Amongst the bustling 24-hour shopping district of South Korea‘s capital city, Zaha Hadid has completed a 38,000-square-metre cultural complex with a twinkling aluminium facade (+ movie).
Inaugurated on Friday, the Dongdaemun Design Plaza (DDP) by Zaha Hadid Architects provides Seoul with a hub for art, design and technology, plus a landscaped park that serves as a much-needed green oasis, and a public plaza linking the two.
The building features a shapely facade made up of 45,000 aluminium panels of varying sizes and curvatures. This was achieved using advanced 3-dimensional digital construction services, making DDP the first public building in Korea to utilise the technology.
Described by the designers as “a field of pixilation and perforation patterns”, the backlit facade is speckled with minute perforations that allow the building to transform from a solid entity by day into an animated light show by night.
“The design integrates the park and plaza seamlessly as one, blurring the boundary between architecture and nature in a continuous, fluid landscape,” said Zaha Hadid Architects in a statement.
The complex is made up of eight storeys, of which four sit above ground level and four are set below the plaza. Facilities include exhibition galleries, convention and seminar rooms, a design museum, and a library and education centre.
Voids puncturing the surface of the park offer a look down into the spaces below, and also allow daylight to permeate the building.
The building opened on 21 March to mark the start of Korean Fashion Week, but is also hosting five art and design exhibitions, alongside a collection of Korean art from the Kansong Art Museum.
Here’s the project description from Zaha Hadid Architects:
Dongdaemun Design Plaza (DDP)
The DDP has been designed as a cultural hub at the centre of Dongdaemun, a historic district of Seoul that is now renowned for its 24-hour shopping and cafes. DDP is a place for people of all ages; a catalyst for the instigation and exchange of ideas and for new technologies and media to be explored. The variety of public spaces within DDP include Exhibition Halls, Convention Halls, Design Museum, Library, Lab and Archives, Children’s Education Centre, Media Centre, Seminar Rooms and Sky Lounge; enabling DDP to present the widest diversity of exhibitions and events that feed the cultural vitality of the city.
The DDP is an architectural landscape that revolves around the ancient city wall and cultural artefacts discovered during archaeological excavations preceding DDP’s construction. These historic features form the central element of DDP’s composition; linking the park, plaza and city together.
The design is the very specific result of how the context, local culture, programmatic requirements and innovative engineering come together – allowing the architecture, city and landscape to combine in both form and spatial experience – creating a whole new civic space for the city.
The DDP Park is a place for leisure, relaxation and refuge – a new green oasis within the busy urban surroundings of Dongdaemun. The design integrates the park and plaza seamlessly as one, blurring the boundary between architecture and nature in a continuous, fluid landscape. Voids in the park’s surface give visitors glimpses into the innovative world of design below, making the DDP an important link between the city’s contemporary culture, emerging nature and history.
The 30,000 square metre park reinterprets the spatial concepts of traditional Korean garden design: layering, horizontality, blurring the relationship between the interior and the exterior – with no single feature dominating the perspective. This approach is further informed by historic local painting traditions that depict grand visions of the ever-changing aspects of nature.
DDP encourages many contributions and innovations to feed into each other; engaging the community and allowing talents and ideas to flourish. In combination with the city’s exciting public cultural programs, DDP is an investment in the education and inspiration of future generations.
DDP’s design and construction sets many new standards of innovation. DDP is the first public project in Korea to implement advanced 3-dimensional digital construction services that ensure the highest quality and cost controls. These include 3-dimensional Building Information Modelling (BIM) for construction management and engineering coordination, enabling the design process to adapt with the evolving client brief and integrate all engineering requirements.
These innovations have enabled the team building DDP to control the construction with much greater precision than conventional processes and improve efficiencies. Implementing such construction technologies make DDP one of Korea’s most innovative and technological advanced constructions to date.
DDP opens to the public on 21 March 2014 by hosting Korean Fashion Week. DDP will also host five separate design and art exhibitions featuring works by modern designers as well as the prized collection of traditional Korean art of the Kansong Art Museum.
A wall of windows winches up and down to reveal the interior of this gallery renovation in Los Altos, California, by Seattle architect Tom Kundig (+ slideshow).
Kundig, the principal designer at Olson Kundig Architects, added the new mechanical facade to a vacant 1950s building at the heart of the Silicon Valley community, creating a temporary gallery space able to reveal its contents to the neighbourhood.
The five-metre-high grid of windows is hooked up to a system of gears, pulleys and counterweights. To set them into motion, a pedal must be engaged to unlock the safety mechanism, before a hand wheel can be rotated to begin lifting or lowering the facade.
In this way, 242 State Street is able to “morph from an enclosed structure into an environment that invites the community into the space,” says Kundig.
The interior, previously used as an Italian restaurant, was left largely unchanged to create a flexible space for displaying different types of artwork.
Kundig did however raise the roof by half a storey to create a more generous setting for larger pieces, and inserted a row of skylights to allow more natural light to reach the back of the space.
A pivoting door was also added to provide access to the gallery when the facade is closed, while the steel beams supporting the pulley system could for be used to support signage.
The gallery opened at the end of 2013 as one of the ten venues for Project Los Altos, a local art initiative launched by SF MoMA. Artist Spencer Finch created a site-specific installation at the front of the space – a grid of colourful squares that resonated with the new facade – while Jeremy Blake installed a digital projection behind a temporary screen.
Here’s a short project description from Tom Kundig:
Los Altos, California
Located in downtown Los Altos, the highlight of this 2,500 square foot adaptive re-use project is the introduction of a new facade that enables the circa 1950’s building to morph from an enclosed structure into an environment that invites the community into the space.
The transformation was achieved by essentially replacing the entire front facade with a double-height, floor-to-ceiling window wall that can be raised or lowered depending upon the needs of the user.
The window wall is operated by engaging a pedal – to unlock the safety mechanism – then turning a hand wheel which activates a series of gears and pulleys that opens the sixteen-foot by ten-foot, counterweighted two-thousand pound window wall. When the window wall is closed, visitors to the shop enter through a ten-foot-tall pivot door.
In addition to the front facade, other changes to the building included raising the roof by half-of-one story to create a better proportioned interior volume, and installing skylights to bring in more natural light.
The building most recently served as one of the temporary off-site locations for SF MoMA’s Project Los Altos. Beyond the introduction of the window wall, the interior was relatively untouched, leaving the space as flexible as possible for its future tenant.
This shell-like concrete structure with triangular slices is an auditorium designed by Luxembourg studio Valentiny HVP Architects for an annual music festival in the Brazilian town of Trancoso (+ slideshow).
Nearly complete, the Teatro Mozarteum Brasileiro will provide a performance venue for the Música em Trancoso, a week-long music festival that takes place every March in the popular beach town on Brazil’s Bahia coast.
The festival was founded by architect François Valentiny of Valentiny HVP Architects, with partners Sabine Lovatelli, Reinold Geiger and Carlos Eduardo Bittencourt. Now in its third year, the event will have its own permanent auditorium capable of hosting indoor and outdoor audiences.
Two large triangular openings in the curved concrete facade provide entrances for the two separate seating areas. These are positioned alongside one other and can accommodate up to 1100 people each.
A neighbouring structure, known as the facilities building, houses ancillary spaces, including rehearsal rooms, meeting areas and a bar.
The triangular windows of this building are decorated with engraved bronze panels, created by Brazilian artist Maria Bonomi.
“The engravings refer to both the local nature with its impressive cliffs and the birth of the Brazilian nation,” said the studio.
Photography is by Jean de Matteis and Valentiny HVP Architects.
Here’s a project description from Valentiny HVP Architects:
Música in Trancoso Festival
The Música em Trancoso 2014 Festival, to be held March 15th through March 22nd, the third grand event that celebrates arts, promotes education and transforms music as a tool for social integration, announces this year’s wide range of activities.
After two years of meticulous planning, the first Música em Trancoso Festival was held in March 2012. It was the result of the dream of four friends, music lovers and social activists who wanted to create an event to bring together young musicians and established artists while at the same time promoting the natural beauty of the Trancoso region and stimulating economic and social development.
The Festival’s critical and popular success was immediate and can be measured by the outstanding performances of more than 200 musicians before 10,000 spectators.
Every year for eight days in a series of free concerts and accompanying musical events between Carnival and Easter, the village of Trancoso welcomes performers and soloists of international recognition in classical music as well as the greatest names in Brazilian popular music.
Its founders are Sabine Lovatelli, president of Mozarteum Brasileiro, one of the most acclaimed associations devoted to the diffusion of classical music in Brazil; Reinold Geiger, president of the L’Occitane group; Carlos Eduardo Bittencourt, entrepreneur from Trancoso, Bahia; and the Luxembourgish architect François Valentiny, internationally known for designing theatres and cultural venues.
Música em Trancoso has three interrelated activities, which take place throughout the event: – Performances at the Teatro Mozarteum Brasileiro. – Masterclasses in the “Facilities” building, adjoining the theatre – Music Initiation Classes for children and teens from public schools in the Trancoso and Arraial d’Ajuda region
The Mozarteum Brasileiro Theatre
From the bold design by architect François Valentiny, the Mozarteum Brasileiro Theatre has two different overlapped audiences, one indoor and one outdoor, each with 1,100 seats.
Design as well as acoustics of the theatre, are in charge of Valentiny architects, Luxemburg, known for their designs of cultural venues including the Concert Hall Saarbrücken (Germany), the House of Mozart – Kleines Festspielhaus Salzburg (Austria) and the Luxemburg Pavilion Expo 2010 in Shanghai.
The Mozarteum Brasileiro Theatre also includes an annex, “The Facilities” building, with eight rehearsal rooms, spacious bar and meeting rooms. With a design which contrasts curves with triangular openings, totally integrated with the natural environment of Trancoso, the building brings imposing panels, etched in bronze, from the renowned Brazilian artist Maria Bonomi. The engravings refer to both the local nature with its impressive cliffs and the birth of the Brazilian nation.
New York architect Steven Holl has released two movies about the Sifang Art Museum in Nanjing, China, a building designed to recreate the “parallel perspectives” that are characteristic of Chinese landscape paintings.
The first of the two movies depicts a typical day at the museum, which is located at the entrance to an architectural complex within the Laoshan National Forest Park. The second is a guided tour from Steven Holl that explains how he and collaborating Chinese architect Li Hu came up with the design.
According to Holl, the building was designed as a sequence of walls that angle in different directions to confuse a visitor’s sense of perspective.
“It gives you a feeling of mystery about the space. It’s not really clear what’s parallel to what,” he says. “This had to be worked out on the site. We had to actually position these walls while standing and manipulating the space on the site, that was the only way it could be done.”
The concept to create “parallel perspectives” around the building was inspired by the Chinese artists who rejected the single-point-perspective approach of Western painters in favour of images that allow the viewer to travel between vistas.
“The first drawings were about the courtyard,” says Holl. “You can see the way the landscape is organised in these parallel perspective walls, creating conditions where there’s not really the sense of a vanishing point but there’s a kind of a sense of warping the space.”
The base of the building is a black concrete volume surrounded by walls imprinted with the texture of bamboo, while the upper section is an illuminated glass tunnel raised up on columns. It is surrounded by a landscape of fields and pools.
“This landscape comes down to an edge, but the edge isn’t quite yet the building because there’s this edge of bamboo against a freestanding wall which also creates an ante space before you get to the condition of the parallel perspective,” says Holl.
Galleries are located on all three floors of the building, creating places for displaying contemporary art and sculpture. “The condition of space isn’t exactly box-like, but it is more or less orthogonal and that gives a good background for the art,” added the architect.
Movies were produced by Spirit of Space. Photography is by Xia Zhi.
Here’s some extra information from Steven Holl Architects:
Steven Holl Architects presents two films on the Sifang Art Museum
Steven Holl Architects in collaboration with Spirit of Space has created two short films on the Sifang Art Museum, which opened in November 2013 in Nanjing, China.
The film series explores the changing perspectives as visitors move through the new Sifang Art Museum, from the lush green landscape of the Pearl Spring near Nanjing, through the Museum’s entry court and lower gallery, to its floating upper gallery. The film, A Conversation with Steven Holl, presents Steven Holl on site, as he explains the design concept for the new building.
Designed by Steven Holl with Li Hu, the Sifang Art Museum explores the shifting viewpoints, layers of space, and expanses of mist and water, which characterise the deep alternating spatial mysteries of the composition of Chinese painting. The museum is formed by a “field” of parallel perspective spaces and garden walls in black bamboo-formed concrete over which a light “figure” hovers. The straight passages on the ground level gradually turn into the winding passage of the gallery above. Suspended high in the air, the upper gallery unwraps in a clockwise turning sequence and culminates at “in-position” viewing of the city of Nanjing in the distance. This visual axis creates a link back to the great Ming Dynasty capital city.
The courtyard is paved in recycled Old Hutong bricks from the destroyed courtyards in the centre of Nanjing. Limiting the colours of the museum to black and white connects it to ancient Chinese paintings, but also gives a background to feature the colours and textures of the artwork and architecture exhibited within. Bamboo, previously growing on the site, has been used in bamboo-formed concrete, with a black penetrating stain. The museum is heated and cooled by geothermal wells, and features a storm water recycling system.
This raw concretechurch by Nameless Architecture presents a cross-shaped elevation to a road junction in Byeollae, a new district under development outside Seoul, South Korea (+ movie).
Nameless Architecture, which has offices in Seoul and New York, used concrete for both the structure and exterior finish of RW Concrete Church, creating an austere building intended to embody religious values.
“Concrete reveals its solidity as a metaphor for religious values that are not easily changed in an era of unpredictability,” said the architects.
The introduction of a bell tower and a cantilevered second-floor lobby give the church its cross-shaped profile. Additional cross motifs can also be spotted at the top of the tower and within the lobby window.
“The cross as a religious symbol substitutes for an enormous bell tower and is integrated with the physical property of the building,” explained the architects. “The minimised symbol implies the internal tension of the space.”
A large sheltered terrace takes up most of the ground floor of the site, creating a space that can be used for various community activities.
An entrance leads into the church via a ground-floor lobby, from which a staircase ascends towards the chapel on the second floor. Visitors have to pass through the cantilevered lobby before entering the space.
“This cantilevered space is a physical as well as spiritual transition that connects daily life with religion,” added the architects.
A gently sloping floor helps to frame the seating around the pulpit, while clerestory windows help to natural light to filter across the entire room.
Photography is by Rohspace.
Here’s more information from Nameless Architecture:
RW Concrete Church
RW Concrete Church is located in Byeollae, a newly developed district near northeast Seoul, Korea. It evokes a feeling, not of a city already completed, but a building on a new landscape somewhere between nature and artificiality, or between creation and extinction. The church, which will be a part of the new urban fabric, is concretised through a flow of consecutive spaces based on simple shape, single physical properties and programs.
The use of simple volumes and a single material adapted to the site collects a range of desires created in the newly developed district. Concrete, which is a structure as well as a basic finishing material for the building, indicates a property that penetrates the entire church, and at the same time, a firm substance that grasps the gravity of the ground it stands on, which is contrary in concept from abstraction.
Concrete reveals its solidity as a metaphor for religious values that are not easily changed in an era of unpredictability. Moreover, the cross as a religious symbol substitutes for an enormous bell tower and is integrated with the physical property of the building through the empty space at the upper part of the staircase. The minimised symbol implies the internal tension of the space.
The first thing encountered upon entering the building is the empty concrete yard on the ground floor. This is a flexible space that acts as a venue for interaction with the community while also accommodating varying religious programs. By the time you become accustomed to the dark as you walk past this empty yard, and climb the three storeys of closed stairs, you come face to face with a space full of light.
This interior space has a cantilever structure protruding 6.9m, and you must pass through this hall before entering the chapel. This cantilevered space is a physical as well as spiritual transition that connects daily life with religion.
The chapel creates a sense of peace with a single space, using a slope that is not so steep, evoking the feeling of attending a worship service on a low hill. The subdued light gleaming through the long and narrow clerestory embraces the entire chapel and lends vigour to the static space.
Project: RW Concrete Church Architect: NAMELESS Architecture Architects In Charge: Unchung Na, Sorae Yoo Location: Byeollae, South Korea Area: 3,095.5 sqm / 33,319.7sqft
Collaborating Architect: Jplus (Jungtaek Lim, Hwataek Jung) Structural consultant: Mido Structural Consultants Mechanical consultant: One Engineering Client: RockWon Church
News: Dutch studio MVRDV has revealed its competition-winning design to create a bowl-shaped art depot for the Museum Boijmans Van Beuningen in Rotterdam with a mirrored exterior and a rooftop sculpture garden.
MVRDV‘s Boijmans Collection Building will provide Rotterdam’s most important art gallery with a six-storey storage facility to house over 125,000 paintings, sculptures and objects, most of which will be accessible to the public.
Proposed for the northern end of the OMA-designed Museumpark, the building will have a round shape that tapers outward towards the top to minimise its footprint on the park. Its entire exterior will be made from mirrored glass, allowing the building to reflect its surroundings.
A public pathway will zigzag up through all six storeys, leading up from a lobby and cafe on the ground floor towards exhibition galleries and a restaurant at the top. These spaces will open out to the rooftop sculpture garden featuring a Futuro, the futuristic house developed in the 1960s by Finnish architect Matti Suuronen.
The levels in between will offer a series of exhibition areas curated by the Museum Boijmans Van Beuningen, as well as a look inside various depots and restoration workshops. Some artworks will be displayed within these spaces, and could be swapped with the use of mobile storage racks.
“A public art depot is a new phenomenon to the Netherlands; normally these depots are hidden in the periphery of cities,” said MVRDV co-founder Winy Maas.
“It is a bold initiative that will raise the attention of the international museum circles. It offers space to Museum Boijmans van Beuningen and will help it to strengthen its international profile.”
The building will also include offices, logistics rooms and quarantine areas, as well as private art collection rooms that can be rented through the museum. Completion is scheduled for 2017.
Here’s the full announcement from MVRDV:
MVRDV wins competition Collection Building Museum Boijmans Van Beuningen, Rotterdam
Today the city of Rotterdam, Museum Boijmans Van Beuningen and MVRDV present the design for the new Collection Building. The building with a surface of 15,000m2 is an open art depot featuring exhibition halls, a sculpture roof garden and a restaurant. The public can see what’s going on behind the scenes in a museum and private art collectors will be able to store their own collection in ideal Museum conditions. The design – a reflective round volume – responds to its surroundings, Rotterdam’s Museumpark in which it will be completed in 2017. The allocated budget is 50 million Euro.
Collection Building is an art depot open to the public. A public route zigzags through the building, from the lobby on the ground floor where a café can be found up to an exhibition space, sculpture garden and restaurant on the roof. On the way up the route passes along and through art depots and restoration workshops. In depots visible from the route, the exhibition can be changed on a daily basis by simply moving storage racks so each visit to the building can offer a unique experience. On three floors the route passes through exhibition spaces which will be programmed by Museum Boijmans Van Beuningen.
The building – which will store the precious art collection of Rotterdam – will also have spaces not accessible to the general public. For example logistics, quarantine and room for private art collections whose owners can visit their art and even enjoy it in private spaces comparable to the art-equivalent of a sky box. This is a new commercial service offered by the museum. Additionally depots and an office of philanthropic foundation De Verre Bergen will be located in the Collection Building.
The roof featuring a restaurant, sculpture garden and exhibition space offers wide views over Rotterdam and will be the new home for the Futuro, the ufo-shaped house of Finish architect Matti Suuronen.
The Collection Building will be realised on the northern edge of Rotterdams Museumpark, realised by OMA with Yves Brunier in 1994. In order to spare the park, the volume is designed as a compact round volume with a small footprint and will be clad with a reflective glass facade. This will make the building less visible and allow reflections, the public can see what is happening elsewhere in the park. Where needed the reflection will be lesser for transparency and to avoid unwanted light effects.
40% of the 15,000m2 will be visible or accessible to the public. The building will feature seven different climatic conditions facilitating ideal conditions for art storage, offices and the public. The ambition is to reach sustainability classification BREEAM Excellent.
In the autumn of 2013 five architecture teams presented their designs for the Collection Building in a competition won by MVRDV. The other contenders were Koen Van Velsen, Harry Gugger with Barcode Architects, Neutelings Riedijk and Mad with NIO. MVRDV was disqualified from the competition after an alleged breach of the regulations but was vindicated in a legal procedure and declared official winner. MVRDV won the competition together with Pieters Bouwtechniek, IGG Consultants and DGMR Consultants. Expected completion is envisioned for 2017.
A slender steel awning shades artists from the sun on the rooftop of this creative arts space that French-Brazilian studio Triptyque created for drinks brand Red Bull in a São Paulo warehouse (+ slideshow).
Situated on Bandeira Square in the bustling downtown of Brazil’s biggest city, The Cultural Centre of the Red Bull Station is a five-storey space renovated by Triptyque for the creation of art, music and culture.
Formerly owned by the São Paulo Tramway, Light and Power Company, the 1920s building was once responsible for distributing electricity across the city’s tram network. Triptyque was tasked with restoring the listed facade while creating an interior that combined a music studio, ateliers for artists, an art gallery and a roof terrace.
The architects added a black steel staircase down one side of the building, linking its five levels and providing an easy flow of visitor circulation up, down, in and around the building.
Accompanying the stairs is a steel beam which supports the metal awning known as Leaf. This structure provides a covered terrace, which functions as an exhibition space showcasing the history of the city.
The concave design of this canopy also allows the collection of rainwater, which can be used to cool the building.
Visitors enter on the ground floor, where the main gallery is located. Here, a blend of concrete mixes with panels of distressed, stippled paintwork; the result of years of repainting by the previous tenants.
Next to the main gallery is a self-contained music studio. The heavyweight concrete module was inserted into the heart of the building as a free-standing structure, and will house Red Bull’s Bass Camp – an immersive programme for would-be music professionals. There’s also a small cafe selling drinks and food.
Above the ground floor is a mezzanine level containing offices that look down on to the lobby space below, while the basement has been adapted to create a secondary exhibition space and music rehearsal rooms.
“The building was completely renovated respecting the architectural heritage concepts,” explained the team. “A contemporary intervention was carried out in order to adapt the building to its new role as a cultural hub.”
The exposed concrete and old paintwork continues on the upper levels, where six workshops were created for artistic residencies. Around each of the individual workshops, another exhibition space called the Gallery of Transition will temporarily host projects.
“The essence of the historic building has been preserved, and the beauty of its elements has been strengthened,” said the designers.
Triptyque is a French-Brazilian architecture office created in 2000 by Grégory Bousquet, Carolina Bueno, Guillaume Sibaud and Olivier Raffaelli. Past projects include the Leitão 653 creative studios, which feature a chequerboard facade made from glass blocks.
The Cultural Centre of the Red Bull Station: an island of culture in downtown Sao Paulo
The city of São Paulo is one of the places in the world where urbanity is the most powerful and intense. An area where the beauty of the streets and buildings was forgotten for many years. Through the renovation of a 20 years building, formerly occupied by the electricity company Light , the new architectural project Triptyque, the Cultural Centre of the Red Bull Station, appears as an important player in the rehabilitation centre.
Based on the Bandeira square , the new cultural centre hangs together auditory and visual arts through the production and dissemination of new forms of artistic expression.
The building was completely renovated respecting the architectural heritage concepts. A contemporary intervention was carried out in order to adapt the building to its new role as a cultural hub. The essence of the historic building has been preserved, and the beauty of its elements has been strengthened.
An architectural element was created to accompany visitors throughout their visit, from the stairs to the five floors of the Red Bull Station and numerous spaces. On the roof of the station, flaps a fleet metal called “sheet” that covers the terrace.
On one side of the ground floor is located the main gallery, a space that houses exhibitions of all forms of visual arts , performances and concerts. On the other side, is located a volume of concrete, carefully polished and sculpted that receives a music studio.
The basement has been converted into an exhibition space and music rehearsal rooms. Upstairs, six workshops were created for artistic residencies that will change each quarter. Around individual workshops, the “Gallery of transition” temporarily host projects in their creative process.
News: French studio LAN has won a competition to revamp the Grand Palais exhibition centre in Paris with plans to restore galleries around the Grand Nave and insert a new entrance court.
LAN proposes to restructure and restore the “original coherence and sense of transparency” of the grand Beaux Arts building, which was constructed for the World’s Fair of 1900 at the eastern end of the Champs-Elysées, and which features a barrel-vaulted glass and iron roof.
The first intervention will be to adapt entrances on the northern and southern facades. A pair of gentle ramps will follow the curvature of the existing fountain to lead visitors to the main access on Avenue du Général-Eisenhower, while the riverside entrance will serve as a dedicated arrival point for special exhibitions and the restaurant.
Both entrances will lead through to a new two-storey ambulatory between the Grand Nave and the rotunda of the adjoining Palais d’Antin. Voids in the floorplates will create double-height ceilings and stairwells, allowing the space to function as the connecting area between all exhibitions.
Existing galleries will be re-planned to allow greater flexibility, while a new exhibition space for contemporary art and live performance will be created within the Palais d’Antin.
Old bay windows and passageways will be opened up throughout the building, plus visitors will be given the opportunity to explore the roof.
“These interventions represent a unique opportunity to rediscover the traces and ways in which the Grand Palais has withstood the test of time,” said the architects. “Our credo for the New Grand Palais is to complete and strengthen its formal logic through interventions that return a sense of modernity to its whole, all the while respecting its traditional identity.”
LAN will also add spaces for logistics and car parking within a new basement storey, install a climate-control system and modernise existing systems to bring the whole building in line with current building regulations.
Here’s a more detailed project description from LAN:
Grand-Palais
The new Grand Palais: an example of modernity
To our contemporary eyes, the Grand Palais is both an idea and a symbol of modernity. It is a hybrid building in terms of its architecture, its usage and its history. Neither a museum nor a simple monument, its architecture has an identity all its own, centred around the notion of a “culture machine”, a spatial means for hosting a vast diversity of events and audiences that exponentially exalts the site’s “universal” and “republican” vocation. The restoration and restructuring of the entire monument affords us the chance to reinforce this aspiration.
The coming restructuring foresees the implementation of a new circulation mechanism centred around the middle building, the restoration of the galleries surrounding the Grand Nave, the installation of a climate control system, the creation of a logistics centre, bringing the entire building up to code, and opening the large bay windows and passageways in order to restore the building’s original coherence and sense of transparency. These interventions represent a unique opportunity to re-discover the traces and ways in which the Grand Palais has withstood the test of time, survived changes in its function, to assert architecture as a point of departure, and the space as nurturing life and society.
Even though the initial reason for building the Grand Palais was to provide a site for presenting and promoting French artistic culture during the World’s Fair of 1900, the plan nevertheless envisioned durability and flexibility from the outset. Even though these many adaptations progressively complicated and depreciated certain parts of the Grand Palais, the intelligence of its general form and its original spatial intent have helped it survive these episodes and change with the times.
Our credo for the New Grand Palais is to complete and strengthen its formal logic through interventions that return a sense of modernity to its whole, all the while respecting its traditional identity.
The Jean Perrin Square and the ‘Jardin de la Reine’
The logical consequence of revamping the northern and southern access points, one of the challenges of the project, is that the middle building lies at the heart of our intervention. Our wish is to reinforce the sense of unity between the Grand Palais and the Palais d’Antin and to make the middle building the meeting point between the two. This approach respects the architects’ original intentions, namely to render the spaces and their development highly legible to users, such that they implicitly signify the building’s function.
The pure geometry of the rediscovered circle creates a new symbol and marker at the urban level for the entrance to the New Grand Palais. It will become a veritable place of its own that can host planned or spontaneous activities. Two ramps, designed on the basis of the geometric matrix provided by the steps and the fountain, will lead visitors from the level of the square at the base of the building towards the entrance. Facing the Seine there will be the entrance for specific audience and the independent access to the restaurant. The latter takes advantage of a large terrace orientated to the south, located below the Jardin de la Reine.
By creating a progressive transition from the urban space to that of the galleries, the first two floors of the middle building contain the ambulatory. It is a majestic, open volume with multiple levels that will allow the public to embrace the Grand Nave and the rotunda of the Palais d’Antin at the same time. In fact, it emphasizes the original east-west axis of the composition. Situated along the lower main level, ‘La Grande Rue des Palais’ organizes the different entrance phases in a clear sequence before leading the public to the various activities offered. The ambulatory will become the connecting platform for all exhibitions at the new Grand Palais. The materials chosen for la Grande Rue des Palais will link the exterior to the interior, the existing to the new. The dichotomy between the building’s foundation wall and the piano nobile, perceptible on the outside because of the change in stone colour, will continue inside the building.
Section C – click for larger image
The exhibition spaces
The restructuring of the National Galleries seeks to take into account the interdependence between comprehending a work and its formal and conceptual presentation. This becomes a unique opportunity to develop a vast range of diverse “situations” in terms of volumes, light, materials, and their relationship to the outside. It’s not simply a question of making the volumes flexible, but of giving them the ability to become an event in and of themselves. This process is not confined to the galleries; it can happen anywhere in the building, wherever the structure allows for it. By integrating innovative museographic concepts into the institution, the museum will be able to host works that, until now, have only been seen in alternative spaces for brief periods of time, and which have in fact not been commented on or valued enough.
The Palais de la Découverte will expose the public to other forms of culture, such as exhibitions, contemporary art, or high-quality live performances. Conversely, the public visiting the Grand Nave and the galleries will be exposed to new experiences upon visiting the Palais de la Découverte. The new temporary gallery in the Palais de la Découverte has been conceived with this in mind, as its central location concretises the link between these two realities.
For this project to become an effective way to hosting very diverse events and publics, it first of all demands a clear, flexible, and adaptable structuring of the spaces at hand. More than simply managing current needs, our proposal opens the door to the future evolutions of these needs. What is at stake is formulating a vision that in the long term can accept new parameters, evolutions in technology, and paradigm shifts.
The program led us to create an underground level, which will host the logistics spaces and the associated parking and loading spaces. These technical works will permit an increase in visitor capacity to the Grand Palais. The Grand Nave will thus be able to accommodate more than 11,000 persons compared to the current 5,200, and this will increase its total visitor capacity from the current 16,500 to more than 21,900 persons.
From the Grand Palais to the city – the flow of tourists and the observatory
The movement of visitors within the Grand Palais represents an opportunity for “showing off” the architecture. By drawing the visitor’s attention, these views will frame “details” in the architecture and the landscape, thereby giving them emphasis. These views reveal themselves progressively as one walks through the space. They disclose the connection of the spaces that allow visitors to locate themselves within the building and in relation to the city. The internal tourist itinerary continues outside, along the rooftop of the Grand Palais, allowing visitors to discover the roof, and it will provide them with unobstructed, totally new vistas of Paris.
The monument to the dawn of sustainable development
We made use of a philosophy based on five main design values: Effectiveness, Sobriety, Strengthening Cultural Heritage, Minimal and Passive Intervention, and Remaining at the Service of Users. By analysing what is already there, the project is able to resolve and transform the challenges into strengths while at the same time identifying and preserving the quality of the inherited resources. Users (and future uses) have been placed at the heart of the design process by attempting to understand the many activities exercised and also by taking into account comfort and environmental requirements, be they climatic, acoustic, lighting-related, hygrothermic, and so forth. This intersection of situations, inherited resources, practices and activities, comfort and environmental requirements constitute the multi-faceted basis for this intervention. To reveal what is already there means to draw on the inherited resources to construct micro-contextual responses. One must in the end be hyper-contextual.
News: British designer Thomas Heatherwick has unveiled plans to create a new art gallery at the V&A Waterfront museum in Cape Town by hollowing out sections of a grain silo complex.
Presented at the Design Indaba 2014 conference this week, Heatherwick Studio‘s proposal is to give the V&A Waterfront a building dedicated to contemporary African art within the cluster of 42 concrete tubes that make up a historic grain silo structure.
“How do you turn 42 vertical concrete tubes into a place to experience contemporary culture? Our thoughts wrestled with the extraordinary physical facts of the building,” explained Thomas Heatherwick.
“There is no large open space within the densely packed tubes and it is not possible to experience these volumes from inside,” he continued. “Rather than strip out the evidence of the building’s industrial heritage, we wanted to find a way to enjoy and celebrate it. We could either fight a building made of concrete tubes or enjoy its tube-iness.”
A elliptical section will be hollowed out from the centre of the nine-storey building to create a grand atrium that will be filled with light from a glass roof overhead. Some silo chambers will be carved open at ground level to accommodate exhibition galleries, while others will accommodate elevators.
Heatherwick added: “Unlike many conversions of historic buildings that have grand spaces ready to be repurposed, this building has none. The project has become about imagining an interior carved from within an infrastructural object whilst celebrating the building’s character.”
Layers of render and paint will be removed from the existing facades to reveal the raw concrete of the silos, while windows will be created from bulging transparent pillows.
“Thomas Heatherwick understood how to interpret the industrial narrative of the building, and this was the major breakthrough,” said V&A Waterfront CEO David Green. “His design respects the heritage of the building while bringing iconic design and purpose to the building.”
Named Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA), the building will be a partnership between V&A Waterfront and entrepreneur Jochen Zeitz, whose art collection will provide the museum’s permanent exhibition within some of the 80 proposed galleries.
Education facilities and sit-specific exhibition areas will be provided within the existing underground tunnels. Other features will include a rooftop sculpture garden, an art conservation facility, bookshops, and cafe and restaurant areas.
Heatherwick will partner with local firms Van Der Merwe Miszewski, Rick Brown Associates and Jacobs Parker on the delivery and fit out of the museum.
Read on for the press release from V&A Waterfront:
V&A Waterfront unveils architectural plans by Heatherwick Studio for the historic Grain Silo Complex
Imagine forty‐two 33-metre high concrete tubes each with a diameter of 5.5 metres, with no open space to experience the volume from within. Imagine redesigning this into a functional space that will not only pay tribute to its original industrial design and soul, but will become a major, not-for-profit cultural institution housing the most significant collection of contemporary art from Africa and its Diaspora.
The brief given to Heatherwick Studio was to reimagine the Grain Silo Complex at the V&A Waterfront with an architectural intervention inspired by its own historic character. The project called for a solution that would be unique for Africa and create the highest possible quality of exhibition space for the work displayed inside.
The V&A Waterfront’s challenge to repurpose what was once the tallest building on the Cape Town skyline caught the imagination of internationally acclaimed designer Thomas Heatherwick and his innovative team of architects.
This was a chance to do more than just appropriate a former industrial building to display art, but to imagine a new kind of museum in an African context.
The R500‐million redevelopment project, announced in November 2013 as a partnership between the V&A Waterfront and Jochen Zeitz will retain and honour the historic fabric and soul of the building while transforming the interior into a unique, cutting‐edge space to house the Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA). Considered the most extensive and representative collection of contemporary art from Africa, the Zeitz Collection has been gifted in perpetuity to this non‐profit institution by ex‐Puma CEO and Chairman, Jochen Zeitz. The collection will be showcased in 9,500m2 of custom‐designed space spread over nine floors, of which 6,000 m2 will be dedicated exhibition space.
Heatherwick Studio, based in London, is recognised internationally for projects including the UK Pavilion at the 2010 Shanghai World Expo, The London 2012 Olympic Cauldron, the New Bus for London and the redevelopment of Pacific Place, a 640,000m2 complex in the centre of Hong Kong.
For the Zeitz MOCAA project, Heatherwick Studio will partner with three local delivery partners; Van Der Merwe Miszewski (VDMMA), Rick Brown Associates (RBA) and Jacobs Parker. Jacobs Parker will be the lead designer for the Museum fit out.
The key challenge has been to preserve the original industrial identity of the building, which is heritage listed, and to retain choice pieces of machinery to illustrate and maintain its early working character. Heatherwick Studio has met the brief with characteristic boldness and creative flair. The final design reveals a harmonious union of concrete and metal with crisp white spaces enveloped in light.
The solution developed by Heatherwick Studio was to carve galleries and a central circulation space from the silos’ cellular concrete structure to create an exceptionally spacious, cathedral‐like central atrium filled with light from an overhead glass roof. The architects have cut a cross‐section through eight of the central concrete tubes. The result will be an oval atrium surrounded by concrete shafts overhead and to the sides. Light streaming through the new glass roof will accentuate the roundness of the tubes. The chemistry of these intersecting geometries creates an extraordinary display of edges, achieved with advanced concrete cutting techniques. This atrium space will be used for monumental art commissions not seen in Africa until this construction.
The other silo bins will be carved away above ground level leaving the rounded exterior walls intact. Inside pristine white cubes will provide gallery spaces not only for the Zeitz MOCAA permanent collection, but also for international travelling exhibitions. Zeitz MOCAA will have 80 galleries, 18 education areas, a rooftop sculpture garden, a state of the art storage and conservation area, and Centres for Performative Practice, the Moving Image, Curatorial Excellence and Education. Heatherwick Studios have designed all the necessary amenities for a public institution of this scale including bookstores, a restaurant and bar, coffee shop, orientation rooms, a donors’ room, fellows’ room and various reading rooms. The extraordinary collection of old underground tunnels will be re‐engineered to create unusual education and site specific spaces for artists to dialogue with the original structure.
Cylindrical lifts rise inside bisected tubes and stairs spiral upwards like giant drill bits. The shafts are capped with strengthened glass that can be walked over, drawing light down into the building.
The monumental facades of the silos and the lower section of the tower are maintained without inserting new windows. The thick layers of render and paint are removed to reveal the raw beauty of the original concrete.
From the outside, the greatest visible change is the creation of special pillowed glazing panels, inserted into the existing geometry of the grain elevator’s upper floors, which bulge outward as if gently inflated. By night, this transforms the building’s upper storeys into a glowing lantern or beacon in the harbour.
An aluminium canopy speckled with triangular perforations shelters the space between old and new buildings at Mexico‘s National Film Archive and Film Institute, recently renovated by Rojkind Arquitectos (+ slideshow).
Mexican firm Rojkind Arquitectos was tasked with upgrading the existing facilities of the campus in Xoco, south of Mexico City, as well as adding extra cinema screens, an outdoor amphitheatre and additional storage vaults for the film archive.
Rebranded as Cineteca Nacional Siglo XXI, the complex is used a cut-through from a local metro station, which prompted the architects to create a sheltered space at the centre of the campus that functions as both a public gathering area and a lobby for the buildings.
“We didn’t want it to feel like you’re in the lobby of a commercial cinema, we wanted it to feel more like a university campus, with everything floating in a park” said studio founder Michel Rojkind.
The aluminium-clad canopy curves downwards to form the facade of a pair of new buildings. These accommodate four extra screening rooms, bringing the overall total up to ten, and create a two-storey zone for shops, cafes and seating areas.
“The added amenities have turned the campus into a favourite gathering space not only for moviegoers but also for Xoco residents and workers who have appropriated the space as if it were their backyard,” said the design team.
Two archive vaults were added to the existing four, making room for 50,000 extra reels of film, and a museum dedicated to the history of Latin American cinema was constructed.
Car parking areas previously dotted around the campus have been consolidated into a single six-storey building, creating space for planted landscaping and the new 750-seat amphitheatre.
Photography is by Paul Rivera, apart from where otherwise stated.
Here’s a project description from Rojkind Arquitectos:
Cineteca Nacional Siglo XXI
Located in the southern quadrant of Mexico City, the National Film Archive and Film Institute of Mexico is home to the most important film heritage of Latin America. Its campus occupied an underutilised site of considerable dimensions within the strangled town of Xoco. This historic town, once surrounded by agricultural land, now sits deep within the urban sprawl and faces extinction due to economic and political pressures from developers and municipal authorities which covet its privileged location.
Photograph by Jaime Navarro
The existing complex dated from 1982, when a fire destroyed part of the campus and most of its archive, and was a “temporary” facility never well suited for its purpose. Additionally, thousands of people cross the grounds daily as they walked to and from one of the city’s nearby metro station, Estación Metro Coyoacan.
Facing total renewal, Cineteca’s original project brief included the expansion and renovation of the existing complex incorporating additional vault space and four more screening rooms. But in response to the immediate urban condition, additional restorative work needed to be done to reclaim part of the site as public space, give relief to the dense new-development – filled surroundings of Xoco and accommodate the constant flow of pedestrians and casual visitors.
Photograph by Jaime Navarro
First, surface parking was consolidated into a six-storey structure freeing 40% of the site. Then the pedestrian friendly “back entrance”, located across the street from the historic town’s cemetery, was reactivated – 70% of Cineteca patrons use public transportation and arrive by foot. The reclaimed space now houses the new program organised along two axes, one perpendicular to the street of Real Mayorazgo becoming the main pedestrian entrance and the other perpendicular to Av. México-Coyoacán for both car and pedestrian access.
Photograph by Jaime Navarro
The axes intersection became a new 80m x 40m public plaza sheltered from the weather by a hovering canopy connecting the existing complex with the new screening rooms. Clad in composite aluminium panels, with varied size triangular perforations, the roof structure wraps around the new screening rooms and becomes their facade. The sheltered space functions as the foyer for the old and new screening rooms and can accommodate additional program options such as concerts, theatre, exhibitions, etc.
An outdoor amphitheatre, extensive landscaping and new retail spaces were added to the original program expanding the possibilities for social and cultural interaction and exchanges, and giving the complex a university campus feel.
The new screening rooms seat 180 each and the existing screening rooms were updated with current technology. Overall the complex can now seat 2,495 visitors in indoor theatres. The outdoor amphitheatre has a 750-person capacity. Two new film vaults were also added to the site, increasing Cineteca’s archive capacity by 50,000 reels of film. Parking capacity was also increased by 25% to a total of 528 cars.
The thousands of people that use the grounds everyday now find welcoming unrestricted public space: commuters still walk back and forth across the campus in the morning and evening, medical staff from a nearby hospital stop by to eat their lunches at noon, students hang out at the park in the afternoon, and moviegoers attend free outdoor events in the evening. The added amenities have turned the campus into a favourite gathering space not only for moviegoers but also for Xoco residents and workers who have appropriated the space as if it were their backyard.
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