Hasta La Ideas

Wiggling back and forth across an Amsterdam nature reserve, this curved timber maze by Dutch architect Anne Holtrop was designed to stage an exhibition of landscape paintings. 

Made from untreated poplar, the Temporary Museum (Lake) had a lifespan of just six weeks.

More stories about pavilions on Dezeen »

Photography is by Bas Princen.

Here is some more information from Anne Holtrop:

Temporary Museum (Lake)
Anne Holtrop

The drawings that were used to make the Temporary Museum (Lake) were made by chance.

Not likeness or beauty is its key aspect, as in traditionalism; nor logic or ratio as in modernism; but rather ‘the possible’ in the sense of what is merely conceivable, the idea that all things can be perceived and conceived differently.

Chance struck me as a way of making work that does not reference to anything specific.

But the mind of the viewer, like my mind, wishes to see things in them, like in a Rorschach inkblot. Jumping between different visions the mind projects its own ideas on it.

Each construction, each gesture is a new reality. So is the use of one of these drawings to make the temporary museum.

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Trail House by Anne Holtrop	Eureka Pavilion by NEX and Marcus Barnett	Driftwood pavilion by AA Unit 2 opens

Moss is expected to grow on the perforated aluminium skin of this museum extension in San Sebastián by Spanish studio Nieto Sobejano Arquitectos.

With its rear wall pushed into the edge of the hillside, the new two-storey block stretches out at a right-angle to the San Telmo Museum.

A staircase ascends across the block, allowing vistors to climb over the roof and onto the landscape.

The museum extension contains galleries for temporary exhibitions as well as an auditorium, library, teaching areas, cloakroom, shop and cafeteria.

See also: our story from yesterday on the Moritzburg Museum Extension in Germany by Nieto Sobejano Arquitectos.

Photography is by Fernando Alda. See more images of this project onAlda’s website.

This information is from the architects:

San Telmo Museum Extension
Competition 1st Prize 2005

The Museum of San Telmo, in its present condition, represents the result of a long process of successive modifications which has partially altered its physical and functional character over the years.

Its location on the fringe where the urban structure meets the topography of Monte Urgull is a reflection, on the other hand, of an urban problem very characteristic of San Sebastian: the solution of a division never completely solved between natural and artificial landscape.

How to approach a contemporary extension of San Telmo in response to new requirements for space and stringent landscaping conditions, while expressing its connection to the location with the passing of time?

The direct and radical gesture which defines out proposal implies paradoxically its practical dissolution in the landscape of Monte Urgull.

We will limit ourselves to building a new green wall, deep and light, which is defined by the existing topography, and which hides in its interior two pavilions which will house the new programme.

This decision heighten the appreciation both of the historical buildings as well as the new entrance to the museum, which offers access to the old building – which will incorporate the permanent exhibitions – as well as to the new pavilion for temporary exhibitions.

The main vestibule will therefore constitute a natural link with the new areas for cloakrooms, shop, auditorium, mediatheque, didactic hall and cafeteria which complete the necessary areas in a museum with these characteristics.

A “green wall”: on certain occasions the metaphor associated with an architectural idea gives a sense to each and every aspect of the project.

Hence the slight changes of direction of the wall are sufficient to provide a natural solution to pedestrian access to Monte Urgull, to configure an open air exhibition space, or to house a café-terrace open to the landscape and to the town.

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Rather an expression of the relation natural/artificial which runs throughout our proposal, the new building/screen will be defined by a perforated metal skin enveloped in moss, lichen and other plant species which finally will come to surround the whole building.

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In collaboration with the artists Leopoldo Ferrán and Agustina Otero starting with a combinatorial game of cast-aluminium pieces expressly conceived for this occasion, this will be an unusual intervention in a public area which represents a common field of action between plastic arts and architecture.

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The new extension of the San Telmo Museum will modify its appearance with the passing of the seasons: it will fade on occasions and blend with the vegetation on the hill, and will reappear on other occasions evoking a long unfinished wall: an unexpected metaphor – perhaps – of the difficult relation which architecture establishes with the pass of time.

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Location: Plaza de Zuloaga, San Sebastián
Client: San Sebastián City Council
Architects: Nieto Sobejano Arquitectos, S.L.P. – Fuensanta Nieto, Enrique Sobejano

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Project Architect: Miguel Ubarrechena
Collaborators: Stephen Belton, Juan Carlos Redondo, Pedro Guedes, Joachim Kraft, Alexandra Sobral

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Site Supervision: Nieto Sobejano Arquitectos, S.L.P. – Fuensanta Nieto, Enrique Sobejano, Miguel Mesas Izquierdo, Technical Architect
Facade Artistic Intervention: Leopoldo Ferrán, Agustina Otero

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Structure: NB 35 S.L.
Mechanical Engineer: R. Úrculo Ingenieros Consultores, S.A.
Fire Prevention Systems: 3i Ingeniería Industrial
Models: Nieto Sobejano Arquitectos S.L.P. – Juan de Dios Hernández, Jesús Rey

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Project: 2006
Construction: 2007-2011
Construction Company: U.T.E. San Telmo. Amenabar / Moyua

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Moritzburg Museum Extension by Nieto Sobejano Arquitectos	Nelson-Atkins Museum of Art by Steven Holl	Akron Art Museum by Coop Himmelb(l)au

My first-ever job interview was with Clinique’s package design division, located in the GM building in Manhattan. My ex-girlfriend worked at Sony in the AT&T building. An art director buddy of mine worked across the street from the Chrysler building. Core77’s headquarters is located in the Singer building.

There’s so many architecturally-notable buildings we refer to by the corporate giants that erected them (even if said giants have long since vacated those buildings), which reminds us that there was a time when large corporations were practically expected to leave their mark on the world not just through their products, but through their architectural legacies.

Network World examines this phenomenon with “IBM at 100: How Big Blue helped redefine corporate architecture,” an article noting IBM’s patronage of big-name designers of the past like Saarinen, the Eameses, van der Rohe, Noguchi, and Foster. It’s a pretty fascinating read, particularly the anecdote in the second paragraph excerpted below:

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An outdoor elevator by Spanish architects Vaumm connects the mountainside neighbourhoods of a Spanish town to those in the valley.

The elevator shaft, at Errenteria in northern Spain, has a steel truss structure encased in clear glass, through which the moving elevator is visible.

At the lift summit a bridge branches outwards to meet the steeply inclining ground.

Ridged concrete wraps around the base of the tower, retaining the sloping landscape.

More stories about viewpoints on Dezeen »

Photography is by Aitor Ortiz.

Here are some more details from the architects:

Urbanisation and Urban Elevator in Galtzaraborda, Errenteria

In the middle of the 1960’s the industry of the region suffered a great development that led to the need for labor, generating new neighbourhoods in a short period of time.

These neighbourhoods, as Galtzaraborda, are usually high density areas which often have left the valley floor and its settlements begin to climb up the mountains. The buildings are placed following the logic of the topographic lines, covering different levels and creating irregular voids between them that are used to connect at maximum slope different levels.

The void space that concerns us is the natural connection between high levels of housing and the lower level occupied by the equipment, train station, sports center and nursery. This irregular and casual space is dominated by the presence of a huge tree to be maintained as a valuable witness of the change process in the neighbourhood.

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The elevator has been built “in the only place where it could be”, its location is a crossing point resulting from the rule requiring minimum distances, maintaining the view of site from the houses around and not exceeding alignments of them. The second point that determines the shape of the elevator is the position of the gateway bridge which is misalignment and tangent to the elevator to keep away from the tree, focusing the pedestrian way in the virtual axis of the void space.

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In this position, the gateway does not focus the eye on the door of the elevator, it allows the visitor to walk through it with a visual depth much more open and serves as an observation point on the environment, the distant mountains and the harbour of Pasaia. It has sought the maximum slenderness and transparency throughout the element; all pieces have been designed using rigid steel panels with truss triangulations.

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The triangulations is the answer, first, to the structural logic and second, to an industrial language, in this sense, concrete walls have been form worked with sheet metal casing to provide them the mentioned industrial character. It is constructed in order to impregnate a sentimental relationship with the industrial language of the steel manufactures and the harbour that after all gave rise to Galtzaraborda.

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Architects: VAUMM
Technical Architect: Julen Rozas
Construction: Obegisa
Project: Errenteria Garatuz
Production: City hall of Errenteria
Photography: Aitor Ortiz

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Holmenkollen ski jump by JDS Architects completed	Landmark by Birk + Heilmeyer & Knippers Helbig	Top of Tyrol by Astearchitecture

Photographer Roland Halbe has sent us these images of an extension to a museum inside a ruined castle in Halle, Germany, by Spanish studio Niento Sobejano Arquitectos.

The architects inserted the extension above the 15th century stonework of the Moritzburg Museum, providing a roof to the previously open-air top floor.

A new floor suspended from the centre of this roof creates an additional exhibition area without bringing any columns into the main gallery.

The extension also includes the addition of a trapezium-shaped metal entrance.

More architecture photographed by Roland Halbe on Dezeen »
More stories about museums on Dezeen »

The following information is from the architects:

Moritzburg Museum Extension
Competition 1st Prize 2004

The ancient castle of Moritzburg in the city of Halle is a very valuable example of Gothic military architecture, typical of Germany at the end of the 15th century. Its turbulent history has inevitably been reflected in the many alternations it has undergone over the years. But despite these, the building still keeps the original structure of its main architectural features: the surrounding wall, three of the four round towers at the corners and the central courtyard.

The partial destruction of the north and west wings in the 17th century during the Thirty Years War left the castle with the image of a romantic ruin which it has kept over the centuries to today. Except for a stillborn project by Karl Friedrich Schinkel in 1828, until now no integral work has been planned to alter and enlarge the ancient ruin for the art museum housed there since 1904.

A very notable collection of modern art – mainly of German Expressionism – that includes works painted by Lyonel Feininger in the city of Halle has now been enlarged with the Gerlinger donation, one of the most valuable private collections of the Die Brücke Expressionist group.

Our proposal for enlargement is based on a single and clear architectural idea. It involves a new roof, conceived as a large folded platform, which rises and breaks to allow natural light to enter, and from which the new exhibition areas hang.

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The result of this operation is to free completely the floor of the ancient ruin, providing a unique space that allows a range of exhibition possibilities. This design is complemented with the building of two new vertical communication cores.

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The first is located in the north wing to connect the levels which must be inter-communicated. The second is a new, contemporary tower, 25 metres high, in the place once occupied by the bastion, which provides access to the new exhibition areas with their distant views over the city.

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The angular geometry of the new scenery of roofs and metal tower contrasts with castle’s existing irregular shape and high roof. In spirit with the uneasy and expressive forms painted by Feininger, on display in the museum, the new fragments continue the process of changes that feature in the history of the Moritzburg Castle over time.

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Location: Halle, Saale (Germany)
Client: Stiftung Moritzburg. State of Sachsen – Anhalt
Architects: Nieto Sobejano Arquitectos, S.L.P. – Fuensanta Nieto, Enrique Sobejano

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Project Architect : Sebastian Sasse
Competition Collaborators: Vanesa Manrique, Nina Nolting, Olaf Syrbe, Miguel Ubarrechena
Project Collaborators: Udo Brunner, Nina Nolting, Dirk Landt, Susann Euen, Siverin Arndt
Site Supervision: Nieto Sobejano Arquitectos S.L.P. – Fuensanta Nieto, Enrique Sobejano, Sebastian Sasse, Johannes Stumpf, Karl Heinz Bosse
Structure: GSE, Jorg Enseleit
I M.E.P. Engineers: Rentschler y Riedesser, Jürgen Trautwein
Models: Juan de Dios Hernández-Jesús Rey

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Project: 2005-2008
Construcción: 2006 – 2008
Roof Construction Company: Dornhöfer GmbH

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Castelo Novo by Comoco Architects	Templo de Diana by José María Sánchez García	City Walls of Logroño by Pesquera Ulargui Arquitectos