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June 2014

04

Impressum

Publisher

Tyler Durden

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Mike Schneider, Albert Innerhofer,

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Photographies

Vito Digger, Max Schwaiger,

James Hauser, Dean Grey, Sasha Grey,

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Another of view

leica-camera.de

0302 03

Nobody goes into architecture because it’s quick and easy.

There’s no siren’s call of money or power, and there’s just a tiny

mouse-squeak promise of fame. Instead, the discipline

requires, well, discipline: an unflinching capacity for late nights,

glacial career advancement, and low pay. Hardship is an integral

part of the professional culture. Many architects take pride in

the inflexible, boot-camp trek to full membership, and with good

reason: The few, the proud, the licensed.

But while it takes 12 weeks of boot camp to make a Marine, it takes

more than a decade to become an architect in the United States,

from college matriculation to the final attainment of licensure.

Year after year, schools produce a host of

hardworking potential architects, eager to make their mark.

How does the profession receive them? Not with an exam and a

license for those who pass it, as law does, but with thousands of

hours of work requirements and a degrading label: intern. That’s

not much of a welcome wagon.

It’s hard to blame Millennials who gripe about architecture’s

cumbersome Intern Development Program (IDP) and an

educational system that too often provides insufficient

preparation for the realities of practice. The average time it takes

in architecture to go from graduation to licensure is 8.5 years

that’s an eternity compared to the one year it takes in law and the

four years it takes in medicine.

Under the circumstances, it’s no wonder that young designers

increasingly question the value of licensure, that a third of those

laid off during the Great Recession say that they will not be

returning to architecture, and that the profession can expect to

face a serious labor shortage in the not-so-distant future.

Tyler Durden

Editorial0303

MY LIFEDESIGNSTORIES

www.poliform.it

MADE IN ITALY

12Chaos. German style.

Banking. German style.www.forum.ua

GeminiResi-dence

Durchgeführt von

D E S I G N P R E I SD E R

B U N D E S R E P U B L I KD E U T S C H L A N D2 0 1 3

‰

INTERNATIONALPLATFORM FOR ARCHITECTUREINTERIOR & PRODUCT DESIGN

Im Auftrag des

Index

GeminiResi-dence

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Pins08 09

PINSBuildings are rooted to their sites, which provides a context, orientation and reliable location.

But what if a building slips from its site? Untethered, it begins to wander on its own, like a raft without rudder.

How does our relationship change w ith an architecture that is continuously shifting from place to place? Do we follow it nomadically, or do we remain rooted to a geographic position and abandon the shell? What happens when an indeterminacy replaces a f ixed site? What happens when foundations wander? Par ticipates are asked to design structures that move periodically or continuously in unpredictable directions, w ithout human control. New contemporar y acoustic darling on the design scene: the James Turrell Skyspace, entitled Tw ilight Epiphany, at Rice University in Texas. Erected in close proximity to the Shepherd School of Music, the space is acoustically equipped for musical performances and as a laborator y for music school students. The py ramid esque structure is made of grass, concrete, stone and composite steel, and has a state of the ar t LED light performance built in that projects on to the ceiling and into the sky through the opening in the roof. The best bit? The roof changes color based on the sun’s movement. The composition of light is the perfect complement to the ambient natural light during sunrises and sunsets, and also doubles as a magnet for design enthusiasts and beautifully peaceful place for thought and introspection for all.

E

N C

N

09

G us Wüstemann is a top firm in the world. With a beautiful view over the lake of

Zurich, all the windows disappear and the inside and outside patio become one.

The inside and the outside are joined leaving only a concrete mass left.

The inside becomes a covered outside space giving a tranquil, hushed Mediter-

ranean feeling in the northern hemisphere. With natural and raw materials like

concrete, travertine or wood, the house takes on a modern zen monastery feel.

Throughout the whole house indirect lights are giving directions, and attract

theperiphery of the spaces rather than the center. Achtung, Wüstemann!

K orora house by daniel marshall architects bridge stretching between the

Hauraki Gulf and the pastoral landscape of Waiheke Island provided a

stunning, and challenging, context in which to design a home. The home was

built to work within the contour of the ridge as an attempt to minimize

the impact on the landscape. The plan form of the house is spaced between two

courtyards, which are bridged by a gabled roof stretched across the long axis.

The courtyards provide the opportunity to shelter from either of the

two dominant winds. The masonry of the home is inspired by the gun emplace-

ments of Stoney Batter. The use of cedar and plywood precarious

weekenders of the island’s past.

S ixty-seven years ago, the city of Hiroshima, Japan, experienced one of the

biggest catastrophes in human history but the future looks bright these days

for the tranquil enclave. The Glass House by NAF Architect & Design is an

Escher-like, simple glass house using a system of stacking large concrete buil-

ding blocks on top of one another, creating what has been dubbed as “slow archi-

tecture.” The building also has a function of landscape which controls wind,

light and green—giving the Glass House a glowing, jeweled aesthetic and

forging a modern future for the once beleaguered city.

O range House Private Residence by Yazgan Design Architecture Construction

This colorful, photogenic private residence located in the hilly Bilkent district

of Ankara has been developed by the Turkish architectural practice Yazgan

Design Architecture Construction. The three-storey 1050-square-meters

‘Orange House’ has a steel structure, double-layered walls and manifold

polychromatic light fixtures including rainbow backlit staircases and circular

recessed f loor lighting.

D angling like a hushed, modern cave above the majestic splendor of the

Mediterranean Sea, in the Israeli city of Old Jaffa, this lofty gem built by Pitsou

Kedem Architects is housed in a building that is hundreds of years old.

The central idea was to restore the structure’s original characteristics:

stone walls, the segmented ceilings and the arches, including the exposure of

the original materials (a combination of pottery and beach sand).

In short, a perfect marriage of old. The modernist aspect is expressed by the

opening of spaces and the creation of an urban loft environment along with the

use of stainless steel, iron and Korean in the various partitions.

In the end, the space oozes romance, history, harmony…and an earthy sexiness.

T he place: Autostadt in Wolfsburg, Germany. The client: Iconic car manu-

facturer Porsche. The architects: HENN. The result: A breathtaking wave-

inspired structure that resembles the curves of the cars Porsche makes.

The sci-fi-esque pavilion is located in the heart of the theme park and is home to

a large open exhibition space for the brand’s contemporary car creations.

From mini-models to life-sized car creations, visitors are briefed on the iconic

car company. The consensus: A contemporary building that is at once both

innovative and spectacular to look at—and be in.

10 11

Pins11

E lectrolux Cube Pop Up Restaurant is on the move! Fashioned across Belgium,

Italy, Russia, Switzerland and Sweden, the restaurant will feed the public for

three months per location. The Cube is created out of laser cut aluminum and

will sit at the top of monuments and water platforms. The Electrolux Cube is

an architectural treat, where the concealed dining table would drop from the

ceiling to bring the public together over great food & goodies.

N ico Van Der Meulen Architects have done it again: the South African design

experts created an open air, modular modern space for their latest client.

The result is a visually striking space,stark in design yet bright and inviting to

the eye.

C ontemporary acoustic darling on the design scene: the James Turrell Skyspace,

entitled Twilight Epiphany, at Rice University in Texas. Erected in close

proximity to the Shepherd School of Music, the space is acoustically equipped

for musical performances and as a laboratory for music school students. The

pyramid-esque structure is made of grass, concrete, stone and composite steel,

and has a state of the art LED light performance built in that projects on to the

ceiling and into the sky through the opening in the roof. The best bit? The roof

changes color based on the sun’s movement. The composition of light is the

perfect complement to the ambient natural light during sunrises and sunsets,

and also doubles as a magnet for design enthusiasts and beautifully peaceful

place for thought and introspection for all.

New contemporary acoustic darling on the design scene: the James Turrell

Skyspace, entitled Twilight Epiphany, at Rice University in Texas. Erected in

close proximity to the Shepherd School of Music, the space is

acoustically equipped for musical performances and as a laboratory for music

school students. The pyramid-esque structure is made of grass, concrete, stone

and composite steel, and has a state of the art LED light performance built in

that projects on to the ceiling and into the sky through the opening in the roof.

The best bit? The roof changes color based on the sun’s movement.

The composition of light is the perfect complement to the ambient natural light

during sunrises and sunsets, and also doubles as a magnet for design

enthusiasts and beautifully peaceful place for thought and introspection for all.

PINS

1111

Die nouvelle vague der Architekturwogen lassen

Die Schönheit gestapelter VorgärtenKopenhagen hat sich in den letzten Jahren enorm verändert. Zwar haben Städte w ie Barcelona mehr Wirbel um ihre städtebaulichen Großtaten entfacht, doch den Dänen ist es im Stillen gelungen, sich mittels Umbau zu verjüngen. Erst w urde der historische Kern Kopenhagens um attraktive Kultureinrichtungen bereicher t, dann w urden die nördlichen und südlichen Hafengebiete rev italisier t, und schließlich schuf man einen völlig neuen Stadtteil, der mit La Défense in Paris Schritt hält. Für Letzteren w urde ein aufgegebenes militärisches Sperrgebiet zw ischen Christianshav n und Flughafen ausgewählt. Nun ist daraus Örestad geworden, eine fünf Kilometer lange Bandstadt, wo dänische und internationale A rchitekten die nouvelle vague der A rchitektur wogen lassen. Später soll Örestad Hauptstadt der Region Öresund werden, des neuen Verbunds von Dänemark und Südschweden. Schon pendeln v iele Kopenhagener täglich über die Öresundbrücke nach Malmö, wo Santiago Calatrava ein neues Hafenv ier tel mit dem Wohnturm Turning Torso akzentuier te.

Während Calatrava längst zu den gefragten Jetset-A rchitekten gehör t, frappier t der Senkrechtstar ter Bjarke Ingels erst seit kurzem die dänische A rchitekturszene. Der v ierunddreißig jährige Kopenhagener, der vor wenigen Wochen den Auftrag für eine Null-Energie-Insel am Kaspischen Meer ergatter te, betreute mehrere Großprojekte in Örestad, darunter V M Husene, ein mit Julien de Smedt entw ickeltes Ensemble markant geknickter Blöcke mit gezackten Balkonen und mehr als achtzig Wohnungsty pen, dass zum architektonischen Manifest des neuen dänischen Bauens aufstieg.

Noch mehr Aufsehen erregte Ingels mit Mountain Dwelling, das er direkt neben V M Husene auftürmte. Es w irkt w ie eine Revolution der traditionellen Blockstruktur - der umlaufende Blockrand w urde zugunsten von terrassenförmigen, übereinandergestapelten Wohneinheiten aufgegeben, das Vorgar tengrün in den Wohnbereich geholt und jeder Fahrzeugstellplatz in das Gebäude integrier t. Ingels‘ bezw ingende Idee war, die elf Geschosse Eigentumswohnungen w ie hängende Gärten über die Parkgeschosse zu schichten. So erblickt man im Süden die terrassier te, begrünte Dachlandschaft, während im Norden eine geschlossene Fassade überrascht, die mit perforier ten A luminiumplatten beplankt ist.

Die Öffnungen lassen nicht nur Licht und Luft ins Parkhaus, sie w urden auch so ausgestanzt, dass von fern die Kontur des Mount Everest erscheint; ein amüsantes Aperçu im f lachen Dänemark.

Örestad ist schon heute eine eigene Stadt mit ungewöhnlich gestalteten Büro- und Wohnbauten, Schulen, Shoppingcenter, Radiostation und Universität. Dazu kommt Jean Nouvels blauer Philharmonie Kubus (F.A.Z. vom 21. Januar).

Dagegen zielt der innerstädtische Wandel Kopenhagens auf möglichst nahtloses Einpassen in die historische Bausubstanz. Das gelang insbesondere am Hafen, wo die Kopenhagener A rchitekten Lundgaard & Tranberg kürzlich das Königliche Schauspielhaus zw ischen die A ltstadt, den Hafen und den Nyhav n-Kanal setzten. Während der mehrfach geschichtete Baukör per mit der traditionellen Bebauungsstruktur korrespondier t, recken sich die auf aufgestelzten gastronomischen Einrichtungen waghalsig über den Hafensaum hinaus.

GeminiResi-dence architektonisch verbindet

kopenhagen seine andersen-träume mit denen des einundzwanzigsten jahrhunderts.

Architekten

Diamond & SchmidtAutor

Josef BruckmannPhotographie

Sasha Grey

12 13

Cultural Centre | Gemini Copenhagen

ließ er w ie Landmarken w irkende Hochhäuser errichten, Speicher in Bürobauten umwandeln und höchst differenzier t gestaltete Wohnblocks bauen.Geuzes Master plan folgt dem Vorhaben der Stadt-regierung, der Innenstadt mit ihrer ty pischen Kirchturmsilhouette Hochhäuser nur im nördlichen und südlichen Hafengebiet zu akzeptieren. Dem entsprechen auch Steven Holls spektakuläre, 65 Meter hohe Turmbauten, die künftig den Fährhafen zw ischen den nördlichen Pieren Langelinie und Unicef-Plads durch eine Brücke verbinden und als weithin sichtbares Wahrzeichen der künftigen UN-City sow ie als grandioses Stadttor dienen sollen. A ngesichts der w ir tschaftlichen Risiken scheint das inzw ischen eher ein frommer Wunsch.

The converted twin silos were raw concrete cylinders, standing 42 metres tall and 25 metres wide.

The hollow cores of the silos are used for

the infrastructure of the building, stairs,

elevators and hallways. The two silos

are connected on each floor, giving the

building a basic layout resemblying the

infinity symbol, ∞.

The two rotundas are capped with a

Texlon roof for natural light, creating a

lobby area as tall as the building itself,

within which residents and visitors can

move up and down.

Die neuen KulturbautenZu den neuen Kulturbauten am Hafen gehör t auch Henning Larsens Oper, deren Dach weit über das Ufer von Christianshav n auskragt.Sie leidet darunter, dass mehrere Wasserstraßen den Weg zu ihr durchtrennen, weil Larsen sie der historischen Sichtachse zum Schloss A malienborg und zur Frederikskirche einfügte. Deswegen müssen Besucher vom Schauspielhaus her derzeit noch eine kleine Bootstour unternehmen. Weiter nördlich, am Rande des Sören Kierkegaards Plads, w ird inwenigen Jahren Rem Koolhaas‘ Dänisches A rchitekturzentrum w ie ein geschichtetes Massiv über dem Hafenbecken ragen. Kopenhagen er war tet von dem Neubau, der kulturelle Einrichtungen, Büros, Wohnungen und Gastronomie aufnehmen w ird, Auftrieb für das unattraktive Stadtv ier tel und den Wandel des Hafens zum Stadtraum.

Das gleiche Ziel w ird auch im Nord- und Südhafen verfolgt. Hier setzt Kopenhagen auf Adriaan Geuze, der die marodeHollandse Waterstad in A msterdams östlichem Hafengebiet rev italisier t hat. So w urde der Rotterdamer Landschaftsarchitekt beauftragt, zusammen mit Julien de Smedt im südlichen Hafengebiet Kopenhagens, das unmittelbar an die Silo-Apar tments Gemini Residence von M VRDV anschließt, ein spannungsreiches Grachtenv ier tel zu entw ickeln.Hier, am Eingangstor zur Ostsee,

13

15

Cultural Centre | Gemini Copenhagen14 15

ArchitectsFriedrich Helmutson Architects

LocationKopenhagen

Project TeamLaura Andreson, Marco Wander, Silvia Fabi,

Year:2011

Artistic Super visionMarco Wander

Artistic Direction A ssistantGottfried Kolar

EngineeringTriumph Group Kopenhagen

ClientElisabeth van Kope

Budget€ 31,052,800

1515

Architekten

Bureau Union

Autor

Joseph Krone

Photographie

Melanie Halsband

in architectura veritas

1716 17

Winery | Antinory San Casciano

The converted twin silos were raw concrete cylinders, standing 42 metres tall and 25 metres wide.

The hollow cores of the silos are used for

the infrastructure of the building, stairs,

elevators and hallways. The two silos are

connected on each floor, giving the buil-

ding a basic layout resemblying the infinity

symbol, ∞.

The two rotundas are capped with a Texlon

roof for natural light, creating a lobby area

as tall as the building itself, within which

residents and visitors can move up and

down.

1717

More and more w inemakers use architecture as a tool for branding their products. The studio A rchea design for A ntinori is one of many examples of this trend.

Italy, and especially Italians, appears to be rediscovering the w ine culture. Countless initiatives would seem to suggest this, like the annual opening of all w ine cellars to the public, w ine tastings, guided tours of the w ineries and, last but not least, a recent tendency of companies and producers who, to promote their labels and increase their prestige, are turning to the large f irms and the stars of the architectural f irmament to build their plants, combining aesthetics w ith functionality.

The building by Mario Botta at Suvereto and the Mezzacorona w iner y by A lber to Cecchetto are just two examples of this trend.

The relationship offers mutual benef its: for their part, the w ine producers, some of them international leaders, become the champions and promoters of extraordinar y architecture, while the architects use the famous w ine brands to improve the quality and prestige of their architecture. This is the case w ith Marco Casamonti and his Florence-based studio, A rchea, and their design for the A ntinori w iner y in Bargino (Chianti). The headquar ters of the A ntinori company, which boasts branches all over the world, w ill move to one of the prettiest areas in Tuscany by the year 2008.

Cantina Antinori SAN CASCIANO

18 19


WinA plot of four teen hectares has been allocated for the construction of a plant that w ill house almost 120 employees and accommodate hundreds of v isitors, plus barrels and rooms for tasting, areas for fermentation and bottling, as well as a librar y and a kindergar ten.

The project presented by studio A rchea is landscape building, an underground shell that merges w ith nature. Just two cuts in the land remain v isible from the road, two discrete incisions that follow the slopes cut through the hills of one of the most beautiful regions of Italy. The internal structure is completely hidden; almost all of it is below ground, and its numerous vaults echo the surrounding hills w ith their rhy thms and forms. The roof of the building is a grass mantle, covered by v ineyards. The rural appearance of the exterior, the miracle of the nectar made from the fruit of the land is thus combined w ith the sacral appearance that has always been associated w ith the idea of w ine, and that is also evoked by the vaults faced in terracotta.

We wonder whether this landscape-building w ill be able to add allure to the name of a w ine that already carries great prestige and, v ice versa, hope that an enlightened client w ill, in true Tuscan tradition, allow the realization of a project that has all the makings of a ‚DOC‘ building. The relationship offers mutual benef its: for their par t, the w ine producers,

some of them international leaders, become the champions and promoters of extraordinar y architecture, while the architects use the famous w ine brands to improve the quality and prestige of their architecture.

This is the case w ith Marco Casamonti and his Florence-based studio, A rchea, and their design for the A ntinori w iner y in Bargino (Chianti). The headquar ters of the A ntinori company, which boasts branches all over the world, w ill move to one of the prettiest areas in Tuscany by the year 2008. A plot of four teen hectares has been allocated for the construction of a plant that w ill house almost 120 employees and ac-commodate hundreds of v isitors, plus barrels and rooms for tasting.

19

nery


We wonder whether this landscape-building w ill be able to add allure to the name of a w ine that already carries great prestige and, v ice versa, hope that an enlightened client w ill, in true Tuscan tradition, allow the realization of a project that has all the makings of a ‚DOC‘ building. The relationship offers mutual benef its: for their part, the w ine producers, some of them international leaders, become the champions and promoters of extraordinar y architecture, while the architects use the famous w ine brands to improve the quality and prestige of their architecture.

20 21


This is the case w ith Marco Casamonti and his Florence-based studio, A rchea, and their design for the A ntinori w iner y in Bargino (Chianti). The headquar ters of the A ntinori company, which boasts branches all over the world, w ill move to one of the prettiest areas in Tuscany by the year 2008. A plot of four teen hectares has been allocated for the construction of a plant that w ill house almost 120 employees and accommodate hundreds of v isitors, plus barrels and rooms for tasting.


We wonder whether this landscape-building w ill be able to add allure to the name of a w ine that already carries great prestige and, v ice versa, hope that an enlightened client w ill, in true Tuscan tradition, allow the realization of a project that has all the makings of a ‚DOC‘ building. The relationship offers mutual benef its: for their par t, the w ine producers, some of them international leaders, become the champions and promoters of extraordinar y architecture, while the architects use the famous w ine brands to improve the quality and prestige of their architecture.

ArchitectsArchea Associati

LocationBargino, San Casciano in Val di Pesa, Firenze, Italy

Project TeamLaura Andreini, Marco Casamonti, Silvia Fabi, Giovanni Polazzi

Year:2012

Artistic Super visionMarco Casamonti

Artistic Direction A ssistantFrancesco Giordani

EngineeringHYDEA

ClientMarchesi Antinori srl

Budget€ 85,052,831

21

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Das Re-design.

Lucky Strike. sonst nichts.

architecture de-sign porsche

24 25

Museum | Porsche Stuttgard

Eigentlich ist das neue Porsche- Museum, das am 31. Januar eröffnet wird,

kein Haus, sondern eine Brücke – zumindest, wenn m an es aus der Perspek tive der

Ingenieure betr achtet. Denn die auf drei Stüt zen schwebende weiße Bl ase,

für die 60 0 0 Tonnen Stahl verbaut wurden (f ü r den Ei ffelt u r m wa r en e s 73 0 0 To n n en),

konnte nur dank modernster Konstruk tionsmethoden aus dem Brückenbau

re a lisiert werden. „Vor fünf Jahren“, so der Wiener Architek t Rom an Delug an,

„ hät te dieses Gebäude so nicht entstehen können.“

25

The central draft concept was the translation of the versatile and vivid brand into the language of architecture.

Das von den Wiener A rchitekten Delugan Meissl Associated A rchitects gestaltete Porsche-Museum f ällt auf. Die faszinierende Ausstrahlung des monolithisch geformten, fast schwebenden Ausstellungskör pers zieht die Blicke auf sich. In der mutigen und dy namischen A rchitektur spiegelt sich die Philosophie des Unternehmens w ider. Es soll ein Zeichen des A nkommens und der A nnäherung setzen und die Besucher mit sanfter Geste w illkommen heißen – so die Widmung der verantwor tlichen A rchitekten

Mit ihrem Entw urf haben es sich die A rchitekten von Delugan Meissl zum Ziel gesetzt, einen Or t des sinnlichen Erlebens zu schaffen, der die Authentizität der Produkte und das Leistungsspektrum sow ie den Charakter von Porsche w iderspiegelt. Zudem soll es dem Porscheplatz eine unver wechselbare Gestalt verleihen.

Das Museumsgebäude aufgrund seines außergewöhnlichen Designs für Aufsehen: Ein dy namisch geformter, monolithischer Kör per w ird von nur drei Betonkernen getragen und scheint über dem Boden und dem Erdgeschossniveau zu schweben. Dieser A nblick w irkt auf den Betrachter ungewöhnlich, aber präsentier t sich gerade dadurch besonders reizvoll, da das Gebäude sichtbar die Dy namik der Marke Porsche in A rchitektur übersetzt. Mit dem neuen Museum ist ein Ort entstanden, an dem Beständigkeit, Traditionsbew usstsein, aber auch Innovationsfreude deutlich sichtbar und spürbar gemacht werden. Bei dem diesjährig erstmals ausgerufenem internationalen Marken- und Designwettbewerb des Rats für Formgebung suchte eine Expertenjur y in 12 Kategorien nach herausragenden Design- und Branding-Leistungen der Automobilindustrie. Das Porsche-Museum überzeugte die Fachkundigen in der Kategorie „A rchitecture & Events“ und gewann damit den begehr ten Titel „Best of Best“. Prämier t w urden die Innenarchitektur und das Ausstellungskonzept des Porsche- Museums, welche in Zusammenarbeit mit den Spezialisten des Stuttgar ter A rchitektenbüros „hg merz architekten museumsgestalter“ erdacht w urden. Wir bedanken uns für diese Auszeichnung, die einmal mehr die Einzigar tigkeit des Gebäudes und die besondere Gestaltung des Ausstellungsrundgangs unterstreicht.

Autor

Tyler DurdenPhotographie

Sasha Grey

26 27

DMA Architects | Porsche Museum Stuttgard

27

DMA Architects | Porsche Museum Stuttgard28 29

ArchitectsWenzel + Wenzel Architekten

LocationGermany Stuttgart

Project TeamDelugan Meissl Associated Architects

Year:2012

Artistic Super visionMartin Jossti

Artistic Direction A ssistantDelugan Meissl Associated Architects

EngineeringDrees & Sommer

ClientDr. Ing. h.c. F. Porsche Aktiengesellschaft

Budget€ 85,052,831

29

Dynamik und Geschwindigkeit, Statik und Stillstand

In einer Art Nestbautechnikmit 12000 unterschiedlich geformten Stahlträgern w urde die große, v ielfach geknickte Halle so konstruier t, dass die 80 historischen Porsche-Modelle in einem einzi gen stützenfreien, hohen Saal auf mehreren Ebenen gezeigt wer den können. Eine spiralförmige Straße, die im selben strahlenden Weiß gehalten ist w ie der In nenraum, führ t in einer leichten, ver w inkelten Steigung an der Außenwand auf die drei Ausstellungsebenen. Unterschied liche Treppen – steile, f lache, schmale, breite – überbrücken zusätzlich die Höhenunterschiede.

Noch spektakulärer als die Innenwelt mit ihrer Gletscherhölen- Schönheit stellt sich das Äußere des auf geschätzte 100 Millionen Euro teuren und rund 24000 Quadratmeter großen Automuseums dar. Mit ihm leistet sich Porsche als Letzter der großen deutschen Autobauer (nach Volkswagen, Daim ler und BM W ) eine Erlebnisarchitektur als Visitenkar te. Auch hier setzen große Knicke und eigenw illige Kanten einen Ge genakzent zur Porsche-Schule der eleganten Kur ven, entw ickeln dabei aber ihre ganz eigene dy namische Linie. Da der Baukör per hochgestemmt ist, bis zu 60 Meter frei schwebend auskragt und eine abstrakt organische Form hat, erscheint er w ie ein monströser Rochen, der im Wasser steht.

Zumal der Bauch des Ausstellungskör pers verspiegelt w urde, was die Meeresassoziation verstärkt. Um das dreibeinige Gebilde zu betreten, das die späte Erfüllung konstruktiv istischer A rchitektur v isionen der zwanziger Jahre zu sein scheint, geht man unter ihm hindurch zu einem geduckten, natürlich weißen, zackigen Lobbygebäude mit Cafe, Shop und gläserner Oldtimer werkstatt. Von hier sticht dann eine spitz zulaufende Rolltreppe direkt in den Bauch des schönen Ungetüms.

Wie gewagt diese A rchitektur tatsächlich war, beschreibt Projektleiter Mar tin Josst mit einer A nekdote. A ls er den Statiker einmal fragte, ob w irklich nichts schief gehen könnte, antwor tete dieser: „Ich habe immer einen vollgetankten Porsche vor der Baustelle stehen.“

Porsche, eine Weltmarke, die Innovation und Tradition konsequent verbindet. Die über 100jährige Firmengeschichte ist geprägt von Leidenschaft und Vision. Mit dem neuen Porsche Museum w ird ein Or t geschaffen, der der selbstbew ussten Haltung und dem hohen A nspruch des Unternehmens architektonisch Ausdruck verleiht. Wissen, Glaubw ürdigkeit und Entschlossenheit sind ebenso sehr Teil der Firmenphilosophie, w ie Mut, Begeisterung, Kraft und Unabhängigkeit.

30 31

DMA Architects | Porsche Museum Stuttgard

Jede Idee w ird als Chance verstanden, sich offensiv neuen Herausforderungen zu stellen, und Grenzbereiche auszuloten. Das Museum verkör per t genau jene Position, Exklusiv ität zu repräsentieren, ohne abzugrenzen, Tradition w iderzuspiegeln, ohne auf den lebendigen Austausch zu verzichten, die Porsche so unver wechselbar machen.

Die zentrale Entw urfsidee bestand darin, die v ielseitige und lebendige Marke in eine architektonische Sprache zu übersetzen. Das Museum weist jene spezif ischen Bedingungen auf, die dem Besucher die Marke Porsche räumlich und sinnlich vermittelt. Dy namik und Geschw indigkeit, Statik und Stillstand werden sowohl an der Konf iguration des Gebäudes als auch an der räumlichen Vermittlung erfahrbar.

Mit dem Museum w urde ein offener, klar def inier ter Or t geschaffen, der sämtliche markenspezif ischen Qualitäten in sich trägt. Tempo und Leidenschaft f inden darin ihre räumliche Entsprechung und können im sinnlichen Erleben eindrücklich nachvollzogen werden.

„Erfahrung“ und „Erfahrbarkeit“ dienten durch jeweilige räumliche Zuweisungen im architektonischen Grundkonzept als primäre Entw urfsparameter. Die scheinbare Gegensätzlichkeit der architektonischen Form steht als adäquate A ntwor t bezogen auf die Funktion des Hauses und der Sonderstellung ihrer Exponate.

»The new Porsche museum rePresenTs our concePTion of archiTecTure which is consTanTly moving in The field

of inTeracTion beTween buildings and Their users.« Roman Delugan

31

32 33

33

in Dialog with A.J. Diamond

dia-log

WR

: W

hen

wa

s th

e fi

rm fo

un

ded

?

DSA

I:

Th

e p

ract

ice

was

fo

un

ded

in 1

975

. It

has

gon

e fr

om a

sol

e

pra

ctit

ion

er t

o a

gro

up

of

asso

ciat

es t

o a

par

tner

ship

. No

w it

’s a

corp

orat

ion

wit

h 1

4 p

rin

cip

als.

Yo

u d

on’t

get

tau

ght

the

bu

sin

ess

sid

e in

arc

hit

ectu

re s

cho

ol. I

t’s

a p

oin

t o

f p

rid

e n

ot

to k

no

w

abo

ut

mon

ey in

arc

hit

ectu

re s

cho

ol. T

he

size

of

the

pro

ject

s h

as

chan

ged

geo

met

rica

lly,

bu

t w

e re

ally

wan

ted

to

keep

th

is a

bo

uti

qu

e, a

com

pan

y th

at w

orks

like

a s

tud

io.

WR

: H

ow h

as

the

arch

itec

ture

of t

he f

irm

cha

nge

d ov

er t

he y

ears

?

DSA

I:

Th

e b

uil

din

gs a

nd

th

e sc

ale

of

the

bu

ild

ings

hav

e ch

ange

d,

bu

t o

ur

app

roac

h h

asn

’t. O

ne

of

the

issu

es t

hat

has

alw

ays

enga

ged

us

and

inte

rest

ed u

s h

as b

een

inn

ova

tion

. Th

e en

erg

y

that

inn

ova

tion

bri

ngs

to

a p

roje

ct is

som

eth

ing

that

is

invi

gora

tin

g fo

r o

urs

elve

s, f

or t

he

clie

nts

, an

d f

or t

he

succ

ess

of

the

pro

ject

. Th

e gr

een

ro

om a

t H

um

ber

Gu

elp

h w

as a

n im

por

tan

t

inn

ova

tion

. Th

e U

niv

ersi

ty o

f G

uel

ph

was

ret

ain

ed b

y N

AS

A t

o

fin

d o

ut

if t

hey

co

uld

gre

en M

ars,

if t

hey

co

uld

in f

act

gro

w t

hin

gs

ther

e. G

uel

ph

bu

ilt

a ch

amb

er t

hat

wo

uld

rep

lica

te t

he

con

dit

ion

s

on M

ars

and

th

en e

xp

erim

ente

d t

o se

e w

hat

wo

uld

gro

w in

th

at

circ

um

stan

ce. O

ut

of

that

cam

e th

is b

io-f

ilte

r w

all o

f li

vin

g p

lan

ts

to c

lean

se t

he

air

that

we’

ve a

pp

lied

no

w t

o fo

ur

or f

ive

bu

ild

ings

.

Th

e ai

r sy

stem

is d

raw

n t

hro

ugh

as

it g

oes

bac

k to

rec

ircu

late

an

d

it g

oes

th

rou

gh t

he

gree

n w

all.

It’

s p

uri

fied

by

the

nat

ura

l pro

cess

and

th

e to

xic

ity

goes

ou

t th

rou

gh t

he

roo

f. I

th

ink

we

may

be

the

firs

t on

es t

o h

ave

don

e th

at.

WR

: L

awre

nce

Pet

er p

oin

ted

out

that

whe

n a

n in

stit

uti

on b

uil

t a

real

ly

grea

t bu

ildi

ng

it m

ean

t it

wa

s p

utt

ing

ener

gy in

the

wro

ng

dire

ctio

n.

An

d hi

s ar

gum

ent

wa

s th

ings

like

St.

Pet

er’s

, whi

ch w

as

buil

t at

the

na

dir

of t

he C

atho

lic

Chu

rch

and

the

Chu

rch

wa

s n

ot a

n a

dmir

able

inst

itu

tion

at

that

poi

nt.

An

d th

ere

are

man

y th

e A

T&

T b

uil

din

g, w

hich

wa

s an

imp

orta

nt

buil

din

g w

hen

it w

as

buil

t, a

nd

soon

aft

er, A

T&

T s

old

it.

DSA

I:

It’s

inte

rest

ing

that

wh

en t

her

e’s

an e

xce

ssiv

e b

uil

din

g, it

can

be

an in

dic

atio

n o

f th

e d

ecay

of

inst

itu

tion

psy

chol

ogic

ally

.

WR

: T

he ic

onic

bu

ildi

ng,

is it

a v

ehic

le t

o m

eet

the

clie

nt’

s n

eed

s,

not

so

mu

ch a

bou

t an

idea

or

an in

stit

uti

on…

DSA

I:

It’s

like

th

e co

utu

rier

s w

ho

do

som

eth

ing

ou

trag

eou

s in

ord

er t

o ge

t re

cogn

itio

n. A

nd

it’s

als

o a

real

est

ate

dri

ve:

the

inst

ant

add

ress

so

that

yo

u c

an le

ase

it. I

t’s

easy

to

do

an

icon

ic b

uil

din

g. I

t’s

only

sol

vin

g on

e is

sue.

It’

s n

ot

reso

lvin

g a

com

ple

x se

t o

f is

sues

.

WR

: It

see

ms

to m

e to

day

I lo

ok a

t th

e w

ork

or a

t ar

chit

ects

an

d I

see

two

scho

ols.

I m

ean

the

re a

re b

uil

din

gs w

hich

cou

ld n

ot b

e p

rodu

ced

wit

hou

t co

mp

ute

rs a

nd

if y

ou t

ook

the

com

pu

ter

away

the

arc

hite

ct

cou

ldn

’t d

o it

. An

d th

e ot

her

scho

ol d

oesn

’t r

ely

on t

hem

. If I

too

k al

l

you

r co

mp

ute

rs a

way

, thi

s of

fice

cou

ld s

till

fu

nct

ion

I a

ssu

me.

In

50

year

s, y

ou g

uys

may

be

obso

lete

or

the

othe

r si

de

may

be

obso

lete

. My

gues

s is

the

oth

er s

ide,

bu

t w

ho k

now

s? A

nd

I th

ink

it’s

a b

ig q

ues

tion

mar

k at

the

mom

ent

but

clea

rly

ther

e ar

e tw

o sc

hool

s an

d yo

u a

re

firm

ly s

itu

ated

in t

hat

seco

nd

scho

ol …

DSA

I:

We’

re t

he

firs

t sc

ho

ol. T

he

oth

er’s

th

e se

con

d s

cho

ol.

WR

: T

he s

tren

gth

of y

our

scho

ol is

tha

t th

is is

how

we’

ve b

een

doi

ng

arch

itec

ture

for

2,00

0 ye

ars

so t

he o

ther

sid

e m

ight

be

righ

t bu

t th

ey’r

e

kin

d of

sta

rtin

g fr

om s

crat

ch, w

hich

is a

rea

lly

dan

gero

us

thin

g to

do

whe

n w

e’ve

got

su

ch a

sol

id lo

ng

tra

diti

on o

f how

we

act

ual

ly c

once

ive

of b

uil

din

gs.

DSA

I:

I th

ink

the

stre

ngt

h o

f th

is p

ract

ice

is, t

hat

we

are

in b

oth

cam

ps,

yet

wh

at y

ou

ob

serv

e is

th

e st

ren

gth

of

the

trad

itio

n.

Arc

hit

ects

hav

e as

pir

ed t

o b

uil

d v

ery

com

ple

x b

uil

din

gs f

or a

lon

g

tim

e. T

he

stad

ium

in B

eiji

ng

and

all

th

ose

com

ple

x ge

omet

ries

that

com

e w

ith

pla

stic

ally

mol

ded

bu

ild

ings

rea

lly

are

com

pu

ter

Interview of the Fourteen Principals of Diamond & Schmitt Architects

© p

hoto

by

Sas

ha

Gre

y

Dialog

Walt Ramilton

3534 35

I th

ink

qu

ite

oft

en t

he

reas

on w

e ge

t b

eau

tifu

l lo

okin

g an

d b

ad

bu

ild

ings

is t

hat

th

ey’r

e re

ally

no

t b

ased

up

on t

he

exp

erie

nti

al

asp

ect,

th

e li

fe o

f th

e b

uil

din

g, o

r th

e re

solu

tion

of

the

pro

blem

s

wit

hin

it, t

hey

’re

bas

ed u

pon

a g

rap

hic

. Yo

u c

an m

ake

bu

ild

ings

grap

hic

ally

gor

geo

us

on p

aper

bu

t th

e gr

aph

ic r

epre

sen

tati

on

of

the

bu

ild

ing

isn

’t a

rep

rese

nta

tion

of

a b

uil

din

g th

at h

as b

een

wor

ked

ou

t fo

r it

s li

fe a

nd

its

exp

erie

nce

. So

I th

ink

the

grap

hic

des

ign

th

at h

as g

reat

bea

uty

can

tra

nsl

ate

into

a b

uil

din

g th

at is

pre

tty

ster

ile.

Bu

t gr

aph

ical

ly it

was

gor

geo

us.

WR

: B

ut

does

tha

t m

ean

the

y’r

e m

utu

ally

exc

lusi

ve?

DSA

I:

No.

Bu

t gr

aph

ics

sho

uld

be

a m

ean

s to

an

en

d in

arch

itec

ture

, no

t an

en

d in

itse

lf.

WR

: I

cam

e a

cros

s th

is q

uot

e by

Ren

zo P

ian

o w

here

he

said

tha

t th

e

pro

blem

wit

h th

e co

mp

ute

r w

as

that

it s

pee

ded

up

the

pro

cess

,

so in

stea

d of

eig

ht w

eeks

for

the

baby

to

com

e ou

t, it

cam

e ou

t in

tw

o

wee

ks a

nd

you

lost

som

ethi

ng.

An

d I

won

der

ed w

hat

role

the

com

pu

ter

pla

ys in

you

r p

ract

ice.

DSA

I:

Du

rin

g d

esig

n, t

he

com

pu

ter

is u

sed

to

rep

rese

nt

an id

ea

or h

elp

to

visu

aliz

e an

idea

th

at h

as a

lrea

dy

bee

n d

eter

min

ed, o

r

alre

ady

exis

ts, a

nd

yo

u w

ant

to s

ee w

hat

it lo

oks

like

, to

try

and

get

a se

nse

of

it s

pat

iall

y. A

des

ign

tak

es a

wh

ile

to e

volv

e. I

t ju

st

req

uir

es t

ime

to c

ook

. An

d s

omet

imes

yo

u c

an t

ell s

omeb

ody’

s

dra

wn

som

eth

ing

on a

com

pu

ter

and

it lo

oks

like

th

ey’r

e ge

ttin

g

to a

n e

nd

poi

nt

very

qu

ickl

y an

d it

do

esn

’t lo

ok li

ke it

’s f

ull

y

reso

lved

, bu

t it

’s lo

okin

g ve

ry f

inis

hed

. Th

e co

mp

ute

r w

ill g

ive

a

kin

d o

f an

au

thor

ity

to a

set

of

idea

s w

hic

h is

ou

t o

f sy

nc

wit

h t

he

leve

l of

reso

luti

on. I

t gi

ves

legi

tim

acy

to it

at

a m

uch

ear

lier

sta

ge.

Th

e is

sue

her

e is

ab

ou

t co

nce

ptu

aliz

atio

n a

nd

wh

at is

th

e b

est

tool

to

con

cep

tual

ize

des

ign

. An

d d

raw

ing,

it’s

a b

it li

ke s

eein

g

face

s in

clo

ud

s. A

s yo

u d

raw

yo

u s

ee n

ew t

hin

gs. T

he

com

pu

ter

do

esn

’t a

llo

w t

hat

imp

reci

sion

.

dri

ven

. It

wo

uld

tak

e eo

ns

to d

raw

ou

t if

yo

u h

ad t

o d

o it

.

WR

: Fo

r th

e yo

un

g T

urk

s, t

hey

wan

t th

e co

mp

ute

r to

cre

ate

the

buil

din

g. S

o yo

u w

rite

an

alg

orit

hm a

nd

then

a s

hap

e co

mes

ou

t.

DSA

I:

Th

ere’

s th

e ab

ilit

y to

pro

du

ce t

hes

e cr

azy

des

ign

s,

wh

atev

er y

ou

r b

rain

or

even

an

alg

orit

hm

can

th

ink

of.

Th

ere’

s

the

abil

ity

to p

rod

uce

rea

list

ic r

end

erin

gs t

hat

look

like

yo

u’r

e

stan

din

g in

fro

nt

of

the

real

bu

ild

ing,

an

d in

fac

t fl

y-th

rou

ghs-

thes

e p

rom

oti

onal

wal

ks t

hro

ugh

bu

ild

ings

wh

ere

you

can

see

ever

y b

it o

f th

e b

uil

din

g lo

ng

bef

ore

any

of

it e

xis

ts. Y

ou

can

det

erm

ine

exac

tly

wh

at y

ou

like

an

d d

on’t

like

. Th

e co

mp

ute

r is

a

po

wer

ful t

ool

. Bu

t it

’s g

ot

so m

any

app

lica

tion

s an

d e

ach

of

them

has

th

eir

pu

rpo

se a

nd

th

e ri

ght

tim

e to

use

th

em. I

t co

mes

bac

k

to w

hat

yo

u t

hin

k ar

chit

ectu

re s

ho

uld

be

abo

ut.

An

d le

t m

e ta

ke

an a

nal

ogy

in t

he

con

tem

por

ary

art

fiel

d. I

wen

t to

an

ex

hib

itio

n

rece

ntl

y an

d it

was

bre

ad t

hat

was

gai

nin

g m

old

. It

was

sli

ces

of

bre

ad a

nd

th

e w

hol

e ar

twor

k w

as t

o w

atch

th

is b

read

ch

ange

an

d

its

form

s o

f m

old

an

d t

he

colo

ur

of

its

mol

d.

Th

at k

ind

sen

sib

ilit

y in

art

is w

her

e th

e ef

fect

is n

ot

det

erm

ined

by

the

arti

st. I

t’s

an a

rtif

act

that

’s d

eter

min

ed b

y th

e

ph

enom

enon

of

its

exis

ten

ce a

nd

its

chan

ge. A

nd

I t

hin

k th

at t

he

arch

itec

tura

l eq

uiv

alen

t o

f th

is is

th

e al

gori

thm

. It’

s go

t n

oth

ing

to d

o w

ith

fu

nct

ion

, it’

s go

t n

oth

ing

to d

o w

ith

th

e ra

tion

al

asp

ects

of

the

life

of

the

bu

ild

ing,

it’s

to

do

wit

h t

he

arti

stic

as-

pec

t. A

nd

th

e se

nsi

bil

ity

abo

ut

arch

itec

ture

no

w is

th

at it

’s

arch

itec

ture

for

art

’s s

ake.

Arc

hit

ectu

re b

y d

efin

itio

n is

n’t

art

in

that

sen

se. T

hey

’re

usi

ng

arch

itec

ture

to

mak

e a

larg

e as

sem

blag

e

of

arti

fact

as

an a

rt o

bje

ct. W

her

eas

we

see

art

as a

way

of

enh

anci

ng

the

bu

ild

ing

wit

h t

he

jud

gmen

ts t

hat

we’

ve b

een

tal

-

kin

g ab

ou

t, w

her

e it

’s in

ser

vice

of

som

eth

ing.

It h

as t

o p

rovi

de

a fu

nct

ion

su

ch a

s a

lab

orat

ory

or a

mu

seu

m o

r

a h

osp

ital

or

a h

ou

se. T

her

e ar

e w

ays

in w

hic

h y

ou

hav

e to

live

in

that

. Th

ese

peo

ple

are

doi

ng

it w

ith

th

e al

gori

thm

or

the

arti

st

wh

o’s

pu

ttin

g a

cow

in f

orm

ald

ehyd

e, it

’s g

ot

no

thin

g to

do

wit

h

the

man

-mad

e co

ntr

ols

of

that

, it’

s as

an

art

ifac

t in

a v

ery

pec

uli

ar

man

ner

. An

d t

hat

is w

her

e th

e d

ivid

e li

es.

WR

: C

an w

e m

ove

on t

o th

e fo

rm o

f all

tho

se b

uil

din

gs?

DSA

I:

Su

re.

WR

: B

ecau

se u

ltim

atel

y th

ey’r

e d

esig

nin

g a

…

DSA

I:

Acc

iden

t.

3535


WR

: I

thin

k th

e w

ay t

he b

uil

din

g is

bu

ilt

is a

big

par

t of

you

r w

ork.

The

arch

itec

ture

is m

ad

e ou

t of

how

it’s

pu

t to

geth

er. S

o it

bec

omes

par

t of

the

char

act

er o

f the

bu

ildi

ng.

DSA

I:

We

are

inte

rest

ed in

th

e w

ay b

uil

din

gs a

re m

ade

and

we

are

inte

rest

ed in

mak

ing

them

du

rabl

e. B

ut

the

ligh

tnes

s in

ou

r

bu

ild

ings

is in

bo

th s

ense

s; t

he

ligh

tnes

s o

f th

e b

uil

din

g as

an

obje

ct, b

ut

ou

r co

nce

rn f

or n

atu

ral l

igh

t. I

th

ink

that

th

at v

ery

mu

ch p

erm

eate

s th

e w

ork.

Rea

lly,

it’s

see

ing

that

as

an

esse

nti

al q

ual

ity

of

spac

e, o

f re

ally

try

ing

to d

eal w

ith

ligh

t in

the

bes

t m

ann

er in

ter

ms

of

the

con

ten

t an

d t

he

con

tex

t. H

ow

we

han

dle

ligh

t-if

yo

u b

rin

g it

in f

rom

th

e si

de

or t

he

top

,

wh

eth

er y

ou

bri

ng

it t

hro

ugh

big

or

smal

l ap

ertu

res

- al

l of

that

I

thin

k re

ally

do

es f

eatu

re v

ery

mu

ch in

ou

r w

ork.

An

d it

has

to

do

wit

h a

kin

d o

f an

att

itu

de

actu

ally

to

des

ign

in t

he

firs

t in

stan

ce

rela

tive

to

pro

gram

. Oft

en a

rch

itec

ts m

ake

the

mis

take

of

bri

ngi

ng

a p

reco

nce

pti

on t

o a

pro

ject

, wh

eth

er it

’s a

set

of

thei

r

pre

occ

up

atio

ns

or a

set

of

styl

isti

c p

reo

ccu

pat

ion

s or

an

…

WR

: Id

eolo

gica

l ap

pro

ach

.

DSA

I:

Am

ateu

rs a

nd

ideo

log

ues

are

th

e sa

me.

An

am

ateu

r h

as a

visi

on o

f a

ho

use

th

ey w

ant

to b

uil

d in

th

e C

arib

bea

n b

ut

that

visi

on is

a c

hat

eau

. Bef

ore

they

had

mon

ey t

hey

th

ou

ght,

“Wo

uld

n’t

it b

e lo

vely

to

live

in a

ch

atea

u?”

Th

en t

hey

hav

e m

oney

and

th

ey b

uil

d it

reg

ard

less

. Th

e am

ateu

r h

as a

pic

ture

in h

is

min

d, a

pic

ture

fro

m a

mag

azin

e. T

he

idea

log

ue

is t

he

sam

e th

ing.

Reg

ard

less

of

the

circ

um

stan

ces

they

bri

ng

thei

r id

eolo

gy

to it

.

Th

e in

stin

cts

abo

ut

shap

e an

d f

orm

th

at t

hey

bri

ng—

th

ey t

end

to im

po

se o

n t

he

pro

ject

. On

e o

f th

e th

ings

th

at w

e sp

end

a lo

t o

f

tim

e d

oin

g is

des

ign

ing

from

th

e in

sid

e o

ut,

wh

ich

is s

pen

din

g a

lot

of

tim

e li

sten

ing

and

try

ing

to u

nd

erst

and

bo

th t

he

fun

ctio

nal

dem

and

s o

f a

par

ticu

lar

pro

ject

, bu

t al

so t

he

atti

tud

es a

nd

go

als

and

cu

ltu

re o

f th

e in

stit

uti

on w

e’re

des

ign

ing,

try

ing

to f

ind

an

arch

itec

ture

th

at is

no

t im

por

ted

fro

m w

ith

ou

t b

ut

actu

ally

fo

un

d

thro

ugh

th

e n

eces

siti

es o

f p

rogr

am, t

he

logi

c o

f th

e op

erat

ion

an

d

the

use

r’s

nee

ds.

An

d t

hen

ou

t o

f th

at d

eriv

e a

form

an

d a

set

of

des

ign

ap

pro

ach

es.

WR

: N

o, it

’s n

ot a

n a

ccid

ent

beca

use

you

’re

gett

ing

a ve

ry c

onsi

sten

t

set

of fo

rms.

The

y’r

e or

gan

ic fo

rms.

It’s

just

an

othe

r m

ean

s of

pro

duci

ng

a d

esig

n a

pp

roa

ch.

DSA

I:

It’s

for

m f

or f

orm

’s s

ake.

It

has

no

thin

g to

do

wit

h

arch

itec

ture

. I t

hin

k it

’s ju

st p

art

of

the

lan

dsc

ape

we’

re in

.

WR

: It

’s g

oin

g to

aff

ect

the

cult

ura

l pro

duct

ion

on

e w

ay o

r th

e ot

her.

TK

Som

erso

n w

rote

a w

ond

erfu

l ess

ay a

bou

t go

thic

arc

hite

ctu

re a

nd

how

he

cou

ldn

’t e

xpla

in it

in a

ny

kin

d of

rat

ion

al w

ay. I

t’s

par

tly

abou

t

fash

ion

; loo

kin

g at

tho

se r

oun

d ar

ches

an

d sa

yin

g th

ey’r

e n

o go

od

anym

ore.

It

real

ly c

omes

ou

t of

thi

s so

rt o

f vis

ual

ta

ste

and

I th

ink

in

arch

itec

ture

ta

ste

is e

nor

mou

sly

imp

orta

nt,

act

ual

ly m

ore

than

sty

le.

I th

ink

styl

e is

the

kin

d of

exp

ress

ion

of t

ast

e bu

t ta

ste

is w

hat

driv

es

arch

itec

ture

at

one

leve

l. N

ot a

t al

l lev

els

but

I th

ink

it h

as

a bi

g im

pa

ct

on w

hat

we

like

.

DSA

I:

Sen

sib

ilit

ies

chan

ge. F

ash

ion

ch

ange

s in

a p

rofo

un

d w

ay.

Eve

ryb

ody

is f

amo

us

no

w. O

nce

up

on a

tim

e th

ere

wer

e m

aste

rs

of

arch

itec

ture

an

d t

hey

wer

e fe

w a

nd

no

w e

very

bod

y’s

a m

aste

r.

An

d it

’s a

kin

d o

f ce

leb

rity

idea

: eve

ryb

ody

can

be

grea

t.

An

d t

he

pro

blem

is t

hat

wh

at d

oes

th

at d

o in

agg

rega

te f

or a

cit

y

if in

fac

t th

ere

are

no

t th

ose

wh

o w

ill m

ake

ever

yday

bu

ild

ings

.

Eve

ryb

ody

has

to

be

a ce

leb

rity

. Eve

ryb

ody

has

to

be

a m

aste

r.

Th

ere

are

no

mas

ters

an

ymor

e b

ecau

se e

very

bod

y’s

one.

Wh

en y

ou

use

th

at e

xtr

aord

inar

y te

chn

olog

y as

a m

ean

s an

d

no

t an

en

d, t

hen

it’s

in s

ervi

ce t

o so

met

hin

g th

at y

ou

’ve

tho

ugh

t

thro

ugh

con

cep

tual

ly a

nd

use

d y

ou

r ju

dgm

ent

on. W

her

eas

if it

’s

sim

ply

th

e d

emon

stra

tion

of

ho

w e

xce

pti

onal

an

d e

xtr

aord

inar

y

you

can

be,

if t

hat

’s t

he

poi

nt

of

it, i

t’s

no

t a

wor

thw

hil

e p

oin

t.

I th

ink

that

th

e co

mp

ute

r is

like

giv

ing

a ch

ild

an

AK

-47.

It’

s to

o

po

wer

ful a

nd

th

ey c

an d

o an

yth

ing

wit

h it

. An

d b

ecau

se y

ou

can

do

it, d

oes

n’t

mea

n y

ou

sh

ou

ld d

o it

.

WR

: A

s I

said

, I’m

ske

pti

cal o

f the

com

pu

ter

and

it’s

imp

act

on

arch

itec

ture

, bu

t th

ere

is a

n a

rgu

men

t, fo

r in

stan

ce, w

ith

the

disc

over

y

of p

ersp

ecti

ve a

nd

the

ren

aiss

ance

tha

t co

nsu

med

arc

hite

ctu

re. I

t ha

d

not

hin

g to

do

wit

h cl

ien

ts o

r fu

nct

ion

s or

an

ybod

y. S

o th

ere

is

pre

ced

ent.

DSA

I:

It’s

tak

en h

old

of

the

pu

blic

con

scio

usn

ess.

Is

it t

he

poi

nte

d

arch

of

tod

ay?

Is it

th

e go

thic

arc

h?

36 37

»iT’s an arTifacT ThaT’sdeTermined by The Phenomenon of

iTs exisTence and iTs change.«a.J. DiamonD

WR

: W

hat

mak

es a

goo

d cl

ien

t? B

ecau

se a

rchi

tect

s al

way

s ta

lk a

bou

t

the

imp

orta

nce

of t

he c

lien

t.

DSA

I:

Th

e b

egin

nin

gs o

f a

good

cli

ent

is o

ne

wh

ose

val

ues

are

sim

ilar

. Th

ey m

ay n

ot

un

der

stan

d a

rch

itec

ture

or

wh

at y

ou

do

bu

t th

ey h

ave

a se

t o

f va

lues

th

at a

re s

imp

atic

o. I

th

ink

that

th

at’s

one

asp

ect

of

it. T

he

oth

er a

spec

t is

th

at w

hil

e th

ey w

ill b

e to

ugh

abo

ut

wh

at t

hey

wan

t, t

hey

’ll a

lso

be

resp

ectf

ul a

bo

ut

the

way

in

wh

ich

yo

u a

ccom

pli

sh it

. Wh

at’s

lost

in t

hat

cir

cum

stan

ce is

an

opp

ortu

nit

y fo

r d

isco

very

an

d c

olla

bor

atio

n.

WR

: I

thin

k w

e of

ten

ack

now

led

ge t

hat

good

cli

ents

mak

e go

od b

uil

d-

ings

. Tha

t a

very

en

gage

d, e

ven

dem

andi

ng

clie

nt

is im

por

tan

t.

DSA

I:

I th

ink

it a

lso

req

uir

es c

ou

rage

on

th

e p

art

of

the

clie

nt.

Som

e h

ave

an e

xtr

emel

y li

mit

ed v

iew

ab

ou

t w

hat

’s p

oss

ible

an

d

you

can

ex

po

se t

hem

to

a m

uch

bro

ader

an

d m

ore

amb

itio

us

sch

eme

in o

rder

to

sati

sfy

thei

r re

qu

irem

ents

, bu

t th

ey m

ay n

ot

hav

e th

e co

ura

ge t

o go

th

ere.

Th

e ar

chit

ect

can

bri

ng

a vi

sion

to

it if

in f

act

ther

e’s

a w

ell-

stat

ed p

robl

em. A

nd

yo

u c

an h

elp

th

em

stat

e th

e p

robl

em. O

ur

clie

nts

are

no

t al

way

s in

div

idu

als

wit

h a

sin

gu

lar

view

. Th

ey a

re s

tew

ard

s fo

r p

ubl

ic m

oney

an

d t

hey

hav

e

a d

iffe

ren

t cr

iter

ia f

or t

hei

r p

erfo

rman

ce.

Lar

gely

it’s

in t

he

nex

t tw

o ye

ars:

is t

his

goi

ng

to c

ome

in o

n

tim

e an

d o

n b

ud

get?

An

d I

th

ink

ou

r ch

alle

nge

oft

en is

to

say,

“Th

at’s

imp

orta

nt

and

th

at’s

ob

vio

usl

y w

her

e w

ere

goin

g to

get

to b

ut

you

’ve

got

to lo

ok 1

0 y

ears

ou

t. Y

ou

’ve

got

to lo

ok 2

0 y

ears

ou

t. W

hat

is t

he

lega

cy o

f th

is p

roje

ct?

We’

ve g

ot

to d

ecid

e w

hat

con

stit

ute

s su

cces

s an

d t

he

def

init

ion

of

wh

at t

hat

su

cces

s m

igh

t

be.

Th

ere

are

som

e cl

ien

ts w

ho

se id

ea o

f su

cces

s w

ou

ld b

e th

at

they

get

maj

or p

ress

co

vera

ge, t

wen

ty m

inu

tes

of

fam

e, b

ut

may

be

that

’s t

hei

r ob

ject

ive.

Th

ere

are

oth

ers

wh

o w

ant

lon

gevi

ty a

nd

wan

t su

cces

s in

ter

ms

of

the

oper

atio

n a

nd

th

ere

are

oth

ers

wh

o

wan

t it

to

hav

e lo

w o

per

atin

g an

d m

ain

ten

ance

co

sts.

I t

hin

k th

at

that

’s a

n in

tere

stin

g th

ing

for

us

to d

iscu

ss w

ith

cli

ents

: wh

at d

o

you

th

ink

succ

ess

is f

or t

his

pro

ject

. An

d t

her

e ar

e lo

ts o

f le

vels

of

succ

ess,

th

e op

erat

ion

al e

nd

, th

e d

esig

n r

ecog

nit

ion

en

d, t

he

de -

sign

pri

ze e

nd

, th

e fu

nd

rais

ing.

We’

ve h

ad e

xp

erie

nce

s w

her

e p

art

of

you

r cl

ien

t is

no

t w

ork

ing

tow

ard

th

e go

od o

f th

e b

uil

din

g an

d

the

life

of

the

bu

ild

ing.

We

love

lib

rari

ans

bec

ause

th

ey li

ve in

th

e

bu

ild

ing.

Th

ey k

no

w t

he

inti

mat

e li

fe in

its

tru

est

sen

se a

nd

th

e

nec

essi

ty o

f a

bu

ild

ing

is t

he

life

of

the

bu

ild

ing.

It’

s n

ot

sim

ply

a

sum

mar

y o

f a

was

hro

om a

nd

a s

tack

an

d a

cor

rid

or. I

f yo

u c

an g

et

tho

se t

hin

gs a

lign

ed, t

he

visi

on, a

nd

th

e p

eop

le w

ho

con

trol

th

e

pu

rse

stri

ngs

, I t

hin

k th

at is

th

e ke

y.

WR

: W

hat

is it

tha

t m

akes

you

r bu

ildi

ngs

look

the

way

the

y do

an

d

do t

hey

just

look

on

e w

ay o

r do

the

y lo

ok d

iffe

ren

t w

ays

for

diff

eren

t

situ

atio

ns?

DSA

I:

On

e th

ing

that

do

es r

un

th

rou

gh o

ur

bu

ild

ings

, an

d n

ot

all

of

them

, bu

t o

ur

atte

mp

t is

th

e op

po

site

of

wh

at V

entu

ri c

alle

d

“Th

e E

asy

Un

ity.

” H

is E

asy

Un

ity

was

a r

egu

lar

grid

or

a re

gu

lar

win

do

w p

atte

rn t

hat

tri

ed t

o n

arra

te t

he

pro

gram

. We

use

ou

r

bu

ild

ings

to

try

and

des

crib

e or

nar

rate

or

exh

ibit

th

e co

nte

nt.

Th

at’s

on

e as

pec

t, a

nd

it’s

fai

rly

con

sist

ent.

An

oth

er k

ey c

har

acte

rist

ic is

th

e p

reo

ccu

pat

ion

wit

h t

he

arch

itec

tura

l pro

men

ade

- th

e st

airs

an

d r

ou

tes

thro

ugh

bu

ild

ings

. Wit

hin

com

ple

x p

rogr

ams,

fin

din

g cl

arit

y fo

r th

e d

e-

sign

of

the

pu

blic

rea

lm in

a b

uil

din

g -

stai

rs, c

orri

dor

s,

hal

ls, c

ou

rts

- is

ver

y m

uch

a p

reo

ccu

pat

ion

. In

ter

ms

of

the

enve

lop

e, it

s ex

pre

ssio

n, t

her

e is

an

incr

easi

ng

pre

occ

up

atio

n

wit

h s

olid

ity

in s

ub

stan

tial

con

tras

t to

tra

nsp

aren

cy.

A k

ind

of

eth

erea

l min

imal

ism

.

Try

ing

to d

emat

eria

lize

th

e sc

reen

s b

etw

een

ind

oor

an

d o

ut

in

con

tras

t to

th

e h

eav

y su

bst

anti

al m

ason

ry w

hic

h is

cap

ture

d in

shap

e an

d s

had

ow

an

d p

un

ched

win

do

ws.

Sto

ckh

ause

n t

alke

d

abo

ut

the

con

tras

t b

etw

een

th

e in

div

idu

al a

nd

th

e “d

ivid

ual

”, a

wor

d h

e in

ven

ted

. His

th

eory

is t

hat

th

e ap

ex o

f ar

t h

as t

o d

o w

ith

the

arti

st r

esol

vin

g tw

o co

nfl

icti

ng

and

op

po

sin

g id

eas.

An

d w

hat

are

the

two

pol

ar o

pp

osi

tes

in a

rch

itec

ture

? It

’s t

he

def

ined

volu

me,

bec

ause

we’

re d

eali

ng

in s

pac

e, t

hat

’s o

ur

med

ium

, an

d

it’s

th

e d

elib

erat

ely

des

tru

ctiv

e vo

lum

e. T

he

Bar

celo

na

pav

ilio

n

vers

us

a R

ome

or t

he

cell

ar o

f th

e te

mp

le.[

I su

spec

t th

is

tran

scri

pti

on is

inac

cura

te –

it‘s

Jac

k’s

qu

ote

, if

you

look

at

it]

Th

ose

are

th

e p

olar

op

po

site

s. I

t’s

no

t d

one

for

it’s

ow

n s

ake

bu

t

don

e as

a w

ay t

o ap

pro

pri

atel

y en

clo

se t

he

fun

ctio

ns.

It’

s th

e p

lay

of

the

soli

d a

nd

voi

d, n

ot

just

as

a m

ater

ial t

hin

g b

ut

as a

volu

met

ric

thin

g. S

o th

at y

ou

get

tra

nsp

aren

t vo

ids

and

tran

spar

ent

volu

mes

an

d y

ou

get

op

aqu

e vo

lum

es, a

nd

we

pla

y

wit

h t

hem

dep

end

ing

up

on t

he

leve

ls o

f p

riva

cy r

equ

ired

.

If w

e w

ere

to b

e p

erfe

ct in

ou

r re

solu

tion

bet

wee

n t

ho

se t

wo

pol

ar

opp

osi

tes,

we’

d b

e re

ally

res

olvi

ng

arch

itec

ture

at

its

hig

hes

t an

d

bes

t.

37


WR

: Is

the

sen

se o

f coh

eren

ce o

f bu

ildi

ngs

pre

tty

con

sist

ent

acr

oss

pro

ject

s? O

r is

the

re a

ny

sen

se t

hat

a p

roje

ct d

eman

ds

a di

ffer

ent

app

roa

ch in

tha

t se

nse

tha

n f

rom

on

e to

an

othe

r?

DSA

I:

Th

ere

are

cert

ain

th

emes

th

at w

e al

l sh

are

com

mon

bel

iefs

in. T

hin

gs s

uch

as

the

inte

grit

y o

f th

e m

ater

ials

th

at w

e u

se.

You

won

’t f

ind

a b

uil

din

g o

f o

urs

wh

ere

we’

ve p

ain

ted

wo

od. W

ood

is le

ft in

its

nat

ura

l sta

te. S

o th

ere

is a

n a

uth

enti

city

. A c

alm

ing

voca

bu

lary

if y

ou

like

. Ou

r b

uil

din

gs v

ary

hu

gely

in t

hei

r

exp

ress

ion

bu

t th

e p

rin

cip

les

are

con

sist

ent.

Th

ere’

s an

ex

cite

men

t to

th

at, b

ut

it’s

no

t lo

okin

g to

ex

pre

ss t

hat

exci

tem

ent

in a

ver

y b

usy

way

. Th

ere

is s

till

th

at s

imp

lifi

cati

on

hap

pen

ing

at t

he

sam

e ti

me.

WR

: I

thin

k th

e co

nte

xtu

alis

m is

imp

orta

nt

beca

use

as

sup

erfi

cial

ly

look

ing

at t

hem

, the

re’s

a lo

t of

par

alle

ls w

ith

som

eon

e li

ke R

enzo

Pia

no

in t

erm

s of

a k

ind

of m

oder

nis

m w

hich

isn

’t a

bsol

ute

ly m

inim

al a

nd

it’s

a li

ttle

bit

fle

xibl

e bu

t I

thin

k th

e co

nte

xt p

lays

less

of a

n im

por

tan

t ro

le

in h

is w

ork

than

it d

oes

in y

ours

.

DSA

I:

It’s

ob

vio

us

to u

s th

at t

he

con

tex

t is

imp

orta

nt

in

opp

osi

tion

to

the

icon

ic b

uil

din

g w

hic

h c

lear

ly d

oes

n’t

pay

atte

nti

on t

o it

s co

nte

xt.

Con

tex

tual

ism

, wh

eth

er it

’s t

he

imm

edia

te o

ne

of

shap

ing

ou

tdo

or s

pac

es in

rel

atio

nsh

ip t

o th

e

city

, or

the

larg

er p

olit

ical

an

d s

oci

al c

onte

xt,

real

ly d

oes

ch

arac

teri

ze o

ur

wor

k.

WR

: A

nd

how

wou

ld t

hat

exp

ress

itse

lf c

hief

ly w

ould

you

say

?

In t

erm

s of

the

ap

pea

ran

ce o

f the

bu

ildi

ng.

DSA

I:

It c

omes

fro

m r

esp

ond

ing

to d

iffe

ren

t p

oin

ts o

f vi

ew o

f h

ow

to s

olve

th

e p

robl

em. A

nd

no

t th

e op

inio

n t

hat

th

ere

is o

nly

a

sin

gle

orth

odox

y or

ap

pro

ach

. An

d w

het

her

it’s

in t

erm

s o

f

sele

ctio

n o

f m

ater

ials

, con

fig

ura

tion

of

spac

es, t

he

way

in w

hic

h

entr

ance

s ar

e d

ealt

wit

h, t

her

e’s

no

t a

sin

gle

way

to

do

it. T

he

con

tex

tual

issu

es f

or u

s h

as a

lway

s b

een

ab

ou

t h

ow

th

ings

fit

,

pol

itic

ally

, so

cial

ly, p

hys

ical

ly, c

lim

atic

ally

. I d

o b

elie

ve in

a k

ind

of

regi

onal

ism

. Th

e th

ing

that

I t

ake

exce

pti

on t

o in

Mie

s is

th

e

apo

cryp

hal

sto

ry a

bo

ut

him

, ab

ou

t h

ow

he

was

ex

pla

inin

g h

ow

to

des

ign

a b

uil

din

g in

th

e A

rcti

c an

d h

ow

he

wo

uld

des

ign

a b

uil

din

g

in t

he

Sah

ara.

For

bo

th, h

e sa

id, “

Wit

h g

lass

an

d s

teel

.” I

th

ink

that

th

ere

real

ly a

re c

onte

xtu

al q

ues

tion

s. A

nd

th

ose

con

tex

tual

qu

esti

on a

re v

ery

Can

adia

n a

nd

ver

y T

oron

to. A

nd

I t

hin

k w

e’re

par

t o

f th

at s

cho

ol.

WR

: T

he is

sue

of w

eath

er. Y

ou w

ould

thi

nk

that

is a

Can

adi

an t

rait

som

ehow

. I’v

e al

way

s th

ough

t th

at.

DSA

I:

Th

ere’

s a

pra

ctic

al q

ues

tion

to

that

on

ho

w b

uil

din

gs

wea

ther

, giv

en t

he

extr

emes

her

e o

f th

at c

lim

ate,

yo

u h

ave

to

add

ress

th

em. S

o th

e en

velo

pe

and

ho

w o

ne

han

dle

s th

at e

nve

lop

e

and

ho

w o

ne

dea

ls w

ith

th

e h

arsh

nes

s o

f th

e w

eath

er is

als

o

char

acte

rist

ic o

f o

ur

wor

k. T

he

soci

al d

imen

sion

is a

lso

som

e-

thin

g th

at w

e’ve

beg

un

to

un

der

stan

d w

e h

ave

to d

eal w

ith

as

arch

itec

ts. B

ecau

se t

he

wor

ld is

mor

e an

d m

ore

isol

ated

, I m

ean

it’s

en

cap

sula

ted

. Ch

ild

ren

are

bec

omin

g so

cial

ly in

ept

bec

ause

they

sp

end

th

eir

tim

e in

fro

nt

of

the

com

pu

ter

and

don

’t d

eal w

ith

peo

ple

. Un

der

stan

din

g th

ose

issu

es, t

he

soci

al d

imen

sion

, th

at

also

ch

arac

teri

zes

the

wor

k th

at w

e d

o. I

th

ink

one

of

the

thin

gs

we

intu

itiv

ely

un

der

stan

d a

bo

ut

arch

itec

ture

is it

s

po

wer

to

tran

sfor

m t

he

inst

itu

tion

.

A g

reat

bu

ild

ing

wil

l ab

solu

tely

tra

nsf

orm

th

e in

stit

uti

on a

nd

faci

lita

te it

s in

stit

uti

onal

life

. It

wil

l ch

ange

it a

nd

it w

ill c

han

ge it

in d

ram

atic

way

s, p

ow

erfu

l way

s, it

’ll s

tren

gth

en it

. Bu

t it

’s v

ery

har

d t

o d

efin

e th

at d

imen

sion

. An

d h

ow

can

yo

u m

easu

re t

hat

tran

sfor

mat

ive

cap

abil

ity

of

the

bu

ild

ings

th

at w

e d

o?

We

un

der

stan

d it

an

d I

th

ink

wh

ere

we

succ

eed

is w

hen

cli

ents

un

der

stan

d t

hat

, wh

eth

er it

’s in

tuit

ivel

y or

in a

mor

e ra

tion

al w

ay

and

en

gage

in a

llo

win

g th

at t

o h

app

en. B

ut

ho

w y

ou

mea

sure

th

at,

I’m

no

t q

uit

e su

re.

Visit places that still don‘t exist.

au

tod

es

k.c

om

38 39

Visit places that still don‘t exist.

au

tod

es

k.c

om

39

Ju-gend-stildie Jugend hat kein Ideal und keinen Sinn für wahre Werte?

Rolf BenzThe newly designed, extremely roomy and low-slung lounge sofa freistil 187 features superbly comfor table and extremely deep seats. The freistil 183 sofa range, which featured in the lookbook berlin 2011/2012, has been decked out w ith some totally new and wonderfully colourful outf its. Its modularity and f lexibility make it the ideal family sofa for a sense of cheerful but stylish chaos.

In spring 2011, Rolf Benz AG aunched its new sofa brand freistil Rolf Benz w ith a sur prising claim:

“If Berlin were a piece of furniture, it would be freistil.”

Intelligent, conf idently stylish furniture, life like communications and a “made in Germany” label are the key features of this distinctive collection, which is now being extended w ith a further sofa range and some colourful looks.

Freethinkers w ill get a kick out of freistil Rolf Benz as well. They can choose from four teen pieces of furniture, a top quality leather collection and a big fabric collection developed in collaboration w ith par tners such as German textile mfg Hitex Manufaktur Rohleder. Creative spirits can choose from 130 different textile designs and express their personality w ith cool plain-coloured, romantically f loral or Italian-inspired sofa fabrics.

Autor

Joseph Krone

Photographie

Melanie Halsband

40 41

Interior | Furniture

41

BetonjuwelenAutor

Josef BruckmannPhotographie

Sasha Grey

42

Interior | Furniture43

Strukturelle Betonung

Alles aus Beton

Zu Beton als Baumaterial muss wohl nichts Zusätzliches mehr gesagt werden. Auch Sichtbeton und Betonmöbel haben längst einen festen Platz in den eigenen v ier Wänden gefunden. Wie aber sieht es bei den kleinen Details, den dekorativen Wohnaccessoires aus? Auch hier hat das Material Beton sein raues und kühles Image abgelegt und ist – sozusagen – salonf ähig geworden. Was genau macht Beton so überzeugend? Die Liste der Vorzüge des Materials ist lang: v ielf ältig, strapazierf ähig und indiv iduell formbar - Beton kann in nahezu jede beliebige Form gegossen werden.

Nicht zuletzt ist Beton auch ein sehr ökologisches Material. Es besteht ausschließlich aus den natürlichen Materialien, Zement, Sand oder Kies und Wasser und lässt sich somit leicht recyceln und verarbeiten. Auch einige Designer haben sich von dem spannenden Material verführen lassen und w idmen sich dem Beton Design. Darunter f indet sich auch der Designer Jochen Korn mit seinen massiven und zugleich eleganten Schreibtischutensilien Block. Ein ganz besonderer Blickfang ist außerdem die Lampe aus Beton Aplomb von Foscarini. Die Desig-ner Paolo Lucidi und Luca Pevere verbinden hier gekonnt puristisches Design mit dem außergewöhnlichen Material.

Bei der Designerlampe Aplomb wirkt der Beton mal ganz puristisch und geometrisch .

Deckenleuchte mit Edelstahlhalterung

und Diffusor aus geblasenem Glas in den

neuen Farbkombinationen mit glänzender

Fertigung, außen farbig und innen weiß.

down.

43

www.poliform.it

MADE IN ITALY

designed by Hans J. Wegner

The famous Shell Chair

Three-legged and beautiful; t‘s a chair

you‘ll have for the rest of your life.

Simultaneously minimalistic yet generous

with a broad wing-shaped seat and curved

legs; it stands firm despite its three legs.

Wegner‘s round CH008 table makes a

popular accompaniment to the chair.

The Shell Chair is made of form-pressed

veneer. The seat and back are available

upholstered in fabric or leather.

Designed by Hans J. Wegner in 1963.

scandinavia-design.fr

CH163

The sofa is individually handmade over a

frame of solid beech wood and have

upholstered, reversible cushions.

The cushions consist of a foam core

surrounded by European down and cold

foamer. The solid wooden legs are angled

giving it a great pitch.

CH163 is upholstered in fabric or leather

on request.


scandinavia-design.fr

46 47

Interior | Furniture | Product Culture

Purists Desk

In 1970, Hans J. Wegner came up with an

exclusive office concept consisting of a

desk and accompanying chair plus a slen-

der easy chair. The series represents some

of Wegner‘s very finest steel-framed fur-

niture. The table is completely different to

Wegner‘s previous designs; the tabletop is

streamlined and rests lightly on shiny legs.

Plus, the table‘s symmetrical drawers fea-

ture handmade mortise and tenon joints,

and feature stand-out minimalist handles.


carlhansen.com

CH413

An elegant and lightweight yet sturdy

coffee table. It works perfectly with the

Wingchair (CH445) and CH468.


carlhansen.com

UpLight

The light fitting is suitable for use on

ceilings with an incline of up to 40 degrees

as it features a unique mounting system.

The standard version of Magnussen‘s

Uplight is also available with fittings for

both incandescent bulbs and energy-sa-

ving bulbs. It can also be tailored for use in

major interior design installations.

carlhansen.com

47

48 49

Interior | Furniture | Promotion

While fast fashion may fuel the unending pursuit of new ness, Knud Erik Hansen looks fondly to the past. Earlier this year, the family-run company’s third-generation CEO hosted an event to unveil iconic seating culled from two recently acquired Danish suppliers, Rud. Rasmussen and P.J. Furniture. Included was Kaare Klint’s Safari; designed in 1933 and modeled on a British off i cer’s chair, it was an early example of ready-to-assemble furniture. Still f l at-packed, the oil-treated ash frame is offered in a light or smoked f i nish. Opt for covers in canvas or ox hide, arm straps in saddle leather or ox hide. First produced in 1957, Ole Wanscher’s Eg y ptian folding stool pairs a frame of solid oak or mahogany w ith a saddle-leather sling. Hansen also highlighted the manufacturer’s longrunning hit, the Wishbone dining chair by Hans Wegner, continuously produced since 1950. A master craftsman demonstrated some of the 100-plus steps entailed in making it: hand-we-av ing the seat from nearly 400 feet of paper cord and assembling the

14-piece frame, available in a choice of six hardwoods.416-572-2173;

carlhansen.com.

»a wellThoughT-ouT

consTrucTioncan be iTs own

decoraTion.«Hans J. Wegner

49

ABO6ex.

89euro

Grundstein als Magazin im Abo.Jederzeit kündbar.Zudem kostenlos Ipad-Abo.

grundstein.com/abo

blutgeleckt?



June 2014

04



August 2014

05



September 2014

06

NEXT 02February 2014

Einerseits stigmatisiert - andererseits zelebriertKaum ein Material vereint so gegensätzliche Assoziationen in sich. Einerseits stigmatisier t, andererseits zelebrier t, erregt er die unterschiedlichsten Empf indungen. Die ersten Eisenbeton-Bauten entstanden um 1900 – heute ist Stahlbeton über 100 Millionen verbauten Kubikmetern im Jahr der w ichtigste Baustoff Deutschlands.Sein Potenzial scheint fast unerschöpf lich und immer neue innovative A nwendungsweisen machen ihn zu einem wer tvollen Material für neue A rchitekturkonzepte. Im Folgenden w irft A rchitonic einen Blick auf das Material an sich, neue Technologien und eine Auswahl an interessanten Projekten, an welchen diese zum Einsatz kamen.

schwerpunkt

Don‘t letanyone else

use it.It doesen‘t

like it.

be-ton

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