Architecture Critic Christopher Hawthorne Takes Issue with Apple’s Proposed ‘Aloof from the World Around It’ New Headquarters

The LA Times‘ resident architecture critic has received a fair share of criticism of his own at the start of this week, chiefly from avid Apple enthusiasts after his writing a somewhat negative piece about the company’s proposed Foster + Partners-designed new headquarters in northern California. Though not a terribly negative review, and certainly not overt, Hawthorne really doesn’t even involve Apple, but instead uses them as a launching point to discussed the many companies who have decided to build a “campus,” a self-inclosed, almost suburban-like entity that eschews any form of connection to its community. However, with both Google (working with Ingenhoven) and Facebook (moving into Sun Microsystems‘ old facilities) also making them move to new mega-campuses of their own, Hawthorne seems to find Apple’s planned new home even more egregious in its desired separation than any of its neighbors, writing that it “keeps itself aloof from the world around it to a degree that is unusual even in a part of California dominated by office parks.” While the critic doesn’t directly address that many of these companies deal in tremendous secrecy and have employees who have sacrificed personal lives to work 18 hour days and thus need something that provides a sort of replacement for that insular safety, we think Hawthorne doesn’t necessarily believe that those needs have to be mutually exclusive. Whatever the case, it’s an interesting argument and one that’s sure to have the critic blacklisted for the iPhone 5 unveiling event, whenever that should happen to be.

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Haus der Essener Geschichte by Scheidt Kasprusch

Haus der Essener Geschichte by Scheidt Kasprusch Architekten

Following our recent feature about buildings clad in weathered steel, here’s an archive in Essen, Germany, that is clad in Corten.

Haus der Essener Geschichte by Scheidt Kasprusch Architekten

Designed by German studio Scheidt Kasprusch Architekten, the four-storey building contains a public archive for the city’s historical records and documents.

Haus der Essener Geschichte by Scheidt Kasprusch Architekten

The steel panels create stripes across the facade, interrupted by angled recesses concealing narrow windows.

Haus der Essener Geschichte by Scheidt Kasprusch Architekten

The Corten-clad block is an extension to a former school building, which was refurbished by the architects to provide administration rooms, a library and an exhibition area for the city archives.

Haus der Essener Geschichte by Scheidt Kasprusch Architekten

Other Corten-clad buildings from our recent feature include a winery in the south of France and a see-through church in Belgiumsee all our stories about weathered steel here.

Haus der Essener Geschichte by Scheidt Kasprusch Architekten

Photography is by Deimel & Wittmar.

Haus der Essener Geschichte by Scheidt Kasprusch Architekten

Here’s some more text from Scheidt Kasprusch Architekten:


Haus der Essener Geschichte
Conversion and rebuilding

Haus der Essener Geschichte by Scheidt Kasprusch Architekten

The project comprises the reconstruction of the listed Luisenschool to be used as a library, an administration and an exhibition area and also the new construction of an archive building.

Haus der Essener Geschichte by Scheidt Kasprusch Architekten

The accurate design of the new building and also the sensitive handling of the old building were of paramount importance.
By doing so The Luisenschool turns into focus of education and history.
The overlapping utilizations of school-library-archive-exposition demonstrates a special quality and offers new opportunities.

Haus der Essener Geschichte by Scheidt Kasprusch Architekten

The corten steel tables, which cover the new archive, are made of a material that constantly alters and protects itself by corrosion.
It communicates the change of time, appears protective and alludes to the background of the City of Essen.

Awarding authority: City of Essen
Concept and development: Ahlbrecht Felix Scheidt Kasprusch Architekten
Competition: 2005, 1st award
Completion: 2010
Gross floor area: 5500 sqm
Location: Essen, Germany
Materials: new archive building: corten steel tables


See also:

.

Chateau Barde-Haut
by Nadau Lavergne
Museum in Palmiry
by WXCA
Exchange by
Andre Kikoski

BFI Master Film Store by Edward Cullinan

BFI Master Film Store by Edward Cullinan

London studio Edward Cullinan Architects have completed a concrete and steel bunker to store the British Film Institute‘s entire film collection.

BFI Master FIlm Store by Edward Cullinan Architects

Located in Warwickshire, England, the BFI Master Film Store can archive up to 460,000 film canisters inside vaults with sub-zero temperatures and specified humidity levels.

BFI Master FIlm Store by Edward Cullinan Architects

These 36 vaults are externally clad in precast concrete panels to maintain a stable thermal mass.

BFI Master FIlm Store by Edward Cullinan Architects

At the front of the building is an entrance block wrapped in corrugated stainless steel panels, which features a steeply pitched sedum roof.

BFI Master FIlm Store by Edward Cullinan Architects

This block provides workshops, a meeting room and staff facilities, as well as airtight lobbies leading to the storage vaults.

BFI Master FIlm Store by Edward Cullinan Architects

We have recently published a number of bunker-like buildings on Dezeen – see all the stories here.

BFI Master FIlm Store by Edward Cullinan Architects

Photography is by Edmund Sumner.

BFI Master FIlm Store by Edward Cullinan Architects

Here are some more details about the project from Edward Cullinan Architects:


This autumn, the British Film Institute (BFI) has reached a major milestone in its long history of preserving the nation’s film heritage. The pioneering new building is ready to house the BFI’s entire master collection of acetate and nitrate film in closely controlled environmental conditions ideal for the long term protection of this priceless and vulnerable material.

BFI Master FIlm Store by Edward Cullinan Architects

The Project has been realised through the Screen Heritage UK (SHUK) programme, a nationwide initiative funded by the Department of Culture, Media and Sport. One of its key objectives is to prevent the deterioration and loss of the nation’s films so that they can be made accessible now and in the future. The BFI cares for the most significant film collection in the world. It represents the history of the moving image in Britain from pre-cinema through to the present day. The collection has been stored over two sites; the new building consolidates the collection into an existing site in Warwickshire.

BFI Master FIlm Store by Edward Cullinan Architects

The building is designed by Edward Cullinan Architects who led a detailed feasibility study which concluded that the BFI’s existing archive buildings could not be suitably upgraded, and that a new ‘sub-zero’ storage facility large enough to house all master acetate and nitrate material should be constructed at the earliest opportunity.

BFI Master FIlm Store by Edward Cullinan Architects

The final technical solution is the result of intense research and collaboration between the architect, engineers, film experts and the BFI to define the best method for storing such a large collection of film sustainably for the next 50 years and beyond.

At just under 3000m², the new vaults will store up to 460,000 canisters of film in conditions of -5°C at 35% relative humidity, while the construction enables the building to sustain these conditions in an energy efficient way.

BFI Master FIlm Store by Edward Cullinan Architects

Pre-cast concrete panels provide the thermal mass required to limit temperature fluctuations. Although the building form is quite simple, consisting of 30 identical cellular vaults for nitrate and 6 vaults for acetate film, the specification requires extremely low air leakage rate and must withstand intense heat in the unlikely event of a nitrate film fire. Rigorous analysis, detailing, quality control and testing has been carried out to ensure the building will provide the sub–zero temperature, low humidity and fire prevention that the film requires for its preservation.

The building is the first of its kind to store large quantities of film in such cold and dry conditions; it will also achieve a BREEAM Rating of ‘Excellent’ for its sustainable features.

BFI Master FIlm Store by Edward Cullinan Architects

Click to enlarge image

Project Data

Design Team Appointed: July 2009
Construction period commenced: October 2010
Construction Cost: £9million
Cost per m2: £3,000
Planning approved: June 2010
Building occupied: September 2011
Practical Completion Date: December 2011

BFI Master FIlm Store by Edward Cullinan Architects

Click to enlarge image

Credits

Client: BFI
Architect: Edward Cullinan Architects
Structural Engineer: Curtins Consulting
Services Engineer: Couch Perry & Wilkes
Project Manager: Buro Four
Quantity surveyor: W H Stephens
CDM Coordinator: Arcadis
Main contractor: Gilbert Ash NI

See also:

.

EDF Archives Centre
by LAN Architecture
A shop in a church
by Merkx + Girod
The Rothschild Foundation
by Stephen Marshall

Joe Haskett & the Box Office

We sat down with Joe Haskett of Distill Studio to talk about his extremely successful shipping container building, the Box Office, and other projects in the works.

Core77: What are your goals as an architect?

Joe Haskett: I feel that there’s a lot of disservice that architects and designers have been doing over the course of the twentieth century—that we’re the ones who can solve a lot of the problems that we’ve created. It really finds itself in the form of energy efficiency and sustainability. The decisions that we make and the people that we aggregate together to make these decisions are critical. I think we’ve been doing poorly in that as architects and designers.

I really wanted to look at the process of architecture. Looking back at the way architecture’s been practiced before, it was typically in a vacuum between owner and architect. An owner would come to an architect and in order to keep costs down at the beginning they’d ask us not to bring in a bunch of consultants. What would happen is that architects would make a bunch of assumptions without bringing in people who would know [the effects of their decisions].

What I’m trying to do with Distill Studio is to perform an integrated design process. People have been doing this for a while, but it just kind of expands and opens up that front end of the project. It brings in all the stakeholders and decision makers. It really asks the questions first rather than later, because when you ask these questions when it’s too late you’re definitely going to spend more money. And the project is going to suffer – that’s the most important thing. The way that Distill Studio approaches buildings is looking at them as ecosystems. When you look at nature, it’s a closed system. It doesn’t have any of these outs. “Oh, we’re just not going to account for that.” We try to look at them as an opportunity to not only make better projects, but to try and solve some of the larger issues that we face as a country and globally.

box_party1 2.jpgImage courtesy of Stephanie Ewens

box_party2 2.jpgImage courtesy of Stephanie Ewens

How did you get involved working with shipping containers?

We had designed a building that was going to be more typical, that was going to be energy efficient. We were looking at a LEED certification. But the economy tanked and the owner was like, “I can’t afford that.” So it really put us in gear to figure out a way to approach building and design from a different way. We looked at pre-fab and modular and ended up looking at these containers. We didn’t set out to do a container building; we kind of backed into it.

What kind of consultants do you usually work with?

We’ve had a couple of what I call “pow-wows.” You invite people who are in the building continuum: architects, designers, mechanical engineers, electrical engineers. But one of the most important factors in that group are the banks. A lot of the time people will get all that together and then they’ll go to the bank. If we’re going to change the way we design and build, it really depends on the banks and how they lend and the terms they will lend upon. Because, if they’re scared, they won’t lend. If you’re trying to propose something that seems off the wall or overly unique, they get scared. If they get scared, they don’t lend…These pow-wows try to bring in the bankers who lend the money to green light these projects and expose them to some of the decisions and the thoughts that we’re having as designers and people who are interested in the environment.

(more…)


Sleepbox 01 by Arch Group

Sleepbox by Arch Group

Russian architects Arch Group have completed the first of their tiny hotel rooms for napping at airports.

Sleepbox by Arch Group

The Sleepbox unit at Moscow’s Sheremetyevo airport contains two beds and can be rented for between 30 minutes and several hours.

Sleepbox by Arch Group

The pod is equipped with LED reading lamps as well as sockets for charging laptops and mobile phones.

Sleepbox by Arch Group

This booth is constructed from ash-veneered MDF, although future units could instead be made from metal or glass-reinforced plastic.

Sleepbox by Arch Group

The Sleepbox concept was the most popular story on Dezeen back in November 2009 and received over 100 comments – see our earlier story here.

Sleepbox by Arch Group

Photography is by Arch Group/Ivanov Ilya.

Sleepbox by Arch Group

Here’s some more information from Arch Group:


Sleepbox

Imagine the situation where you are in a modern city, you are not a local resident, and you have not booked a hotel. It is not a comfortable situation because modern aggressive cities give you no opportunity to rest and relax. If you want to sleep while waiting for your plane or train, you face many security and hygiene problems.

Sleepbox by Arch Group

We believe that urban infrastructure should be more comfortable. For this purpose we have developed Sleepbox. It provides moments of quiet sleep and rest without wasting time in search for a hotel.

Sleepbox by Arch Group

Possible locations for Sleepbox include:

  • Railroad stations
  • Airports
  • Exhibition centers
  • Public and shopping centers
  • Accommodation facilities

 

Sleepbox by Arch Group

In countries with a warm climate, Sleepbox can be used outdoors.

Sleepbox by Arch Group

Sleepbox allows everybody in unforeseen circumstances to spend a night safely and inexpensively or simply to kill a few hours without leaving the luggage.

Sleepbox by Arch Group

Sleepbox is a small mobile compartment (box) with a 2.5×1.6m base and 2.5-3m height. One of its main advantages is its ability to be installed in the airport “clean” zone, just in front of the gates. This is precisely the area where travelers have to spend hours waiting for their delayed flights or transfer.

Sleepbox by Arch Group

Currently we offer one-, two-, or three-bed Sleepboxes, which can be made of MDF (wood), metal, and glass-reinforced plastic. Sleepbox allows from 30 min to several hours of paid use. The price varies depending on the number of hours in use: the more the user pays for, the less it costs per hour.

Sleepbox by Arch Group

Sleepbox base features include ventilation and sockets for notebook and mobile phone chargers. Space for luggage is under the bed, and each bed has a nightstand. In addition to general lighting, Sleepbox has built-un LED reading lamps. Windows are equipped with electric-drive blinds for privacy.

Sleepbox by Arch Group

Sleepbox’s main function is to afford a restful sleep. However, depending on location, it can be equipped with additional features.

Sleepbox by Arch Group

Available options include:

  • Matted film on windows with changing transparency
  • Mood lighting – LED lamps with changing light colors
  • Built-in media block (TV, touch-screen monitor)
  • Wi-Fi router
  • Alarm, intercom
  • Safe deposit box
  • Built-in payment station with magnetic keys

 

Sleepbox by Arch Group

In mid-August 2011, the first Sleepbox was installed at the Aeroexpress terminal of Sheremetyevo International Airport, Moscow, Russia. It represents the base version made of MDF with a natural ash-tree veneer. This Sleepbox attracted such a great deal of interest from passengers and big companies that chances are first commercially operated boxes will be installed at airports and in the city by the end of this year.

Area: 4 m2
Architectural bureau: Arch group
Architects: M. Krymov, A.Goryainov
Design: 2009
Realization: 2011


See also:

.

Sleepbox by
Arch Group
Mobile Police Station
by Gesamtkonzept
Nomad by
1/100

Tate Modern Expansion Won’t Be Totally Finished by 2012 Olympics

If you had plans to attend the 2012 Olympics next year in London and were hoping to catch some of the new-though-non-athletic offerings around town, don’t expect the Tate Modern to be 100% finished. While originally intending to be finished by the time the city took the world stage next year, the museum has announced that it still has some major fundraising left to do, to the tune of £64 million. While a chunk of the expensive and massive expansion effort will be ready to go when the flood gates open next summer, the BBC reports that the second and final phase of building has been pushed back to 2016. Here’s a bit about what will be open for next year, the first phase:

The first phase of the new development will be part of the Cultural Olympiad – the UK-wide festival of the arts, timed to coincide with next year’s Olympic Games.

It will include the opening of the former power station’s oil tanks, three cavernous subterranean spaces, which Tate Modern said would create “exciting new spaces for art in the world”.

Two concrete galleries and a steel-lined gallery will provide 60% more space for works from the Tate Collection.

New Career Opportunities Daily: The best jobs in media.

‘Loved to Death’, National Mall Design Competition Launches

Hot off the heels of the insanely fast redesign competition for the President’s Park South and the opening of the forever controversial Martin Luther King Jr. Memorial, the move to spruce up Washington DC’s most visited areas continue at a healthy clip. Just before the weekend, the Trust for the National Mall launched the National Mall Design Competition. Writing that the Mall “has been loved to death” and is struggling to keep up appearances since its last major preservation effort nearly 40 years ago, the competition has put a call out for redesign plans for three sites in particular: Union Square, the Washington Monument grounds at Sylvan Theater and Constitution Gardens. Unlike the aforementioned President’s Park South competition, which seemed as though it was started and finished in around an hour and a half, the Mall project will be taking its time (pdf), blocked out in a series of stages, with potentially eight teams picked between now and December, renderings out in April of next year, and winners named in May of 2012. The budget for the restoration is currently estimated at $700 million, with half coming from donations and the other from matching federal funds. Former First Lady Laura Bush, now no stranger to landscape-centric capital campaigns after overseeing her husband’s presidential library in Texas, has signed on as the Honorary Chair to help raise the money. Here’s a list of the problems that propelled the Trust into action:

  • The National Mall has been loved to death.
  • With more than 25 million annual visitors and 3,000 annual permitted events, the National Mall is the most visited park in the NPS system.
  • Pierre L’Enfant, who designed the National Mall in 1791, could not have anticipated this magnitude of use. The National Mall is not equipped to withstand this level of use or engage so many visitors.
  • The National Mall now requires more than $400 million for critical deferred maintenance and an estimated $300 million for restoration and improvement projects.
  • The last time the National Mall received adequate resources was for the Bicentennial celebration in 1976. These decades of neglect have left the National Mall in need of repair.
  • New Career Opportunities Daily: The best jobs in media.

    Regional Library and Knowledge Centre by Török és Balázs Építészeti

    Regional Library and Knowledge Centre by Török és Balázs Építészeti

    A mosaic rainbow of glazed ceramic tiles lines an egg-shaped dome at the heart of a library in Pécs, Hungary.

    Regional Library and Knowledge Centre by Török és Balázs Építészeti

    The six-storey library was designed by Hungarian architects Török és Balázs Építészeti, while the colourful tiles were arranged by ceramic artist Márta Nagy.

    Regional Library and Knowledge Centre by Török és Balázs Építészeti

    Library floors wrap around the curved hub, which is used as a place for quiet inspiration.

    Regional Library and Knowledge Centre by Török és Balázs Építészeti

    A series of small windows and a circular skylight puncture the curving tiled surfaces.

    Regional Library and Knowledge Centre by Török és Balázs Építészeti

    The dome emerges through a decked terrace on the roof of building, surrounded by a top floor children’s library.

    Regional Library and Knowledge Centre by Török és Balázs Építészeti

    Another building on Dezeen covered in colourful ceramic tiles is a Jewish community centre – see our earlier story here.

    Regional Library and Knowledge Centre by Török és Balázs Építészeti

    See also: more buildings in Hungary on Dezeen.

    Regional Library and Knowledge Centre by Török és Balázs Építészeti

    Photography is by Tamás Bujnovszky.

    Regional Library and Knowledge Centre by Török és Balázs Építészeti

    Here’s a bit more information from the architects:


    Regional Library and Knowledge Center, Pécs, Hungary

    Pécs, a multicultural city with a rich history, was the European Capital of Culture in 2010. For the location of the new library a remote, run down, undeveloped plot was chosen. This meant the new building did not have the constraint or possibility to directly match other buildings. During the design process, I aimed to dynamically synthesize the dualities which appear in many ways.

    Regional Library and Knowledge Centre by Török és Balázs Építészeti

    In the building a “beehive” represents the ideological centre and refers to permanence. This is a place of abstract thinking: a metaphor for the freedom of knowledge and also, in reverse, for the knowledge of freedom. I see beauty in the idea that my response for a knowledge centre is a building where the focus is not on concrete, permanently changing knowledge but on the possibility of thinking: in-other-words, an empty space which can be filled with the thoughts of the people in it.

    Regional Library and Knowledge Centre by Török és Balázs Építészeti

    The ground floor reception room is horizontally open, and the upper floors are, in accordance with their activities, rather introverted. The extensive “beehive”, un-functional in any common sense, connects these differently characterized spaces. In terms of forms, the inner, abstract space is analogous, archaic and organic. The spaces surrounding the “beehive” are the result of rational planning; with their flexibility they express the possibility of change. The facades are defined by the airy, white ceramic-coated glass, which represents the latest technology.

    Regional Library and Knowledge Centre by Török és Balázs Építészeti

    The inner surface of the “beehive” is an independent work of art: The Zsolnay ceramic tiles, with their world-famous eosin coating, refer to the use of local historical characteristics. The dual-use of material is intentional. It is important that an architectural work can be read in different ways: it should be local and international, stylish and traditional, historical and contemporary, but first of all have self-identity.

    Regional Library and Knowledge Centre by Török és Balázs Építészeti

    Client: Municipality of Pécs, Hungary
    Location: Universitas utca, 7622 Pécs, Hungary
    total net floor area: 13.180 m2
    construction cost (landscape included): net 3,8 billion HUF

    Regional Library and Knowledge Centre by Török és Balázs Építészeti

    lead Designer: Török és Balázs Építészeti Kft.
    Balázs Mihály, Tarnóczky Tamás, Tatár Balázs
    beehive cover: Nagy Márta ceramic artist
    fellow architect: Török Dávid, Falvai Balázs, Báger András

    Regional Library and Knowledge Centre by Török és Balázs Építészeti

    interior design: Frank György, Fábián Péter
    landscape architecture: Kovács Árpád, Lukács Katalin, Tihanyi Dominika
    electrical planning: Nyári Ilona, Krén József, Osztrovszki Emese, Farkas Anikó
    mechanical design: Mangel Zoárd, Kovács Zsolt, Kerék Attila
    structural design: Volkai János, Ambrus Roland, Dr. Medek Ákos, Komáromi Gergely, Szarka Gergely
    glass structures: Dr. Becker Gábor
    contractor: GROPIUS Zrt., Csáktornyai Gyula President, CEO, Müller Csaba site manager

    Regional Library and Knowledge Centre by Török és Balázs Építészeti

    Competition First Prize: 2007 March 30
    Licensing plan: 2008 May 21
    Tender plan: 2008 july 15
    Opening: 2010 september

    Regional Library and Knowledge Centre by Török és Balázs Építészeti


    See also:

    .

    Junior Boys School
    by McBride Charles Ryan
    Ravensbourne College by
    Foreign Office Architects
    Community Centre
    by Manuel Herz Architects

    Santiago Calatrava Resigns from Denver Airport Project

    Just two years ago it was announced that architect Santiago Calatrava had signed on to help design major new additions for Denver’s airport, an estimated $650 million project that would include “a commuter-rail station, a public plaza that links with the existing terminal, and a 500-room Westin hotel.” Things seemed to be moving along swimmingly with the South Terminal Redevelopment Program, when the first renderings and even an animation of the project were released in July of last year. However, at some point between then and last week, the relationship between the developers and Calatrava have broken down, with the architect announcing that he is leaving the project for good. Claiming that cutbacks, such as the budget being trimmed back by $150 million, have jeopardized the original vision, the architect decided to walk away. However, the Denver Post reports that the airport will continue to move forward with Calatrava’s original design plans, something the he sounds okay with at the moment, though the paper reports that the initial contract for the project stipulates that the design and intellectual property rights belong solely to Calatrava and his firm, which might create something of a hurdle down the line as construction continues to move forward without him. Here’s a bit:

    From our perspective as the design professionals, the project still lacks sufficient funding, particularly dollars for the hard-cost components of the project,” Robertina Calatrava said in the letter. “It continues to set an unrealistic schedule with little or no room to develop and consolidate the design in keeping with the standards and quality of a Calatrava signature design.”

    With this exit, the Denver Post further writes that Denver residents are now worried that the city might be developing something of a reputation as being unfriendly to hot shot starchitects. Sure, they’ll always have Daniel Libeskind‘s Denver Art Museum and David Adjaye‘s Museum of Contemporary Art, but with Steven Holl calling it quits on the 2006 Justice Center project and now Calatrava’s exit, some are worried that a “stay out of Denver if you want to see a building through to the end” precedent might be developing.

    New Career Opportunities Daily: The best jobs in media.

    Fortress of Franzensfeste by Markus Scherer and Walter Dietl

    Fortress of Franzensfeste by Markus Scherer and Walter Dietl

    Here are some photographs of a renovated fortress in northern Italy that now features patinated steel bridges, an extended underground tunnel and concrete towers.

    Fortress of Franzensfeste by Markus Scherer and Walter Dietl

    Austrian Italian architects Markus Scherer and Walter Dietl overhauled the site in 2009, when it hosted a regional exhibition.

    Fortress of Franzensfeste by Markus Scherer and Walter Dietl

    The fortified site was originally constructed in the nineteenth century by the Habsburg family, who were nervous about revolutionary iedas spreading from France and catching on in their own neighbourhood.

    Fortress of Franzensfeste by Markus Scherer and Walter Dietl

    Since then, it has been used as a gunpowder depot, army territory and as a venue for the 2008 European contemporary art biennale.

    Fortress of Franzensfeste by Markus Scherer and Walter Dietl

    Two sandblasted concrete towers with horizontal fissures lead visitors through to a ticket office, shop, bar, restaurant and exhibition area.

    Fortress of Franzensfeste by Markus Scherer and Walter Dietl

    Restored vaults provide exhibition rooms with newly exposed brick arches and steel staircases.

    Fortress of Franzensfeste by Markus Scherer and Walter Dietl

    One of these staircases leads down into the extended underground tunnel, which was apparently once used to hide gold stolen from the Bank of Italy.

    Fortress of Franzensfeste by Markus Scherer and Walter Dietl

    Steel bridges emerge from windows to create external routes between first and second floor rooms, crossing an artificial lake.

    Fortress of Franzensfeste by Markus Scherer and Walter Dietl

    Elsewhere, the granite walls of all existing buildings onsite have been restored, while roofs have been waterproofed.

    Fortress of Franzensfeste by Markus Scherer and Walter Dietl

    Other stories about renovated castles and strongholds include a castle converted into a mountain museumsee all our stories about castles here.

    Fortress of Franzensfeste by Markus Scherer and Walter Dietl

    See also: our recent feature about about caves and grottoes.

    Fortress of Franzensfeste by Markus Scherer and Walter Dietl

    Photography is by Alessandra Chemollo.

    Here are some more details from Markus Scherer:


    The Fortress of Franzensfeste

    “Begun under Francis I in the year 1833 – completed by Ferdinand I in the year 1838”, reads the Latin inscription over the gate of the fortress. In just five years, over 6,000 workers and soldiers built a blocking position at one of the narrowest points in the Eisack valley. It has the dimensions of a small town and, with a surface area of 20 hectares, is the largest fortification in the Alpine region. With this monumental defensive work the Habsburgs hoped to halt the advance of the revolutionary changes provoked by the French revolution. Designed by regimental engineer Franz von Scholl, it consists of three autonomous sections: the upper, middle and lower fortress levels. It has clear and simple classicist lines; it is functional and impregnable. As the military threat did not materialise in the decades following its construction, however, the fortress rapidly lost its importance. By the end of the 19th century it was merely used as a powder depot. In 1918 Franzensfeste came under Italian rule and was used by the army until 2003.

    Fortress of Franzensfeste by Markus Scherer and Walter Dietl

    Acquired by the province of South Tyrol, new opportunities for the preservation of this cultural monument have arisen: the former fortress is intended to become a place for meetings and cultural exchanges. In 2008 it was one of the four venues for the European biennale of contemporary art, Manifesta 7, and in 2009 it hosted the South Tyrolean regional exhibition.

    Fortress of Franzensfeste by Markus Scherer and Walter Dietl

    The Meran architect Markus Scherer prepared the lower fortress level for Manifesta 7, an exhibition surface area of over 3600 m². Preservation of the buildings and the character of the fortress was paramount. The huge granite blocks making up the walls were restored, the roofs waterproofed and the windows repaired. Walled-off spaces were opened up and later additions removed. The size and extent of the complex are not at first obvious from the courtyard behind the main gate. The monolithic structures with small, regularly spaced window apertures are on different levels around the compound, connected by ramps. The lowest are lapped by the dark waters of the adjacent artificial lake. New galvanised steel railings and staircases have improved safety. Two windowless concrete towers with lifts and staircases link the buildings. The surfaces and the material used interpret the historical building method anew: they are concreted in irregular 30-70 cm sections, with a fine layer of sand between each. These layers were flushed out to produce an irregular horizontal joint pattern and granite sand was used to adapt the towers to the surrounding colour, with the surface roughened by sandblasting.

    Fortress of Franzensfeste by Markus Scherer and Walter Dietl

    Click above for larger image

    These objects, with their military numbering, now accommodate a visitor centre with a ticket office and shop, as well as a bar, restaurant, a play area for children and, last but not least, a large exhibition area. Visitors to Manifesta are greeted by a seemingly endless series of rooms. The carefully restored vaults of exposed brick-work and the plastered walls, some decorated with murals, have retained the aura of the past. On one of the walls can be read “Immer vorwärts!”, always forwards, understandable in every language spoken in the Empire: let modern art breathe fresh life over the walls! New items such as grilles, handrails, doors and the two free-floating bridges over the lake, connecting two buildings, are all constructed of galvanised, patinated steel: the existing elements form a pleasant context for their cloudy black coloration.

    Fortress of Franzensfeste by Markus Scherer and Walter Dietl

    Click above for larger image

    The existing tunnel, where the Bank of Italy’s stolen gold was found, was extended and a 22-metre long vertical shaft driven through the rock to connect the lower to the middle fortress. The black concrete stairway with its golden handrail (Kunst am Bau (The Art of Building) by Manfred Alois Mayr) spirals upwards like a sculpture.

    Fortress of Franzensfeste by Markus Scherer and Walter Dietl

    Click above for larger image

    The stairs and lift end in the partially destroyed powder magazine. This was redesigned as the new entrance building, while the new adjacent building of compressed concrete (coloured to match the existing construction through the use of granite sand) provides the outside edges of the missing sections and contains all the sanitary and technical areas for the middle fortress.

    Fortress of Franzensfeste by Markus Scherer and Walter Dietl

    Click above for larger image

    The remaining buildings have as far as possible been left as they were found. Only certain elements such as safety grilles, rails and ramps have been added and these, as in the lower fortress, are of galvanised, patinated steel.

    Fortress of Franzensfeste by Markus Scherer and Walter Dietl

    Client: Autonome Provinz Bozen
    Project managment: Arch. Josef March (main coordinator)
    Geom. Hans Peter Santer (Project leader)
    Hbpm Ingenieure – Ing. Julius Mühlögger, Ing. Gunnar Holzer (Project leader)

    Fortress of Franzensfeste by Markus Scherer and Walter Dietl

    Architect: Markus Scherer, Meran with Walter Dietl, Schlanders
    Construction supervisor: Markus Scherer, Meran – Klaus Plattner, Bozen
    Collaborator: Heike Kirnbauer, Elena Mezzanotte
    Structural engineering: Baubüro-Klaus Plattner, Bozen
    Safety coordinator: Günther Rienzner, Bozen
    Electrical and domestic engineering: Planconsulting, Burgstall
    Finishing: 05.2009
    Location: Festung Franzensfeste, Franzensfeste

    Fortress of Franzensfeste by Markus Scherer and Walter Dietl


    See also:

    .

    Messner Mountain Museum
    by EM2
    Museum Extension
    by Nieto Sobejano
    Jaffa Flat by
    Pitsou Kedem