Landhausplatz by LAAC Architekten and Stiefel Kramer Architecture

Landhausplatz by LAAC Architekten

Austrian design studio LAAC Architekten and Stiefel Kramer Architecture have completed this public plaza in Innsbruck, Austria, with an undulating concrete surface.

Landhausplatz by LAAC Architekten

Completed in collaboration with Christopher Grüner, The Landhausplatz square retains the site’s four monuments with the addition of new trees, benches, lighting, a fountain and drinking fountains.

Landhausplatz by LAAC Architekten

The huge concrete slabs swell upwards to frame these elements, with textured surfaces giving way to a smooth polished surface.

Landhausplatz by LAAC Architekten

Water is allowed to drain away through the gaps between the slabs and is absorbed on site.

Landhausplatz by LAAC Architekten

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Photography is by Günter Richard Wett.

Here are some more details from the architects:


New Design for Eduard-Wallnöfer-Platz
(Landhausplatz) in Innsbruck, Tyrol, 2011

Project Description

Goal of the intervention at Eduard-Wallnöfer-Platz (Landhausplatz) was to create a contemporary urban public space that negotiates between the various contradictory conditions and constraints of the site and establishes a stage for a new mélange of urban activities characterised by a wide range of diversity. The realised project consists of a 9.000 square meter concrete floor sculpture.

Eduard-Wallnöfer-Platz was the largest but neglected public square in the centre of the city of Innsbruck in Tyrol, Austria. The site nevertheless kept a symbolic significance with the four memorials positioned there. A subterranean garage was built in 1985.

Landhausplatz by LAAC Architekten

Before the transformation took place, the square’s atmosphere and spatial appearance was dominated by the facing facade of the Tyrolean provincial governmental building from the period of National Socialism, and by a large scale memorial that looks like a fascist monument – which in fact and in spite of its visual appearance is a freedom monument that shall commemorate the resistance against, and the liberation from National Socialism. The intervention aims to compensate for existing misconceptions and to reinforce the monument’s historical significance. The new topography of the square offers a contemporary and transformative base for the memorials and makes them accessible – physically and regarding a new perception.

Landhausplatz by LAAC Architekten

The new topography sets a landscape-like counterpart to the surrounding. But it turns into an urban sculpture through its city context, its finish in concrete and trough its function. Accessibility and the layout of paths result from the modulation of the surface which deals with spatial constraints, functional requirements and with morphological considerations.

Pedestrians and users as well as the memorials in their role as protagonists on this new city stage allow for an operative public and open forum between main station and old town. The bright surface of the square functions as a three-dimensional projection field on which the protagonists together with the trees cause a high-contrast dynamic play of light and shadow during daytime. In front of this background the seasons are staged powerfully. Indirect light reflected from the floor sculpture directs the scenery at nighttimes.

Landhausplatz by LAAC Architekten

In the northern part of the square, the spacious flat area in front of the Landhaus is conceived as a generous multi-purpose event space providing the according infrastructure. A large scale fountain activates the expanded field and provides cooling-down in summertime.

South of the liberation monument the topography features a variety of spatial situations for manifold utilisations. The texture of the concrete surface varies according the type of geometrical configuration. Beneath many trees the floor continuously merges into seat accommodations with a terrazzo-like polished finish.

Landhausplatz by LAAC Architekten

The sculpture group of one of the monuments is integrated into the basin of a new fountain where water runs down steps cut into a slope. The shoal fountain and the water games in front of the Landhaus provide playground for children and cool down the climate in summer locally. There are drinking fountains in different heights for children and adults.

The surface of the square is realised in modulated slabs out of in-situ concrete, joined by bolts that deal with shearing forces. Infrastructural elements for the organisation of events which can take place anywhere on the square are integrated in the construction of slab-fields of max. 100 square meter. Drainage of the whole square including the fountains is located completely at the open joints between the individual fields so that there is no drainage pit visible on the whole site. An innovative buffer system allows that – despite of the existence of a subterranean garage – all the appearing surface water drains away within the property.

Landhausplatz by LAAC Architekten

Architects:
LAAC Architects/stiefel kramer architecture
in cooperation with Christopher Grüner

LAAC Architects – Innsbruck
stiefel kramer architecture – Vienna/Zurich
Christopher Grüner – Innsbruck


See also:

.

Miami Beach
by West 8
Grand Canal Square by
Martha Schwartz Partners
CDSea
by Bruce Munro

Entorno del Templo de Diana by José María Sánchez García

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

Spanish architect José María Sánchez García has created a public square with a raised viewing platform, surrounding a Roman temple in Mérida, Spain.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

The two-storey concrete platform is roughly the same height as the adjacent Temple of Diana and has an exterior balcony that allows visitors to walk around three quarters of it’s perimeter.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

The square has an earth surface, as it would have done when it was used as a Roman forum.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

Photography is by Roland Halbe.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

More architecture photographed by Roland Halbe on Dezeen »

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

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Entorno del Templo de Diana by Jose Maria Sanchez Garcia

The following details are from the architects:


Roman Temple of Diana Surroundings and Perimetral Building

The project retrieves the environment of the Temple of Diana in Merida, which was the forum or the city center in Roman times.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

The challenge of acting in a place with such historical and archaeological relevance has meant to work with the existing trace since the beginning, so that the finished work would recover this space from Roman times through modern language.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

This situation has led to conceive the architectural design not as something closed or completely defined before starting to run.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

On the contrary, we worked in a more flexible way, defining the rules and guidelines on how to act in this place, that is to say, the syntax of the project itself, in order to absorb all the irregularities and changes due to the archaeological findings, without losing the initial concept of the proposal.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

All this has been developed during five years that, with the archaeological works, the project definition and execution of the construction overlapping in time.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

The project is solved with a perimeter piece L-shaped, with its own syntax, sewing its edge with the city and creating a large square around the temple.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

This “L” is the union of the platform or high walk (which at the same level of the podium liberates the archaeological level at ground floor, allowing visitors to have a new relationship with the temple) and the structural wall (which puts in Temple value by framing and abstracting it from adjacent buildings).

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

Between the perimeter L piece and the city, a volume in the form of hanging boxes occupy interstitial spaces accommodating commercial and cultural uses.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

Thus, the project, rather than a building is a raised platform, a floating structure capable of generating a new layer of city full of program.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

To recover the Roman trace on ground floor, the perimeter structure is placed on the edge of the site, away from the temple, thus giving the largest possible surface to the public square.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

The original sacred area is recovered, respecting the Roman archaeological features that are part of the sacred space: the temple, two side ponds, the crypto-portico and the Roman wall, which are now incorporated into the plaza.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

The platform stands at about the same height of the podium of the temple to allow visitors to watch it as they were inside, while projecting a shadow over the square.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

This way the temple environment gets geometrised, making the understanding of the space clear and not interrupted by the particularities of the back part of the existing buildings.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

At the rear part, a volume system, flexible to changes in the perimeter, will occupy the interstitial spaces, shaping light patios that rhythmically fragment the platform’s shadow. It defines a new order of light and shade in the square by the patios between the boxes.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

The materialisation of the elements that build the new spaces has been studied by a contemporary interpretation of the materials that were part of the Roman space. The whole square will have an earth finishing, as it was originally.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

The piece in L is defined as an artificial stone, made of lime and aggregates characteristic of the place with the granite-like color of the podium of the Temple. We don’t talk about concrete as such, but a warmer artificial stone made using materials found in the surroundings.

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

Credits and Data

Project title: Perimetral building and Temple of Diana environments. Mérida, Spain
Location: Romero Leal and Santa Catalina street, Mérida, Spain
Construction: November 2009 – February 2011
Total floor area: 2158,19m2
Budget: 5.000.847,90 €

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

Architect: José María Sánchez García
Team: Enrique García-Margallo Solo de Zaldivar, Rafael Fernández Caparros, Maribel Torres Gómez, Laura Rojo Valdivielso, Francisco Sánchez García, José García-Margallo, Marta Cabezón López, Mafalda Ambrósio, Carmen Leticia Huerta, Marilo Sánchez García, Julia Ternström
Structural engineer: CDE Ingenieros, Gogaite S.L
Services engineer: ARO consultores
Technical architect: Ángel García Blázquez, Fernando Benito Fernández Cabello
Client: Consorcio Ciudad Monumental Histórico-Artístico y Arqueológica de Mérida, Consejería de Cultura – Junta de Extremadura
Building firm: UTE Templo de Diana (Procondal – Copcisa)

Entorno del Templo de Diana by Jose Maria Sanchez Garcia

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See also:

.

Las Arenas by Rogers
Stirk Harbour + Partners
El Claustro Cultural Center
by Eneseis Arquitectura
City Walls of Logroño by
Pesquera Ulargui Arquitectos