ie School of Architecture

Monumento al Holocausto

Peter Eisenman (arquitecto) Buro Happold (ingeniero). 2003-2004. El punto de información es obra del diseñador berlinés de exposiciones Dagmar von Wilcken. Tras un primer concurso de ideas, en 1994, el proyecto de Peter Eisenman resultó ganador en 1997.

Una gran manzana irregular de 19.000 m2, con superficie ondulada, sirve de base a una cuadricula en la que se sitúan 2711 estelas o monolitos de hormigón de 2.38 m de largo y 0.95 m de ancho, con altura variable desde los 0.2 m a los 4.8 m, diseñadas para producir una atmósfera incómoda y confusa, en una ordenación al margen de la razón, produciendo un singular laberinto ortogonal. Cuenta con un subterráneo anexo, denominado punto de información, donde se recoge la historia de las víctimas del holocausto.

ie School of Architecture lo descubrió en marzo de 2010

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etiquetas: berlin , eisenman , holocausto , hormigon , monumento

mies van der rohe

1965-1968
La Neue Nationalgalerie (Nueva Galería Nacional), es un museo diseñado por el arquitecto alemán Ludwig Mies van der Rohe. Está ubicado en Berlín, en la zona de Tiergarten, y fue inaugurado en 1968.

El museo forma parte del complejo de edificios culturales de Berlín (Kulturforum), y está principalmente dedicado al arte del siglo XX, con particular énfasis en expresionismo, cubismo y Bauhaus. Contiene obras de Klee, MunchKandinsky y Pablo Picasso, entre otros importantes artistas.

Arquitectura

Este museo es la última obra del afamado arquitecto Mies van der Rohe, y la primera que realizó en Berlín.[1]

Exteriormente el edificio se constituye como un gran zócalo de piedra sobre el que se eleva una enorme cubierta metálica cuadrada sustentada por ocho pilares perimetrales. Retranqueado de la cubierta, se dispone un cerramiento enteramente de vidrio, por lo que visualmente, el espacio del museo es prácticamente un trozo de explanada cubierto, sólo interrumpido por dos pastillas de comunicación vertical y aseos. Sin embargo, en condiciones normales, el espacio de museo contiene elementos de tabiquería que varían con las distintas exposiciones y que limitan esa continuidad visual. Este edificio es una de las muestras más representativas y refinadas de la búsqueda de la elegancia mediante la simplicidad conceptual y constructiva: un reflejo de la famosa frase »menos es más« que popularizara este mismo arquitecto.

Este espacio a nivel de superficie es sólo una parte del museo, que hace las veces de atrio, mientras que las salas de exposición principales se sitúan bajo tierra.

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Am Kupfergraben 10, Berlin, Germany
2003-07
David Chipperfield Architects

The gallery Am Kupfergraben 10 is located on the Kupfergraben canal, overlooking the Lustgarten and the Museum Island. The intention was to build a modern building which incorporated but did not replicate the past. As part of the cityscape, the composition of the four-storey gallery building reacts to its immediate historic context, while the scale of its window openings reflects the urban dimensions of a corner building.

As an urban infill, the new building connects with both of its neighbouring buildings with regard to their respective building heights and occupies the footprint of the preceding building (destroyed in the war), while at the same time developing its own sculptural quality. The facades are of brick masonry on reconstituted stone courses with no visible expansion joints, using salvaged bricks pointed with slurry. Large window openings reflect the urban scale of the site and define the composition of the facade, given structure by their untreated wooden sashes.

While solid materials that will age well characterise the exterior, the interior is defined by daylight and proportion. The building cores organise the space of the 5.5 metre high rooms. The simple floor plan varies throughout the four storeys depending on the form of the volume and the placement of the window openings. The gallery spaces are side lit from different directions, and daylight is controlled by interior folding shutters. The intention was to create a series of well proportioned and well lit rooms for living, working, or showing art – in a townhouse dedicated to the arts and directly related to the cultural heart of the city. The gallery was opened in November 2007.

Am Kupfergraben 10 Berlin - Building Information

Client: Céline and Heiner Bastian
Competition: February 2003
Completion: 2007
Gross floor area: 2,000 m2
Design Architect: David Chipperfield Architects: Martina Betzold, David
Chipperfield, Laura Fogarasi, Andrea Hartmann, Hannah Jonas,
Barbara Koller, Harald Müller, Elke Saleina, Alexander Schwarz
Site Supervision: BAL Bauplanungs- und Steuerungs GmbH, Berlin: Gerald Vogel
Structural Engineer: Ingenieurgruppe Bauen, Karlsruhe/Berlin: Gerhard Eisele, Martin
Morlock
Service Engineer: JMP Ingenieurgesellschaft mbH, Stuttgart/Berlin: Ernst Göppel;
KMS Beratungs- und Planungsgesellschaft mbH, Berlin:
Wolfgang Fuchs
Quantity Surveyor: Nanna Fütterer, Stuttgart
Shell Construction: Dreßler Bau GmbH, Dresden/Stockstadt: Thomas Bauer,
Thomas Beitz, Tino Zimmermann

ie School of Architecture lo descubrió en diciembre de 2009

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Deutscher Werkbund Yearbook

In 1907 The Deutscher Werkbund was founded as an organisation that was to bind together both designer and manufacturer. Among the founding member designers were Richard Riemerschmid, Peter Behrens, Josef maria Olbrich and Bruno Paul, but also included were a number of manufacturers such as Poeschel & Trepte and Peter Bruckmann & Sohne.

In 1912 the Werkbund started to publish a yearbook which included a list of addresses and specialisations of its members.

Gropius published an article about "The Development of Industrial Buildings," which included about a dozen photographs of factories and grain elevators in North America, in this yearbook. A very influential text, this article had a strong influence on other European modernists, including Le Corbusier.
He wrote that so far art had been lacking an intellectual ideal of such general validity, so that artists had been unable to go beyond egocentric creation. Gropius also demands that technical constructions are imbued with a sense of artistic or even poetic density and that all details should be united into a whole which made it the symbolic expression of the inner meaning of modern constructions such as "cars, trains, steamships, aeroplanes ..."

The start of the twentieth century consumer explosion meant that the only way that supply could meet demand was through the standardisation and mass production of products.

In 1924 the Werkbund published 'Form ohne Ornament' (Form without Function). This milestone publication praised industrially produced design work which showed brutally plain surfaces lacking in any form of ornamentation or decoration. The road was set irreversibly towards Functionalism.

Finally The Deutscher Werkbund was closed down in 1934 by the Nazis.

ie School of Architecture lo descubrió en diciembre de 2009

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he Staatsbibliothek forms the eastern boundary of the Kulturforum, a complex of buildings which also includes Scharoun’s Philharmonie and Kammermusiksaal and Mies van der Rohe’s Neue Nationalgalerie. The building exhibits an architectural language familiar from Scharoun’s Philharmonie (completed in 1963), but pleasingly and appropriately adapted to the program of a library. If the Philharmonie’s sculptural interior (generated by the concert hall itself) stretches and compresses its exterior, the Staatsbibliothek’s multiple reading, research and stack spaces make for a gentler, and less agitated exterior. The spaces within are wonderfully modulated. The volumes of reading rooms, offices, and stacks are seemingly stitched together by stairways and smaller changes in level. The building beckons to be explored.

Along with the Exeter Library designed by Louis Kahn, the Staatsbibliothek is probably the most famous of modern libraries. Its contribution to architects’ understanding of a building type with a long and well-documented history has been extremely influential in subsequent library design. Scharoun’s building, while deriving its form from its function, is no mere sum of functional parts. Its expressiveness—and that of Scharoun’s other buildings in the Kulturforum—is personal and idiosyncratic in ways that mark a clear contrast to the canonical international style exhibited by its neighbor, Mies van der Rohe’s Neue Nationalgalerie (1965-68).

ie School of Architecture lo descubrió en diciembre de 2009

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le corbusier, 1956

Le Corbusier 1959

Le Corbusier designed several variations of the unité d’habitation, the most famous of which is in Marseille, France. All were derived from Le Corbusier’s visionary 1922 city plan, known as Ville Contemporaine. The plan envisioned massive residential blocks set in open green areas—towers in parks, bringing light and air to the residents of urban housing. Like most grand modernist visions, the Ville Contemporaine was never built in its entirety. Its influence on subsequent developments in city planning, however, is clear - notably on post-war reconstruction in Europe and public housing in the United States.

The unité type was most notable for its creation of internal streets (essentially elaborate hallways) and accommodation of social and communal functions—kindergartens, medical facilities, recreational spaces—within the housing block. The Berlin unité, built between 1956-1959, lacks most of the amenities (save a shop and a post office on the ground floor), but is considered unique for its more generously sized apartments. It accommodates 530 units on 17 floors. The internal streets here are oppressive, windowless corridors. Still, the building is in quite good condition; its hilltop setting, iconic formal qualities, and polychromatic facades are very striking.

ie School of Architecture lo descubrió en diciembre de 2009

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The construction of the Kammermusiksaal (chamber music hall) in 1987 completed Hans Scharoun’s concept for the ‘Kulturforum’ almost thirty years after construction had started on the Philharmonie in 1960. The Kammermusksaal was completed just as the Berlin Wall was about to topple; Scharoun’s Kulturforum was simultaneously seen (by different people) as a symbol of Western cultural and artistic sophistication and a future cultural center for a united Berlin. The Kulturforum also includes the Staatsbibliothek and the Neue Nationalgalerie.

The design of the Kammermusiksaal was influenced significantly—both in its design and in removing red tape and financial hurdles of completing the project—by Edgar Wisniewski, a pupil of Scharoun. The basic concepts of the building, nonetheless, are clearly related to its next-door neighbor, the Philharmonie. The building is designed from the inside-out, with blocks of seating accommodating the audience in a 360 degree rake around the central stage. If the central stage arrangement was an experiment in the Philharmonie, it was taken for granted—and taken further—in the Kammermusiksaal; seats are configured to allow moving ensembles and experimental music, in which performers are placed in multiple locations.

ie School of Architecture lo descubrió en diciembre de 2009

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architects:
Hugh Stubbins, Düttmann and Mocken 1956-57

The Congress Hall, former called "Benjamin-Franklin-Halle", was the American contribution to the International Building Exhibition in 1957. It was declared as a gift of America to its close affiliate of West Berlin.
On the basis of plans by Hugh A. Stubbins, and with the cooperation of Werner Düttmann and Franz Mocken, a technically revolutionary building was built on the south bank of the Spree in the eastern part of the Tiergarten. The people of Berlin soon gave the building a fitting nickname: "pregnant oyster".

Above a base story measuring 92 by 96 meters rises the wide sweep of the roof structure. The roof is supported on both sides by steel anchors which only rest on two points. The base story is generously glazed on both sides and comprises three staggered levels with the large reception hall, a cafeteria, a theatre auditorium with 400 seats, an exhibition area, further smaller rooms for congresses, seminars and the administration and, on the side facing the spree, a two-story restaurant.

The hall itself contains the auditorium. Because of the almost round floor plan, the stage at one side is comparatively wide and shallow, and the rising rows of the seats for the audience become increasingly wide. The auditorium seats 1250.

In the central axis of the entrance side - facing away from the river - a large outdoor flight of steps leads to the terrace, which is rarely used because the entrance is in the base story. In front of the building is an impressive large pond, in the middle of which Henry Moore's bronze sculpture "Big Butterfly" can be seen.

In 1980 part of the roof collapsed because the steel core of the front roof arch had rusted through. Although there was no concept for its use, the hall was reconstructed for the 750 year celebrations in 1987. Since 1989 it has been used under the name "House of the Cultures of the World" as a site for events and exhibitions.

Sebastian Krauß 2001

ie School of Architecture lo descubrió en diciembre de 2009

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Stowed away on a side street by Rosa-Luxemburg Platz, Pro QM is a bookstore run by book-lovers for book-lovers. It’s been long regarded as the city’s most fantastic collection of titles, including a top-notch selection of art, architecture and design books, which are the store’s primary focus.

The smallish, intimate bookstore provides enough reading material to keep interest piqued without overwhelming the reader with indifference; theory, pop literature and political discourse journals are plugged into the white-walled bookshelves while glossy magazines like Fantastic Man and Japanese publication Fun Palace lay strewn over steps and ladders. Pro QM is more reminiscent of your well-read friend’s extensive private library rather than a shop—meaning that the invitation to come over and browse the shelves always stands.

Read more: berlin.unlike.net/locations/223-Pro-QM#ixzz0Z8KNW2P7

ie School of Architecture lo descubrió en diciembre de 2009

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ie School of Architecture lo descubrió en diciembre de 2009

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