New York Library / TEN Arquitectos

Posted on mayo 20, 2013 by :: noticias arquitectura ::

Architects: TEN Arquitectos
Location: Nueva York, United States of America
Architect In Charge: Enrique Norten
Proyect Year: 2013
Photographs: Cortesia de TEN Arquitectos

In a neighborhood of high-end retail and luxury residences, this new branch library will fulfill a much needed role as a public space and touchstone for the local community and visiting tourists across from the Museum of Modern Art. Despite the library’s site being predominantly below grade and set at the base of a new 40-story hotel, this design proposal transforms the dark, subterranean space into an inviting, open and light-filled civic landscape in the heart of Manhattan.

The branch library’s identity is not put forth by an iconic façade symbolizing the New York Public Library as an institution. Instead, the façade disappears completely to reveal a dynamic public space and internal streetscape utilizing modest materials in innovative ways to create a rich palette of texture and expression.

The topography connects the three floors in a way that not only brings light and views to the deepest corners of the plan, but provides endless opportunities for interaction and enlightenment. The adaptable open plan and integration of books, art and technology engage the occupant by providing an accessible, intuitive landscape offering a wide spectrum of public and private spaces, recognizing that the only way to build a community is by empowering the individual.

New York Library / TEN Arquitectos originally appeared on ArchDaily, the most visited architecture website on 20 May 2013.

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New York Library / TEN Arquitectos

Posted on mayo 20, 2013 by :: noticias arquitectura ::

Architects: TEN Arquitectos
Location: Nueva York, United States of America
Architect In Charge: Enrique Norten
Proyect Year: 2013
Photographs: Cortesia de TEN Arquitectos

New York Library / TEN Arquitectos originally appeared on ArchDaily, the most visited architecture website on 20 May 2013.

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Dornier Museum / Allmann Sattler Wappner Architekten

Posted on mayo 19, 2013 by :: noticias arquitectura ::

Architects: Allmann Sattler Wappner Architekten
Location: Claude-Dornier-Platz 1, Friedrichshafen, Germany
Project Manager: Frank Karlheim
Project Architects: Christof Killius, Lisette Oberleitner, Ana Prikic, Kerstin Schaich, Katrin Wittmann
Area: 7,000 sqm
Year: 2009
Photographs: Courtesy of Allmann Sattler Wappner Architekten

Competition Architects: Robert Klein (Project Managment), Katharina Brunn,Uwe Ernst, Johannes Schmersahl
Client: Dornier Stiftung für Luft- und Raumfahrt
Total Cost: 15 million EUR
Gross Volume: 61,100 m3
Structural Engineer: Werner Sobek Ingenieure
Building Services: Laux, Kaiser & Partner Ingenieursgesellschaft
Interior Design: Grego
Exhibition Design: Atelier Brückner
Facade Consultant: R+R Fuchs
Energy Consultant: TransSolar Energietechnik GmbH
Building Physics: Ingenieurgesellschaft für Bauphysik Thor

The plot for the Dornier Museum is located in the immediate vicinity of the runways at Friedrichshafen‘s regional airport. The aim of the museum is to present the technology of aircraft construction and the history of the Dornier plant, which was founded in 1922. In addition, links to contemporary history are to be established. Among the exhibits are veteran aircrafts some of which can still fly today. The shape of the museum is derived from the di- rect access of the exhibited airplanes to the runways. Translucent, curved facades delimitate the interior space and guide the way to the tarmac. The end faces oriented towards the airport are closed by transparent gates. A box within the large hall offers space for scenographic presentations of different eras.

Function and Concept
This museum documents the corporate history and rich tradition of the Dornier Corporation. It is sited in connection to the Friedrichshafen Airport, thus facilitating a uniquely contextual design concept. Translating the particular site quality in reference to architectural typology, to focus the predetermined program of the exhibition within a singular building, to design this space in a restrained fashion – similar to a stage space – encompasses the basic con- ceptual decisions for the Dornier Museum.

Maintaining and exhibiting the material documents of people and their environment mostly serves for the benefit of society and its development. Private institutions and individuals, among others, provide this important contribution. Thus, Dornier joins the ranks of renowned founders of private museums who make their collections publicly accessible. In order to document aerospace history, the Dornier Museum is conceived as a platform for the purpose of projection of and reflection on events of the past. On the one hand, exhibits and their historic context; on the other hand, the visitors and their individual comprehension and experience of history. Topically, exclusion and inclusion are both rooted within this concept to equal degrees. The goal of the museum’s architectural concept is to influence this process by facilitating and designing transitions, similar to an airport and its transitory function.

Constellation And Gesture
Museum and airport, past and present, in one location. This simultaneity manifests itself within a bowshaped runway, resembling an exit in proximity to the southern airstrip. At its apex, it is superimposed with a rectangular volume. The geometric intersection area is the basis for the museum floorplan. The exhibition space volume features curved perimeter surfaces in the north and south, projecting the contour of the runway upward to the rectangular roof structure. In the west and east, the lateral perimeter permits a transition from roof to façade to the runway. The roof elements, projecting outward from the longitudinal perimeter along the intersection of floor plan and runway, distort the accustomed, conventional image of a hangar. The hangar as recognizable type is subject to formal transformation. It thus evokes similarity and difference to the surrounding airport buildings.

Material and Character
Spatial juxtaposition of museum and hangar serve as basis for the predetermined exhibition program. The architecture, reminiscent of industrial buildings, originates in perceiving these areas as a unit. Not a museum with a hangar, but a hangar as museum. Context and budget determine the quest for the ideal form of an aerospace museum. The result is an exhibition space that conveys the principle of airplane manufacturing as an image by citing the economic use of resources.

The curved longitudinal perimeter surfaces are segmented imperceptibly by polycarbonate panels. The assembly system of the full-height, transparent panels enables avoiding construction-based divisions in the building exterior. This construction material, primarily used in industrial construction, conveys lightness and formability, and receives a degree of precision that transforms its expression and significance due to the dimensions of the building perimeter.

Along the southern facade, a dot raster pattern is applied to the perimeter surface, reducing sunlight intake. The raster pattern obscures the linear structure of the polycarbonate panels. The absence of a clearly recognizable structure conveys the image of a wall to the observer; the progressing impression of transparency however signals permeability. The limited number of apertures for doors and windows, latter framed as showcases and intersecting the homogeneous surface at medium height, provide points of reference of scale of the hangar. Along the north facade, polycarbonate panels are applied without further treatment. Their curved arrangement gives them, according to the observer’s point of view, characteristics of a filter, offering mere apparitions of the interior, and sometimes characteristics of a mirror, reflecting the expanse of the airstrip.

Dornier Museum / Allmann Sattler Wappner Architekten originally appeared on ArchDaily, the most visited architecture website on 19 May 2013.

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Central Municipal Library / KSP Jürgen Engel Architekten

Posted on mayo 15, 2013 by :: noticias arquitectura ::

Architects: KSP Jürgen Engel Architekten
Location: Frankfurt, Germany
Client: DIC Deutsche Immobilien Chancen und Morgan Stanley Real Estate Funds
Area: 12,000 sqm
Year: 2007
Photographs: Jean-Luc Valentin

The Frankfurt Sparkasse Head Office at Hasengasse was built between 1954 and 1956. Now, after having undergone extensive conversion work, it has morphed into Frankfurt’s Central Municipal Library. In 2005, Frankfurt – based architects office KSP Jürgen Engel Architekten was assigned with the design and the facilities were ready for use as early as July 2007. On September 19th, 2007, the library was officially inaugurated in the presence of Lady Mayoress Petra Roth.

At the time of its construction, the bank office was one of Frankfurt’s modern buildings and today is still considered a prime example of 1950s architecture. The careful and deliberate structural changes follow the principles underlying the original building and yet at the same time instill the edifice with a new identity. As many as 3,000 people visit the library each day, making it an important element in the drive to enhance and enliven the area situated between the Römer and the Zeil. Only the façade on the ground floor facing the courtyard has been redesigned, thus preserving the ensemble’s original charm at the intersection of the Hasengasse and Töngesgasse.

The new design of the forecourt forms a key element of the new construction plans since this is essential to upgrading the urban building situation. Be lifting up the level of the forecourt to meet that of the ground floor of the library not only enables smooth wheelchair access to the Central Municipal Library, but in addition extends the overall structure to the line of the street curb and thus continues the overall block structure. In 1967, the Tugendbrunnen fountain was shifted from the Heiliggeistspital in the Saalgasse to this location. It is important evidence attesting to the diversity of Frankfurt’s historical quarter and has been given a new and prominent position. Seating opportunities surround it in a way that structure the square to the north. A café and terrace are situated on the eastern flank. As with the seats around Tugendbrunnen, this welcomes passers – by to sit down and spend some time there while also enlivening the area.

In the building’s interior, the library’s public areas group around a central three-story atrium. In terms of visual and spatial aspects, they connect in an optimal way. Even the administrative area/offices on the 2nd floor have a direct view of the hall, with only a glass wall separating the two spaces. The atrium can be used, just like a market square, for a variety of events. Five large, sculptural roof lights provide the atrium with light while their intense colors are striking components within the library. A key element and the most important design feature is the curved reading tower at the end of the hall. It connects the different flights of the library by means of a stairway behind and an integrated escalator.

The new color concept for the library accentuates only a small number of special areas. A strong red tone is the new corporate color of the Central Municipal Library. It emphasizes the key essential elements and references the color of the City of Frankfurt. Already from a distance a red banner draws visitors from the courtyard into the interior of the building. On the inside in the entrance area it morphs into the accompanying surface and further develops to be the dominant color within the library. By contrast, yellow marks the information points like the issues and information desks on each floor, thus enabling visitors to easily and quickly orientate themselves in the building. The white, gray or silver colors of the walls, ceilings, floors and bookshelves are chosen as they are more unobtrusive.

In the inner section of the red reading tower the colors change from red to warm orange tones, providing a pleasant atmosphere encouraging visitors to linger. Here visitors can sit on integrated benches and read in peace and quiet or watch what goes on in the hall below. At the back part of the tower, a free flight of stairs connects the open public areas ranging from the ground floor up to the 2nd floor. The elevator in the reading tower provides easy access for all visitors to the tiers. There is a link between the colors in the inside of the elevator car and those of the library – the same green of the elevator also features on the ground floor.

The former vault in the basement has been preserved and converted into a training classroom and study room, in line with the library’s innovative study concept. The old vault door and the colored frames accentuating the wall thickness refer back to the building’ previous use. The expressive illumination of the walls and ceiling as well as the glass wall with integrated louvre blinds, enable the room to be subdivided into two distinct sections. Located in the basement is an extensive media library and a multimedia area as an additional offer for young people. All in all, the library offers 200 modern work and reading spaces.

Located on the two top floors are the Central Municipal Library’s offices and administrative rooms. Furthermore the Municipal Participations Department and the Municipal Department of Women’s Aaffairs have moved into the building. These floors are grouped around an interior courtyard that is above the roof of the hall. They can be reached through a separate entrance from the forecourt. The five chamfered cones of the skylights on this rooftop resemble interested observers. The new area outside area developed in this way is very inviting and can be used for events by either the institutions or the employees.

Central Municipal Library / KSP Jürgen Engel Architekten originally appeared on ArchDaily, the most visited architecture website on 15 May 2013.

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“Manuel Altolaguirre” Municipal Library / CDG Arquitectos

Posted on mayo 14, 2013 by :: noticias arquitectura ::

Architects: CDG Arquitectos
Location: Málaga, Spain
Project: Biblioteca Municipal “Manuel Altolaguirre”
Photographys: Santos-Díez

First Prize of the College of Architects of Málaga in the Public Facilities category, and First Prize in the Young Architects category.

Knowledge is not in books… it is in the act of reading…

“A person gets a book and walks alone into the light, there begins a library.”

Reading next to a tree, among them, about them…

Addressing these situations, the project seeks and relies on nature to give an answer to two levels of needs. To present a tree beside which to read, on which to study…

To bestow a green oasis of nature in a harsh urban landscape that needed it. We thus turn into users of the building both those who are inside and the citizens who walk outside. With the purpose of accompanying and protecting the public space, the building is designed on two levels only. The first level is on the lowest level of the slope, and the second is the only one facing Lucientes street.

The landing ramp on the north side, running next to vegetation, produces a fragmentation in the intervention when it joins Lucientes street by a set of stairs. This separates the entrances to the library, towards the greenery, and the entrance to the auditorium and exhibition hall.

Thus, the project not only functions as a library. It offers the neighborhood two facilities to be used independently: auditorium and library. The auditorium, with an exhibition area that serves as a foyer, is located in the basement, with ventilation and lighting on the west side, with room for up to 80 people.

The library is oriented to the north to achieve a more uniform light. The entrance area and reception, on the lowest level, are next to the grass and the trees, and accompany the areas devoted to more relaxed reading like the journal library and the loan and consultation area.

The administrative area is towards the interior, with lighting and ventilation facing Lucientes street. The children’s room is located in the most protected area of the library and faces a small courtyard.

The study areas are on the upper floor, which is 4 meters high. This level is broken into three areas, each with a different atmosphere, from the general reading room, to a darker and more intimate study room, or a louder audiovisual area. They are all interconnected by a circulation that also offers the possibility of small nooks in which to read.

The services and archive area is towards the south facade. It is linked to the reception and loan area through a small freight elevator. The south facade, fragmented in these three sections, is treated as white canvases levitating towards the sun.

“Manuel Altolaguirre” Municipal Library / CDG Arquitectos originally appeared on ArchDaily, the most visited architecture website on 14 May 2013.

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Tchoban Foundation – Museum for Architectural Drawing / SPEECH Tchoban & Kuznetsov

Posted on mayo 14, 2013 by :: noticias arquitectura ::

Architects: SPEECH Tchoban & Kuznetsov
Location: Christinenstraße 18a, Berlin, Germany
Architects In Charge: Sergei Tchoban and Sergey Kuznetsov
Planning, Project Management: nps tchoban voss GmbH & Co. KG, Berlin
Project Team: Philipp Bauer, Nadja Fedorova, Katja Fuks, Ulrike Graefenhain, Dirk Kollendt
Area: 498 sqm
Year: 2013
Photographs: Patricia Parinejad

Structural Engineering: PPW Dipl.-Ing- D. Paulisch, Berlin
Façade: MBM Konstruktionen GmbH, Möckmühl
Façade Graphics: Heimann und Schwantes, Berlin
Façade Consultants: Priedemann Fassadenberatung GmbH, Berlin
Concrete: BSS Beton System-Schalungsbau GmbH, Berlin
Building Services: Planungsbüro Thye, Berlin
Roof And Terrace Insulation: Torsten Süßer GmbH, Berlin
Interior Construction: Lindner AG, Arnstorf
Conservation Consultants: Dr. Eva-Maria Barkhofen, Berlin
Lifts: Tepper Aufzuganlagen GmbH, Berlin
Metal Construction: Wilking Metallbau GmbH, Berlin
Fixtures And Fittings: Messing Zawadski, Berlin
Cerpentry: Tischlerei Hollenbach, Berlin
Lighting: Kardorff Ingenieure, Berlin
Courtyard Design: atelier 8 landschaftsarchitekten, Berlin
Client: Tchoban Foundation. Museum für Architekturzeichnung

The private Museum for Architectural Drawing will open its doors for the first time on the 4th June, 2013 at Pfefferberg in Prenzlauer Berg, Berlin

Berlin and Moscow based renowned architect Sergei Tchoban, has joined with Sergey Kuznetsov of SPEECH Tchoban & Kuznetsov, to create a space for architectural drawings. The new museum will provide a home for the internationally renowned Tchoban Foundation collection as well as for temporary exhibits from leading cultural institutions around the world. Architect and passionate collector Tchoban has finally realized his dream to create the ideal setting for architectural drawings.

The Tchoban Foundation. Museum for Architectural Drawing opens its programme with ‘Piranesi’s Paestum: Master Drawings Uncovered’. In presenting this singular collection from the Sir John Soane‘s Museum in London, one of the oldest architectural museums in the world, the Museum for Architectural Drawing marks its intention to continue this tradition.

The Location

The Museum for Architectural Drawing at Pfefferberg takes its place alongside the rich array of important cultural institutions in the capital. The museum’s new building is located at the western entrance to Pfefferberg from Christinenstraße, the site of the former brewery between Schönhauser Allee and Teutoburger Platz in Prenzlauer Berg. This area has developed since the 1990s from a non-profit organization to become a centre for Berlin’s cultural scene. Today numerous studios, workshops, agencies, galleries and event-spaces are gathered within the listed industrial buildings and vaults around the renowned Architecture Forum Aedes, with its research and convention centre, Aedes Network Campus Berlin.

Architectural Design

The striking construction is extended from a fire-wall and latches onto a row of typical old Berlin houses. The Museum for Architectural Drawing is a four-storey solid corpus with a glass floor stacked on top. The profile of the four floors is reminiscent of casually piled up blocks. The building’s silhouette is created by a regression and progression of façade elements, and demonstrates a freedom of form that relates to the conventions of the neighbouring historic Berlin buildings and yet is unorthodox and minimalist in its gesture.

The Museum for Architectural Drawing is an exceptional example of contemporary architecture in its construction, design and choice of materials. The powerful expression of its formal language cannot be overlooked though it still responds sensitively to its surroundings. The coloured concrete and glass façades of the building are rich in contrast and layers. Its closed surface is detailed with strong magnified fragments of architectural sketches in relief form. The museum has a floor area of approximately 490 square metres, and contains an entrance area, two exhibition rooms, the museum depository and a conference room.

The Collector and the Collection

Sergei Tchoban, born in 1962 in Saint Petersburg, developed a passion for architectural drawing during his student years at the Russian Academy of Arts in his home city. Here he discovered his love for the old Masters and began himself to draw. In 2001, the purchase of a drawing by Pietro di Gottardo Gonzaga was the foundation stone for his collection. Since then, the collection has grown to include several hundred sheets from different periods: from architects of the 16th century to the present day, from Cerceau to Gehry.

The Tchoban Foundation was founded at the end of 2009 with the aim of keeping the interest in architectural representation through drawing alive and to support young talent in this field. Together with the founder Sergei Tchoban, Dr. h. c. Kristin Feireiss, founder of the Aedes Architectural Forum and Dr. Eva-Maria Barkhofen, director of the Architectural Archive at the Academy of Arts, Berlin, two experts highly esteemed in and beyond their specialized fields, form the foundation’s board of trustees.

Concept and Users

The Museum for Architectural Drawing will show three exhibitions annually. These will comprise exhibits from its own collection as well as loans from international cooperation partners such as the John Soane‘s Museum, the Hermitage and the École Nationale Supérieure des Beaux-Arts in Paris, which in turn will present exhibitions from the Tchoban Foundation in their galleries.

Tchoban Foundation – Museum for Architectural Drawing / SPEECH Tchoban & Kuznetsov originally appeared on ArchDaily, the most visited architecture website on 13 May 2013.

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MoMA Selects Diller Scofidio + Renfro as Architect of the Folk Art Museum

Posted on mayo 9, 2013 by :: noticias arquitectura ::

The Museum of Modern Art has commissioned Diller Scofidio + Renfro (DS+R) to design its controversial expansion that will overtake the former American Folk Art Museum in New York. This news comes after an intense backlash from prominent architects, preservationists and critics worldwide pressured MoMA to reconsider its decision to raze the iconic, Tod Williams and Billie Tsien-design museum in order to make way for its new expansion.

In response, DS+R has requested that MoMA gives them the “time and latitude to carefully consider the entirety of the site, including the former American Folk Art Museum building, in devising an architectural solution to the inherent challenges of the project,” as stated by Glenn D. Lowry, MoMA’s director, in a memo sent on Thursday to his trustees and staff. He added, “We readily agreed to consider a range of options, and look forward to seeing their results.”

More on the DS+R’s commission and the fate of the Folk Museum after the break…

In a statement, DS+R commented: “We’re thrilled to take part in the next step of MoMA’s evolution. DS+R has exhibited within MoMA’s walls since 1989 and now we’ve been invited to rethink the museum’s walls. This is a complex project that also involves issues of urban interface, concerns that are central to our studio. We have asked MoMA, and they have agreed, to allow us the time and flexibility to explore a full range of programmatic, spatial, and urban options. These possibilities include, but are not limited to, integrating the former American Folk Art Museum building, designed by our friends and admired colleagues, Tod Williams and Billie Tsien.”

Despite this, it is apparent that DS+R and MoMA are not committed to preserving all or part of the Folk Art Museum’s structure. As early reports suggest, not only does the former museum’s bronze facade clash with MoMA’s glazed exterior, but the misaligned floor plates will make for a challenging and pricy solution.

“We’re going to try to create the best building we can create,” Jerry I. Speyer, the real estate developer and MoMA chairman, as reported by the New York Times. “Whether we include Folk Art or not, as is, is an open question.”

Schematic proposals are expected to be released by the end of the year.

The MoMA expansion is expected to add 10,000 square feet of additional gallery space at the former Folk Art site and an additional 40,000 square feet of space in a new, 82-story residential tower designed by French architect Jean Nouvel.

DS+R is currently helping the City realize its vision for Manhattan’s far West Side -including the final phase of the High Line park and the proposed Culture Shed, an innovative and accessible future home for the creative industries in the Hudson Yards district—and is working with other museums in the U.S. and around the world.

References: MoMA, DS+R, The New York Times

MoMA Selects Diller Scofidio + Renfro as Architect of the Folk Art Museum originally appeared on ArchDaily, the most visited architecture website on 09 May 2013.

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Media Library Drachten / ADP Archtitects

Posted on mayo 9, 2013 by :: noticias arquitectura ::

Architects: ADP Archtitects
Location: Drachten, The Netherlands
Architect In Charge: ADP Archtitects
Collaborators: SH Studio
Area: 650 sqm
Year: 2012
Photographs: Gerard van Beek

ADP architects and SH Studio designed an extension to accommodate the new media library of a secondary school in Drachten (the Netherlands). The extension is located in a courtyard of the existing building of the school and carefully designed to maintain a good view from the surrounding classrooms on the first floor of the existing building. The roof of the extension is located on eye height when you are on the first floor, the sky is still in sight, but there is also a visual connection with the library on the ground floor.

The timber construction of the new media library is built up from oak beams, it gives the new media library its very own identity, the warm and friendly ambiance of a greenhouse, very suitable to make homework in small groups or individually.