grundstein p e r m a n e n t a r c h i t e k t u r m a g a z i n
Europe €15.85UK £11Switzerland CHF26Canada $19.85Japan ¥3,990Korea 40.000 WON
June 2014
04
Impressum
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Tyler Durden
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Photographies
Vito Digger, Max Schwaiger,
James Hauser, Dean Grey, Sasha Grey,
Monika Holzmann, Florian Betal,
Conrad Muster, Liz Bonn, Matt Grimant,
Melanie Halsband, Andrew Materica
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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
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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
Winery | Antinory San Casciano
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
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 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
Winery | Antinory San Casciano
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.
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.
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
in Dialog with A.J. Diamond
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
in Dialog with A.J. Diamond
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.
Designed by Hans J. Wegner in 1965.
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.
Designed by Hans J. Wegner in 1970.
carlhansen.com
CH413
An elegant and lightweight yet sturdy
coffee table. It works perfectly with the
Wingchair (CH445) and CH468.
Designed by Hans J. Wegner in 1958.
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
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grundstein p e r m a n e n t a r c h i t e k t u r m a g a z i n
Europe €15.85UK £11Switzerland CHF26Canada $19.85Japan ¥3,990Korea 40.000 WON
June 2014
04
grundstein p e r m a n e n t a r c h i t e k t u r m a g a z i n
Europe €15.85UK £11Switzerland CHF26Canada $19.85Japan ¥3,990Korea 40.000 WON
August 2014
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grundstein p e r m a n e n t a r c h i t e k t u r m a g a z i n
Europe €15.85UK £11Switzerland CHF26Canada $19.85Japan ¥3,990Korea 40.000 WON
September 2014
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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