Heidelberg Castle Visitor Centre by Max Dudler

Heidelberg Castle visitor centre by Max Dudler

Windows are set within two-metre-deep recesses in the stone walls of this castle visitor centre in southwest Germany by Swiss architect Max Dudler.

Heidelberg Castle Visitor Centre by Max Dudler

Positioned at the entrance to the historic Heidelberg Castle ruins, the two-storey visitor’s centre borders the retaining walls of the sloping grounds, alongside a seventeenth century saddle-store.

Heidelberg Castle Visitor Centre by Max Dudler

The roughly cut stone blocks that comprise the exterior walls are made from local sandstone.

Heidelberg Castle Visitor Centre by Max Dudler

Inside the building, the windows sit flush against the white-plastered walls, while the floor is finished in terrazzo.

Heidelberg Castle Visitor Centre by Max Dudler

If you’re a fan of castles, see more stories about them here.

Heidelberg Castle Visitor Centre by Max Dudler

Photography is by Stefan Müller.

Heidelberg Castle Visitor Centre by Max Dudler

Here’s some more information from Max Dudler:


Heidelberg Castle Visitor Centre

The first new building to be constructed at Heidelberg Castle for more than four hundred years – a visitor centre designed by architect Max Dudler – is now open to the public.

Heidelberg Castle Visitor Centre by Max Dudler

Heidelberg Castle ranks as one of the most important Renaissance buildings north of the Alps. Having been partially destroyed during the Thirty Years’ War, and on many occasions since, the castle was abandoned altogether in the eighteenth century. Today the famous ruin serves as a museum. Receiving more than one million visitors a year, it is one of the country’s top tourist destinations and makes a lasting impression on international tourists visiting Germany.

The purpose of the visitor centre is to familiarize guests with the castle before they proceed to the castle proper. The visitor centre showcases the castle’s history as well as orientating guests so as to ensure a trouble-free visit. In May 2009, Max Dudler’s design prevailed in the architectural selection procedure. The visitor centre’s foundation stone was laid in summer 2010, making it the first new building to be constructed at Heidelberg Castle for more than four hundred years. This building shows how the contemporary architecture of Max Dudler is rooted in history. At the same time, its abstract form underscores both the grandeur and actuality of this German cultural monument.

Heidelberg Castle Visitor Centre by Max Dudler

The new building is situated outside the old defensive ring wall, at the entrance gate to the castle and garden (Hortus Palatinus). The narrow strip of land chosen for the new structure lies between a small garden house and a saddle store built in the reign of Frederick V. The building backs onto a seventeenth century retaining wall which shores up the park terraces above. With its building lines following those of its neighbours, the sculpturally designed visitor centre structurally completes this small ensemble of buildings in the forecourt area.

In architectural terms, the building blends in with the surrounding historical fortifications through its re-interpretation of elements of the existing site’s architecture. The window embrasures, for example, are set more than two metres into its walls, echoing the large-sized apertures that can be seen in the neighbouring saddle store. The windows of the visitor centre are positioned according to the building’s interior requirements and also offer visitors new visual relationships with the entry building and garden outside. The popular Elisabeth Gate in particular can be seen from many parts of the interior. The façade’s deeply-set embrasures are made possible because of the special layout of the building: the broad expanse of its exterior walls hide a number of small side rooms and a stairwell. Like pockets (French: poches), these interior recesses offer space for display cabinets, shelves and seating areas, while the centre of the narrow building remains open.

Heidelberg Castle Visitor Centre by Max Dudler

For the façade, local Neckar Valley sandstone has been machine-cut to form a monolithic wall of roughly-cut blocks with joins that are barely visible. This masonry detailing is a contemporary re-interpretation of the historical retaining wall, with its hand-cut, undressed stonework. Unlike the heavy relief of the building’s exterior, the surfaces of its interior are smooth. The large window panes are fitted flush with the white plastered walls, as are the lighting panels set into the white plastered ceilings. The floor consists of a light blue polished terrazzo. All the fixtures and fittings in the recesses, as well as the doors and other furnishings are made of cherry wood.

Ensuring a smooth flow of large numbers of visitors was a particular challenge posed by the architectural brief. Dudler’s design solves this with its ingenious ‘architectural promenade’ through the building: visitors proceed from the entry hall through to the educational room, then up onto the roof terrace with its elevated views of the castle before exiting via the exterior stairs at the rear of the building to begin a tour of the castle proper. In this way, the full potential of this small building is realised, ensuring it has both multi-purpose usage and allows the maximum throughput of visitors.

Heidelberg Castle Visitor Centre by Max Dudler

Building Name: Besucherzentrum Schloss Heidelberg
Location: Heidelberger Schloss, Schlosshof 1, D-69117 Heidelberg
Client: Land Baden-Württemberg represented by Vermögen und Bau Baden-Württemberg, Mannheim Office
User: Staatliche Schlösser und Gärten Baden-Württemberg

Building Volumes: 490 m² usable floor area, 770 m² gross surface area, 3450 m³ gross building volume
Total building cost: 3 million Euros

Heidelberg Castle Visitor Centre by Max Dudler

Design and Construction Period:
Design commenced: April 2009
Construction commenced: 2010
Building Completion: December 2011

Architect: Max Dudler
Project Manager: Simone Boldrin
Co-workers: Patrick Gründel, Julia Werner

Long Story Short Typography

Long Story Short, a project by Archie McLeish which typo­graph­i­cally ren­ders com­mon dig­i­tal speak acronyms in a decid­edly non-digital style.

 

Hide your embarrassing literature

Illustrator Isabel Greenberg’s series of concertina Fold Out-Fold Up products are designed to cover kitchen- or bookshelf shame…

“If you have an embarrassing bookcase with lots of Mills and Boon or the Twilight books or something, you fold out my book shelf cover and put it in front!” says Greenberg on her website. “The kitchen one [below] has lots of foodie feastables and you can pop it over your kitchen shelf when you have nothing but pot noodles and stale crackers.” Greenberg’s fake library includes such tomes as Toilet: Faeces in Art and Design and Granny Chic, and also reveals a penchant for studies on cake art.

Clocked on boingboing earlier today, the fetishistic card products were shown at Comica’s Comiket show in London on the weekend.

Check out more of Greenberg’s work on her website, complete with url inspired by the ‘classic’ dad joke, isabelnecessary.com.

Calling all fearless designers

Chicago’s Firebelly Design came up with an interesting solution to all the internship requests they receive. Camp Firebelly, an intensive apprenticeship experience like no other, was created for 10 talented folks looking to break into the design profession and use their powers for good. Camp Firebelly challenges students and recent grads to address social issues through a collaborative project of their own design.

Are you a fearless and highly talented designer? Get your application in by May 4.

Salone Milan 2012: Interface design of IKEA’s Uppleva TV furniture unit

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uppleva_home.jpgUppleva home screen

Much has been written already about the launch of IKEA’s Uppleva TV furniture units, but few reviewers seem to have interacted with them.

About 10 of them were publicly shown—in a world premiere—at the IKEA PS show in the Lambrate area of the Milan Design Week event, in different colors, sizes, and furniture combinations. The event ended yesterday and the IKEA Uppleva website is expected to go online soon.

This post concentrates on the interface design—an area which has not been covered so far.

On Putting People First (the Experientia blog that I manage), you can also read more on the user research that went into the design.

The demo units in Milan were running a very advanced prototype software, but the interaction and product design provided an integrated and simple user experience, with only minor problems.

When comparing the Uppleva (which means “experience”) with the Apple TV, Dave Smith says that IKEA has now set out a benchmark by “interpreting Steve Jobs’ vision of an integrated television.”

Simplicity first

The Uppleva home screen has only 8 items—picture, sound, PAP, options, media, smart TV, lock and setup—and direct access to most of the areas is available via the remote control.

Icons are simple and clean: off-white on a blue background.

This theme comes through in all the screens, with the TV (or video) image being turned into a subdued blue-and-white background presence on the internal screens, as can be glimpsed on the screenshots here:

uppleva_options.jpgUppleva options screen

uppleva_setup.jpgUppleva setup screen

(Aside from the IKEA-supplied home screen shot, all other photos were taken by me, and this is the reason for the perspective and color distortions.)

The blue background makes it difficult to change the color and contrast settings, as you have to switch between settings and live image to see the effect, but other than that provides a calming and quiet visual experience, very different from the one that sometimes pervades in these types of interfaces.

(more…)


New to the iPad

Since launching our iPad edition earlier this month, we’ve continued to add plenty of new CR iPad-only content, including a feature on photographer Roger Ballen, a new short film soundtracked by Radium Audio, a closer look at the work of Pick Me Up illustrators Kristjana Williams, and Michael Kirkham, and an intricate animation, inspired by a 16th century Dutch painting.

Amongst our new additions to the April iPad edition, we take a look inside the pages of Woodcut, a new publication collecting together the large-scale prints of Bryan Nash Gill.

Short film, Micro Empire, visits the world of the microscopic, soundtracked by sound design studio Radium Audio.

Rob and Nick Carter bring a 16th century Dutch painting to life in painstaking detail, in an animation that took almost 4,000 hours to complete.

Quayola and Memo have created an intricate, generative animation for the Cultural Olympiad programme at the National Media Museum.

Colin Buttimer looks at the latest release from Second Language, which includes a CD, cassette and a beautifully illustrated accompanying book. Colin will be contributing to the iPad each month, and you can read more from him over at Hard Format, a site dedicated to exploring music design and packaging.

Illustrator Michael Kirkham talks us through some of his most significant pieces of work to date, including a pop-up forest book.

And in an iPad-only feature, we catch up with Roger Ballen by phone from Johannesburg, to discuss his first major UK exhibition, and his work in general.

We also preview some of the original works from Andy Rementer’s solo exhibition, at the Ship of Fools gallery in the Netherlands.

And we look in detail at Russell Bell’s meticulous technical illustrations and maps.

The app can be downloaded from here, and includes a free sample issue. Expect more updates throughout April, and a brand new issue of the iPad app in May.

Miles Morgan Photography

Focus sur les clichés de Miles Morgan, photographe américain basé à Portland dans l’Oregon. Amoureux des paysages, ce dernier parvient à capturer des instants d’une beauté sidérante, qu’il sublime parfois avec l’aide de logiciels. Des images magiques à découvrir dans la suite.



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Previously on Fubiz

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Design Depot’s Power Pylons We’d Like to See

0ppylons01.jpg

How awesome would it be if electrical pylons looked like this?

0ppylons02.jpg

Sure there’s a little more steel involved, but it’s a damn sight easier on the eyes than what we’ve got going now.

(more…)


Savoury spread fit for The Queen

Fans of the nation’s most divisive savoury spread will be able to “toast” the Queen’s 60th year at the helm by buying a special edition jar of the brown stuff…

The limited edition Marmite packaging eschews the brand’s usual yellow white and red label in favour of the red white and blue colours of the Union Jack. The illustration of a marmite and spoon on the front of the label has been replaced by a crown and brand name itself has been changed to Ma’amite. The jar also features a red, rather than the usual yellow, lid.

“We wanted to pay a fitting tribute to the Queen – from one British institution to another,” explains Unilever’s marketing manager Nicola Waymark of the limited edition packaging.

Ma’amite is on sale at all good high street retailers including Morrison’s, Sainsbury’s, Tesco and Waitrose. It will also be available from marmiteshop.co.uk from next Monday (April 30).

 

CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here

Gentle by Front for Porro

Gentle by Front for Porro

Milan 2012: the flexible back of this chair by Swedish designers Front comprises a thick spring wrapped in black leather.

Gentle by Front for Porro

Presented for Italian brand Porro in Milan last week, the Gentle chair has a matching black leather seat but pale wooden front legs, which continue up and around the backrest in one loop to form arms.

Gentle by Front for Porro

Over at Spazio Rossana Orlandi Front also showed a lamp that blows bubbles – check it out in our earlier story and see all our stories about their work here.

The Salone Internazionale del Mobile took place from 17 to 22 April. See all our stories about Milan 2012 here.

Here are some more details from Porro:


Gentle design Front

Stolen from a fairy tale, directly coming from a children book, the result of any dream coming true, the Gentle chair entirely reinterprets the seat archetype, making its shapes far more modern and purified.

If at a first glance it looks like a continuum, a pattern drawing drafted without moving the pencil from the paper, in reality it perfectly hides a complex project, matching metal covered by soft leather at the back legs level, moving up to the back arch, to the light wood of the front legs, becoming the arm and back supports, in a subtle opposite contrast.

The soft back and the leather upholstered seat make the chair “soft” at the touch and at sight, in an harmonic double-coloured optical effect, graphical and retro at the same time, always two colours perfectly and elegantly matched.