit. The windows to the arcade above can be screened with translucent blinds and/or heavy, black velvet curtains to produce varying light moods and cater for different functions. A lifting platform serves as a stage for the speakers, and also as a service lift for the slightly lower-lying vaulted space on the south side. Fold-out stairs either side of the platform provide an a­ lternative. A 2.35 m high horizontal slit under a 1 m thick concrete beam leads down into the underground part of the documentation centre. This long, linear room, which was used as a railway tunnel until 1955, was carefully converted into an exhibition space, and all technical systems hidden behind the half-height doubled-up side walls. The most distinctive new element here is a free-standing filigree steel staircase, which pierces the barrel-vaulted ceiling, leading up to the ground-floor exhibition room in the arcades.

Aparicio + Fernández-Elorza

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Las Arquerías Documentation Centre in Madrid

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Projection and interpreting booth section  scale 1:20  1 rostrum, 300/70 mm solid pine on 40/45/5 mm steel }-section  2 railing of 45/5 mm steel flats and Ø 1.5 mm steel bars  3 floor construction: 10 mm steel plate 40/40 mm steel SHS 2 mm sheet steel  4 160 mm steel Å-section  5 120 mm steel Å-section  6 380 mm steel Å-section inserted between existing longitudinal walls  7 25/100/5 mm steel angle  8 50/45/5 mm steel angle  9 5 + 5 mm lam. safety glass 10 20/50/5 mm steel angle 11 steel sheet panel 12 5 + 5 mm lam. safety glass door 13 wall cladding, 5 mm sheet steel on 40/20/2 mm steel RHS and 40/40/2 mm steel SHS 14 emergency lighting 15 2 mm bent steel sheet 16 100 mm sealed granolithic screed Aparicio + Fernández-Elorza

409

Index of Places Australia Melbourne Australian Center for Contemporary Art 23 Austria Bregenz Kunsthaus Bregenz 23 Graz Joanneum Visitors’ Centre 364 ff. Kunsthalle Graz 23 Kleinwetzdorf Heldenberg Museum 290 ff. Vienna Vienna Technical Museum, entrance hall 360 ff. Brazil Rio de Janeiro Museu de Arte Moderna do Rio de Janeiro 20 / 21 Chile Santiago de Chile Pavilion of the XVI. Architecture Biennale 376 ff. China Ningbo Historic Museum 278 ff. Peking International Automotive Exposition Center 27 Shanghai Architecture firm’s office and e­ xhibition space 356 ff. Shanghai Museum 23 Denmark Elsinore Danish Maritime Museum 238 ff. Herning HEART – Herning Museum of Contemporary Art 136 ff. France Lens Louvre-Lens 100 ff. Metz Centre Pompidou-Metz 158 ff. Noumea Centre Culturel Tjibaou 27, 30 Paris Centre Pompidou 23, 33, 50 Cité des Sciences et de l’Industrie 45 Musée du Louvre 15, 33, 39 ff., 51, 96 ff. Patrimonio, Corsica Patrimonio Wine Museum 328 ff. Sabres Pavilion of the Écomusée de la Grande Lande 284 ff. Germany Ahrenshoop Art Museum 82 ff. Berlin Altes Museum 14 / 15 Galeriehaus am Kupfergraben 170 ff. Humboldt Forum 33 Jewish Museum 23, 24 / 25, 51 410

Index

Märkisches Museum 17 Museum Island 49 Chemnitz State Museum of Archaeology 298 ff. Dresden German Hygiene Museum 22 Eisleben Martin Luther’s Death House 230 ff. Frankfurt am Main Deutsches Architekturmuseum 59, 63 Städel Museum, extension 118 ff. Glauberg World of the Celts at the Glauberg 246 ff. Halle Art Museum Moritzburg, refurbishment and extension 188 ff. Hinzert Documentation Centre 294 ff. Karlsruhe Karlsruhe Centre for Arts and Media Technologies 32 Marbach am Neckar Museum of Modern Literature 348 ff. Munich Antiquarium 13 BMW Museum 314 ff. Brandhorst Museum 63, 150 ff. Glyptothek 16, 18 / 19 Pinakothek 17 Nuremberg Albrecht Dürer’s House 44 Stuttgart Mercedes-Benz Museum 33, 35, 398 ff. Porsche Museum 380 ff. Waiblingen Unteres Remstahl Arts Educational Centre + Stihl Gallery 178 ff. Weil am Rhein Vitra Design Museum 27 Wolfsburg Autostadt Wolfsburg 27 phaeno 37, 38 Greece Delphi Thesaurus 12 Israel Jerusalem Shrine of the Book 22, 23 Italy Florence Uffizi 13 Mantua Corte Vecchia of the Palazzo Ducale 12 Naples National Archaeological Museum 16, 17 Rome MAXXI 142 ff. Pantheon 13

Japan Aomori Nebuta Museum and Cultural Centre 370 ff. Kanazawa 21st Century Museum of Contemporary Art 216 ff. Luxembourg Luxembourg Luxembourg City Art Museum 106 ff. Mexico Mexico City Chopo University Museum 164 ff. Netherlands Amsterdam EYE Film Institute 69 Eindhoven Evoluon 27 Maastricht Bonnefanten Museum 23, 42, 43 Oudeschild, Texel Kaap Skil 254 ff. Rotterdam Kunsthal Rotterdam 23, 26 Veenhuizen Museum and Exhibition Centre 388 ff. Portugal Calheta, Madeira Casa das Mudas Arts Centre 210 ff. Russia Moscow Lenin Mausoleum 57 St. Petersburg The State Hermitage 32, 63 Spain Barcelona Can Framis Museum 130 ff. Bilbao Guggenheim Museum 26, 29, 44 La Pizarrera Gallery 184 ff. Madrid Las Arquerías Documentation Centre 404 ff. Mérida Museo Nacional de Arte Romano 23 Pedrosa de la Vega Protective Structure and Museum for ­Archaeological Site 272 ff. San Sebastián San Telmo Museum, extension 266 ff. Seró Museum of Archaeology 322 ff. Toledo Toledo Museum of Art, glass pavilion 342 ff. Vitoria Archaeological Museum 334 ff.

South Korea Busan Exhibition building 394 ff. Sweden Kosterhavet Visitors’ Centre in Kosterhavet National Park 224 ff. Switzerland Giornico Museum La Congiunta 26, 27 Münchenstein Emanuel Hoffmann Foundation, storage space 33 Zürich Swiss National Museum 17 United Arab Emirates Abu Dhabi Ferrari World Park 45 United Kingdom Glasgow Riverside Museum 260 ff London British Museum 15 Crystal Palace 32 Tate Gallery of Modern Art 27, 31 Victoria and Albert Museum, glazed roof 124 ff. Norwich Sainsbury Centre for the Visual Arts 33, 34 Wakefield The Hepworth Wakefield 112 ff. United States Denver Museum of Contemporary Art 198 ff. Fort Worth Kimbell Art Museum, extension 88 ff. Kansas City Nelson-Atkins Museum of Art, extension 204 ff. Milwaukee Quadracci Pavillon­of the Milwaukee­Art Museum 23, 28 New York David Zwirner Gallery 76 ff. Eyebeam Museum of Art and Technology (unrealised) 33 Ground Zero 27 New Museum of Contemporary Art 23, 26, 194 ff. Metropolitan Museum 53 Museum of Modern Art (MoMA) 22, 33, 36, 37 Solomon R. Guggenheim Museum 22, 36, 50 Vatican City State Museo Pio Clementio: Belvedere, statue court 13

Index

411

Index of Architects A ABT 142ff. Adjaye Associates 198ff. Amateur Architecture Studio 278ff. Aparicio + Fernández-Elorza 404ff. Archi-Union Architects 356ff. ARGE Auer Weber 298ff. Atelier Brückner 298ff. Atelier Kempe Thill 388ff. Atelier Peter Ebner + Franziska Ullmann 290ff. B BAAS arquitectura 130ff. Balan, Alois 22 Bartos, Armand 22f. Bellini, Mario 96ff. Beloqui, Francisco José Mangado 334ff. Benoy 45 BIG – Bjarke Ingels Group 238ff. Boullée, Ètienne-Louis 16 Bramante, Donato 13 Buontalenti, Bernardo 13 C Calatrava, Santiago 23 / 28 Cook, Peter 23 D d /dt Arch 370ff. David Chipperfield Architects 9, 112ff., 170ff., 348ff. David, Paulo 210ff. Delugan Meissl Associated Architects 380ff. Diane Heirend & Philippe Schmit Architectes 106ff. Diller Scofidio + Renfro 33 Durand, Jean-Nicolas-Louis 16 E eep architekten 364ff. Estudi d’arquitectura Toni Gironès 322ff. F Fainsilber, Adrien 45 Felipe Assadi + Francisca Pulido Architects 375 Foster + Partners 33f. Fournier, Colin 23 Frank la Rivière Architects 370ff. G Gehry, Frank O. 9, 26ff., 44 Goodwin, Philip 22 Grossmann, Jiri 22 Gull, Gustav 17 H Hartwig N. Schneider Architekten 178ff. HENN 27, 32 Herzog & de Meuron 27, 31ff., 313 Hoffmann, Ludwig 17 I Imrey Culbert 100ff.

412

Index

J Jean de Gastines Architectes 158ff. K kadawittfeldarchitektur 246ff. Kalff, Louis Christiaan 27 Kendall / Heaton Associates 88ff., 342ff. Kiesler, Friedrich 22f. Klenze, Leo von 16ff. Knerer und Lang 298ff. Kohn Pedersen Fox Associates 36f. Koolhaas, Rem 23ff. Kreis, Wilhelm 22 L Libeskind, Daniel 23ff., 51 M Mader, Bruno 284ff. Marsh, Randell 23 Mass Studies 394ff. Mecanoo 254ff. Mendelsohn, Erich 298, 309 molo design 370ff. Moneo, Rafael 23 MUMA 124ff. N Nieto Sobejano Arquitectos 188ff., 266ff., 364ff. O OMA 313 P Paredes Pedrosa Arquitectos 272ff. Paxton, Joseph 32 Pei, I. M. 36ff., 51 Perraudin Architectes 328ff. Q querkraft architekten 360ff. R Ramos, Elisa Valero 184ff. Reidy, Affonso Eduardo 20ff. Renzo Piano Building Workshop 9, 23ff., 50, 88ff. Ricciotti, Rudy 96 Rogers, Richard 23, 50 Rossi, Aldi 23, 43 S SANAA 100ff., 194ff., 216ff., 342ff. Sauerbruch Hutton 150ff. Schiantarelli, Pompeo 16f. Schinkel, Karl Friedrich 14ff. schneider + schumacher 118ff. Schwanzer, Karl 305, 314 Selldorf Architects 76ff. Shchusev, Alexei 57 Shigeru Ban Architects 158ff. Staab Architekten 82ff. Steven Holl Architects 136ff., 204ff. Stone, Edward Durell 22

T Taniguich, Yoshio TEN Arquitectos Tonghe, Xing Turrell, James U UNStudio V VON M W Wandel Hoefer Lorch + Hirsch White arkitekter Wood, Roger Wright, Frank Lloyd Z Zaha Hadid Architects Zumthor, Peter

37 164ff. 23 23 33ff., 398ff. 230ff. 294ff. 224 23 22, 50 37f., 142ff., 260ff. 23

Index

413

Picture Credits The authors and publishers would like to express their sincere gratitude to all those who have assisted in the production of this book, be it through providing photos or artwork or granting permis­sion to reproduce their documents or providing other information. Photographs not specifically credited were supplied from the archives of the architects or the magazine DETAIL, Zeitschrift für Architektur + Baudetail. Despite intensive endeavours we were unable to establish copyright ownership in just a few cases; ­however, copyright is assumed. Please notify us accordingly in such instances. Aerial Photography Inc.: p. 90 top; Alda, Fernando ­(S-Seville): p. 185, p. 186 left, p. 186 right, p. 271 top; Alda, Fernando ­(S-Seville), © VG Bildkunst: p. 187; Baan, Iwan (NL-­Amsterdam): p. 102, p.  103 bottom, p. 113, p. 114, p. 115, p. 116, p. 117, p. 144 bottom, p. 195, p. 279, p. 280 top, p. 280 bottom, p. 282 top, p. 282 bottom, p. 283 top, p. 283 bottom; Bergeret, G ­ aston (­ F-Paris): p. 285, p. 287, p. 288 top, p. 288 bottom left, p. 288/289 bottom; Biblioteca A ­ mbrosiana, Codex Atlanticus, fol. 812 r / 296v – a: p. 10; Bollhorst, Mark: p. 73 bottom; Braun, Zooey (G-Stuttgart): p. 231, p. 233 top, p. 233 bottom, p. 234, p. 235, p. 236 top, p. 236 bottom, p. 237; Bundesarchiv Koblenz: p. 57 (image: 102-01169); Buck, Marcus­(G-Munich­): p. 316, p. 321 centre left, p. 321 bottom left; CanStockphoto: p. 29 top (kyolshin), p. 44 top (borjalaria), p. 45 top (Javier Gil), p. 69 bottom (devi); ­Raffaele Cipolletta / Mario­­Bellini Architects: p. 97; Courtesy of Roland Halbe / Heart: p. 140; Cikajlo, Imre: p. 53 bottom; Courtesy of Roland Halbe­ / The Nelson-Atkins Museum­of Art, 2007: p. 207 top, p. 208, p. 209 top; Courtesy of Andy Ryan / The Nelson-Atkins Museum of Art, 2007: p. 207 bottom, p. 209 bottom; ­Daniell, Thomas: p. 222 left, p. 222 right, p. 223 bottom; Demailly­, Serge (F-La Cadièred’Azur): p. 329, p. 330 left, p. 330 bottom right, p. 331, p. 332, p. 333; Dettmar, Uwe: p. 59, p. 63 bottom; Dragør Luftfoto­ (D-Dragør): p. 240; Hermitage St. Petersburg­: p. 63 top; Estevéz­, Aitor (S-Barcelona): p. 324 top left; Farkas, László­(G-Chemnitz): p. 303; FG + SG fotografia de arquitectura (P–Lisbon­): p. 131, p. 134 right, p. 135, p. 211, p. 212 top, p. 212 bottom, p. 213, p. 214, p. 215 top, p. 215 bottom left, p. 215 bottom right; ­França, Joana: p. 20 – 21 top; Fuchs, Claudia (G-Munich): p. 269 top, p. 270 centre, p. 270 bottom; González, Brigida (G-Stuttgart): p. 381, p. 382 top, p. 382 bottom, p. 385, p. 386 bottom, p. 387 top, p. 402 top, p. 403 top, p. 403 bottom left, p. 403 bottom right; Gordoa, Luis: p. 165, p. 166 left, p. 166 top right, p. 166 bottom right, p. 168 top, p. 168 bottom, p. 169 top, p. 169 bottom; Halbe, Roland­(G-Stuttgart): p. 104 top, p. 105 top, p. 137, p. 138, p. 139 left, p. 141, p. 144 top, p. 146, p. 160, p. 161, p. 271 bottom, p. 189, p. 190 bottom, p. 191, p. 192, p. 205, p. 267, p. 268, p. 269 bottom, p. 270 top, p. 273, p. 274 top, p. 274 bottom, p. 275, p. 276, p. 277, p. 300 top, p. 308, p. 335, p. 336 top, p. 336 bottom, p. 338, p. 339 top, p. 339 bottom, p. 340, p. 341, p. 365, p. 368, p. 369, p. 386 top, p. 399, p. 400 top, p. 402 bottom, p. 405, p. 406 top, p. 406 bottom, p. 407, p. 408; Hawkeye Aerial Photography (USA-­Santa Clara / CA): p. 261; HG Merz Architekten: p. 49 left, Hjortshøj, Rasmus (D-Copenhagen­): p. 241, p. 242 bottom right, p. 244 top, p. 244 centre, p. 244 ­bottom; Holzherr, Florian (G-Gauting): p. 306 right, p. 318, p. 320 bottom, p. 321 top left, p. 321 centre right; Hufton + Crow (GB-London): p. 263 top, 414

Picture Credits

p. 264; ­Hurnaus, Herta (A-Vienna): p. 361, p. 362; Huthmacher, Werner (G-Berlin): p. 247, p. 248, p. 249, p. 250, p. 251, p. 252; iStockphoto: p. 14 / 15 (santirf­), p. 18 / 19 (seewhatmitchsee), p. 22 top (dominiquelandau­), p. 23 top ­(siraanamwong), p. 31 top (godrick), p. 38 top (querbeet­), p. 39 (Annimei­), p. 40 / 41 ­(Matthieu Photo­glovsky), p. 44 bottom (benedek­), p. 45 bottom (Marrfa), p. 69 top (enzodebernardo­); Jungblut­, Michael (­ G-Berlin): p. 299, p. 300 centre, p. 300 bottom, p. 302 top, p. 312 / 313 top; Jusak, Fritz: p. 28 top; Kadatz­, Birgit (­ G-Stuttgart­): p. 304; Kaltenbach­, Frank (G-Munich): p. 159, p. 162, p. 324 top right, p. 324 bottom, p. 326 top, p. 326 bottom, p. 327; Kim Yong Kwan / www. archilife.com: p. 395, p. 396, p. 397 left, p. 397 centre, p. 397 right; Kirkwood, Ken: p. 34 top; Kisling, Annette (G-Berlin): p. 151, p. 153, p. 156 left; Kisling, Annette (G-Berlin), © VG Bildkunst: p. 63 centre, p. 155, p. 156 right; Lehoux, Nic (CDNVancouver): p. 89, p. 90 bottom, p. 92, p. 93, p. 94, p. 95; Lindman, Åke E:son (S-Stockholm): p. 225, p. 226, p. 227, p. 228, p. 229; Madlener­, Thomas (G-Munich): p. 147, p. 148; Malagamba­, Duccio ­(S-Barcelona): p. 349, p. 350, p. 352 top, p. 352 bottom, p. 353 top, p. 354; Marinescu, Iona (GB-London): p. 171, p. 173 top, p. 173 bottom, p. 175, p. 176, p. 177; McAteer, Alan (GB-­Glasgow): p. 262, p. 263 bottom, p. 265; Meuser, ­Philipp: p. 24 / 25, p. 51 top, p. 71; Miguletz­, Norbert (G-Frankfurt­): p. 120, p. 121, p. 122 ­bottom, p. 295, p. 296 top, p. 296 bottom, p. 297; ­Norbert ­Miguletz (G-Frankfurt­), © VG Bildkunst: p. 119; Molo Design­ (CDN-Vancouver­): p. 373; Mongodin­, ­Antoine  /  Musée­ du Louvre­: p. 99; Müller, Stefan (G-Berlin­): p. 83, p. 84 top, p. 84 bottom, p. 86, p. 87; Ogawa­, Shigeo­(J-Tokyo­): p. 374; ­egenaute, Pedro; ­(S-Pamplona): p. 132 top right, p. 132 centre, p. 132 bottom, p. 134 left; Dr. Ing. h.c. F. P­orsche AG (G-Stuttgart): p. 383 left; ­querkraft (A-Vienna): p. 363 top, p. 363 bottom; Renzo­Piano Building Workshop: p. 30 top; Ricciotti­, Lisa (F-Marseille): p. 98 bottom; Richard Bryant / arcaid / ­archenova: p. 143, p. 149; ­R ichters, ­Christian (G-Berlin): p. 26 top right, p. 179, p. 180, p. 181, p. 182 top, p. 182 bottom, p. 183, p. 197 top, p. 197 bottom, p. 255, p. 256, p. 258 top, p. 258 bottom, p. 259, p. 343, p. 344, p. 345, p. 346, p. 347, p. 351, p. 353 bottom left, p. 353 bottom right, p. 400 bottom; Reeve, Ed (GB-London­): p. 199, p. 200, p. 201 left, p. 201 right, p. 202, p. 203; Rijksdienst voor het ­Cultureel ­Erfgoed: p. 27 top right, Roth, Lukas­(G-Cologne): p. 107, p. 108, p. 110 top, p. 110 bottom; R ­ uault, Philippe (F-Nantes): p. 98 top; ­Santa ­Cecília, Bruno: p. 21; ­Santiago Mora, Luca: p. 239, p. 242 top, p. 242 botom left, p. 245 top, p. 245 bottom; ­Schittich, Christian­­(G-Munich): p. 8, p. 101, p. 104 / 105 bottom, p. 123, p. 129 top, p. 129 bottom, p. 174, p. 301, p. 302 bottom, p. 310 left, p. 311 bottom, p. 315, p. 317 bottom, p. 320 top, p. 321 top right, p. 321 bottom right; Schmidt, Jason­(USA-New York): p. 77, p. 78, p. 79 left, p. 79 right, p. 80, p. 81; Schwarz, U ­ lrich ­(G-Berlin): p. 389, p. 390, p. 391, p. 392, p. 393; Spiluttini­, Margherita­­(A-Vienna): p. 291, p. 293 left, p. 293 right; ­Suzuki, Hisao (­ S-Barcelona): p. 103 top, p. 217, p. 220, p. 221, p. 223 top; UNStudio: p. 35 top (Brigida Gonzales) p. 35 bottom; Viertlböck­, Rainer (G-Gauting): p. 152; Williams, Alan (GB-London): p. 125, p. 126, p. 127; Zhonghai, Sheng: p. 357, p. 358, p. 359 top, p. 359 bottom; Zwarts, Kim: p. 42

Authors Hans Wolfgang Hoffmann Born 1970, studied architecture at the TU Berlin with focus on urban sociology. Numerous publications in specialist journals and daily newspapers on urban development and architecture. Author of architectural guides, design manuals and Berlinensia.

Christian Schittich Born 1956, studied architecture at the TU Munich. Became editor-in-chief of the magazine Detail in 1998. Author and editor of numerous specialist books and articles. Content-related ­responsibility for the range of publications by Detail.

Authors / editors of the Buildings section Kim Ahrend Archaeological Museum in Vitoria Sabine Drey Can Framis Museum in Barcelona Casa das Mudas Arts Centre in Calheta, Madeira Chopo University Museum in Mexico City Extension of the Nelson-Atkins Museum of Art in Kansas City Galeriehaus am Kupfergraben in Berlin Gallery in La Pizarrera Martin Luther’s Death House in Eisleben World of the Celts at the Glauberg Judith Faltermeier Refurbishment and Extension of Art Museum Moritzburg in Halle Burkhard Franke Extension of the Kimbell Art Museum in Fort Worth Cosima Frohnmaier BMW Museum in Munich Claudia Fuchs Centre Pompidou-Metz Exhibition Building in Busan Extension of the San Telmo Museum in San Sebastián HEART – Herning Museum of Contemporary Art Louvre-Lens New Museum of Contemporary Art in New York Andreas Gabriel Brandhorst Museum in Munich Documentation Centre in Hinzert Extension of the Städel Museum in Frankfurt am Main Museum and Exhibition Centre in Veenhuizen Heike Gfrereis Museum of Modern Literature in Marbach am Neckar Marion Griese Luxembourg City Art Museum Frank Kaltenbach Danish Maritime Museum in Elsinore Museum of Archaeology in Seró The Unteres Remstahl Arts Educational Centre and the Stihl Gallery in Waiblingen

Sophie Karst Cour Visconti Roofing Structure at the Musée du Louvre in Paris Entrance hall of the Vienna Technical Museum Nebuta Museum and Cultural Centre in Aomori Ningbo Historic Museum Protective Structure and Museum for Archaeological Site in Pedroa de la Vega Nicola Kollmann Museum of Contemporary Art Denver Julia Liese Art Museum in Ahrenshoop Museum of Modern Literature in Marbach am Neckar Visitors’ Centre in Kosterhavet National Park Thomas Madlener 21st Century Museum of Contemporary Art in Kanazawa Danish Maritime Museum in Elsinore David Zwirner Gallery in New York Glazed roof at the Victoria and Albert Museum in London Heldenberg Museum in Kleinwetzdorf Joanneum Visitors’ Centre in Graz Las Arquerías Documentation Centre in Madrid MAXXI in Rome Mercedes-Benz Museum in Stuttgart Patrimonio Wine Museum in Corsica Pavilion of the Écomusée de la Grande Lande in Sabres Porsche Museum in Stuttgart The Hepworth Wakefield Susanne Schaubeck Glass pavilion of the Toledo Museum of Art Eva Schönbrunner State Museum of Archaeology Chemnitz Heide Wessely Architecture Firm’s Office and Exhibition Space in Shanghai Kaap Skil in Oudeschild, Texel Pavilion of the XVI. Architecture Biennale in Santiago de Chile Riverside Museum in Glasgow

Authors

415

The Deutsche Nationalbibliothek list this publication in the Deutschen Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de DOM publishers ISBN 978-3-86922-217-2 (Print) DETAIL ISBN: 978-3-95553-295-6 (Print) ISBN: 978-3-95553-296-3 (E-Book) ISBN: 978-3-95553-297-0 (Bundle) © 2016 by DOM publishers, Berlin www.dom-publishers.com © 2016 by DETAIL – Institut für internationale ArchitekturDokumentation GmbH & Co. KG, Munich www.detail.de This work is subject to copyright. All rights are reserved, ­whether the whole part of material is concerned, specifically the rights of translation, reprinting, recitation, broadcasting, reproduction on microfilms or in other ways, and storage or processing in databases. Sources and owners of rights are stated to the best of our knowledge; please signal any we might have omitted.

Editor Christian Schittich Author Hans Wolfgang Hoffmann Coordination Cornelia Hellstern (DETAIL), Inka Humann (DOM publishers) Editorial Assistance Samay Claro, Natalie Muhr (DETAIL), Adil Dalbai, Stefanie Villgratter (DOM publishers) Drawings (buildings) Dejanira Ornelas Bitterer, Kathrin Draeger, Marion Griese, Daniel Hajduk, Nicola Kollmann, Emese M. Köszegi, Simon Kramer, Alexander Araj, Ralph Donhauser, Martin Hämmel, Kwami Tendar Drawings (parameters) Fabio Schillaci Translation (pages 1 – 75) Clarice Knowles Translation (pages 76 –  416) Peter Green, Elise Feiersinger, Mark Kammerbauer, Clarice Knowles Design Masako Tomokiyo Printing Tiger Printing (Hong Kong) Co., Ltd. www.tigerprinting.hk

The museum as a building type and archi­ tectural space bear a complex relationship to each other. Architecture competes with the exhibited objects on the one hand and gives way to them on the other, enabling the museum to develop as regards content. This manual guide has its point of departure between both poles and targets both design­ ers and users. The aim of the publication is to facilitate communication in the planning process of a museum, whether this is during the conceptual stage, the competition, or the design and construction phase. In addition to an introduction on the archi­ tectural history of the museum, the authors examine the key planning parameters involved in the conception and design of a contemporary museum. Both buildings and projects provide inspiration for individual design work.

ISBN 978-3-86922-217-2

9 783869 222172

ISBN 978-3-95553-295-6

9 783955 532956