Hasta La Ideas

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 »
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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

The Hepworth Wakefield gallery designed by David Chipperfield Architects opens to the public this Saturday.

With 10 naturally-lit exhibition rooms, the gallery in Yorkshire is the largest purpose-built space for art in the UK and will display over 40 works by sculptor Barbara Hepworth (1903-1975), who lived locally.

The building is composed of a grouping of trapezoidal blocks and also contains learning studios, an auditorium, an archive, and a café and shop.

The gallery is accessed via a new pedestrian bridge across the River Calder, next to which the building is situated.

Photography is by Iwan Bann.

See all of our stories about David Chipperfield on Dezeen »

Below is the full press release:

The Hepworth Wakefield confirms Yorkshire as a centre for sculpture

The Hepworth Wakefield, designed by David Chipperfield Architects, opens to the public on Saturday 21 May 2011, putting the spotlight on Yorkshire as a world centre for sculpture, together with Yorkshire Sculpture Park, Henry Moore Institute and Leeds Art Gallery.

Named after Barbara Hepworth, who was born in Wakefield in 1903 and lived there with her family until the age of 18, with 5,000 square metres of gallery space, The Hepworth Wakefield is the largest purpose-built art gallery to open in Britain since the Hayward on London’s Southbank in 1968, and provides a permanent public legacy for the artist in her home city.

The gallery site has been developed at a cost of £35 million as part of the £100 million regeneration of Waterfront Wakefield. It includes the restoration of former mill and warehouse buildings, the development of new residential, office and leisure facilities, and outdoor landscaping with a new pedestrian bridge. The gallery is funded by founding partners Wakefield Council and The Hepworth Estate; major funders Arts Council England and Heritage Lottery Fund with additional funding from European Regional Development Fund, Homes and Communities Agency and Yorkshire Forward.

The highlight of The Hepworth Wakefield’s permanent collection is a group of over forty works given by her family that provides a unique insight into Barbara Hepworth’s working methods and creativity. The Hepworth Family Gift, donated through a special scheme facilitated by the Art Fund, comprises a unique collection of prototypes and models in plaster, aluminium and wood, from which casts were made in bronze or aluminium at the foundry. The majority are original plasters on which Hepworth worked with her own hands. Shown alongside the plasters will be tools and materials from Hepworth’s studio. The installation, spread over two dedicated gallery spaces, includes the full-size prototype made by Hepworth of perhaps one of her best- known sculptures, Winged Figure, commissioned for the John Lewis Partnership building in Oxford Street London and installed in 1963.

The Hepworth Wakefield has forged partnerships with the nation’s leading arts organisations including Tate, the Arts Council Collection and the British Council, to secure a programme of key loans that put the focus on Wakefield and Yorkshire as a centre for modern and contemporary art. The opening displays include works such as Danaïde by Constantin Brancusi c. 1918 and Composition C (No.III) with Red, Yellow and Blue by Piet Mondrian, 1935 from the Tate; The Snowstorm: Spiral Motif in Black and White by Victor Pasmore, 1950-51 from the Arts Council Collection; 1935 (white relief) by Ben Nicholson from the British Council Collection and J.M.W. Turner’s Wakefield Bridge (c.1798) from the British Museum.

The city’s own collection, including over 6,000 works, built up over 80 years, includes important works by Barbara Hepworth and Yorkshire’s other internationally celebrated artist, Henry Moore, alongside pieces by other leading British artists including David Bomberg, Harold Gilman, Roger Fry, Duncan Grant, Ben Nicholson, William Scott, Patrick Heron and Lucie Rie. The opening displays concentrate on Barbara Hepworth, placing her work in a local, national and international context.

Complementing the collection displays, The Hepworth Wakefield will present an ambitious programme of temporary exhibitions. The inaugural exhibition Hot Touch will present the work of internationally acclaimed sculptor, Eva Rothschild, running from 21 May – 9 October 2011 and will feature over 16 new works created by the artist specifically for the gallery spaces. It will be Rothschild’s first major solo show in a UK public gallery for four years.

The Hepworth Wakefield, set in the historic waterfront area of Wakefield on a landmark site on the banks of the River Calder, has been designed by the internationally acclaimed David Chipperfield Architects. Spread over 5,000 square metres, the visitor can explore 10 light-filled galleries and learning studios; an auditorium; an archive; café and shop with an outdoor terrace and gardens. These can all be accessed via a new pedestrian bridge over the River Calder, leading to The Hepworth Wakefield.

The opening of The Hepworth Wakefield is a highlight of Art in Yorkshire, a region-wide project supported by Tate. This year-long celebration of the visual arts across 19 galleries in Yorkshire is led by York Museums Trust in association with Arts Council England, MLA and Welcome to Yorkshire.

Councillor Peter Box, Leader, Wakefield Council:
“I passionately believe that the opening of the Hepworth Wakefield will lead to real benefits to our community, encouraging more investment in the future of our city and placing Wakefield on the world stage as a major centre for visitors from all over the country and abroad.”

Simon Wallis, Director, The Hepworth Wakefield, said:
“This is a moment to savour for so many people who have worked together over the last decade to see the dream of the Hepworth Wakefield realised. We are proud to present the work of Barbara Hepworth, a daughter of this city, in this superbly designed gallery and to develop an international centre for the visual arts, which will attract artists and visitors from all over the world.”

Alan Davey, Chief Executive, Arts Council England, said:
“The Arts Council is proud to be a major supporter of The Hepworth Wakefield, investing £5.5 million of National Lottery funds to help create this world-class gallery. We are delighted that they will also be funded as part of our national portfolio from 2012 -15.

The opening is one of the cultural highlights of 2011 and will cement the increasing national and international profile of Yorkshire as a centre for the presentation and understanding of sculpture. We hope that the gallery, like the ground-breaking work of Barbara Hepworth, will inspire visitors from far and wide and become a creative centre for the people and communities of Wakefield and beyond”.

Dr Sophie Bowness, granddaughter of Barbara Hepworth, said:
“On behalf of our family, I would like to thank all those who have contributed to making this remarkable gallery a reality. Our gift is a unique group of Barbara Hepworth’s surviving prototypes, the majority in plaster, from which editions of bronzes were cast, and we hope it will greatly enhance understanding of her working methods. We have found the ideal home for the plasters in Wakefield, the city in which Barbara was born and grew up. We would particularly like to thank the Art Fund, through whom we have made this gift.”

Dame Jenny Abramsky, Chair of the Heritage Lottery Fund said: “Barbara Hepworth’s sculptures have left a legacy of artistic genius which continues to inspire us well into the 21st century. The opening of this much-anticipated gallery, funded with a £5m Heritage Lottery Fund grant, will be a fitting celebration of Hepworth’s life and work as well as putting her home town of Wakefield on the cultural tourist map.”
Sir Nicholas Serota, Director of Tate said:
“The Hepworth Wakefield is one of the most exciting and beautiful galleries in the United Kingdom. Its opening in May 2011 will bring tens of thousands of people to Wakefield, similarly to when Tate Modern opened, which brought hundreds of thousands of people to London. I think The Hepworth is a great building and it will offer a wonderful day out for people to come and experience Wakefield in a new way.”

Antony Gormley, artist said:
“The Hepworth Wakefield will become a place of pilgrimage for all lovers of sculpture and now with the Henry Moore Institute in Leeds and Yorkshire Sculpture Park in West Bretton, Yorkshire will be a place of inspiration for all.”

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Turner Contemporary by David Chipperfield	Museum Folkwang by David Chipperfield	Liangzhu Culture Museum by David Chipperfield

Architect David Chipperfield has released images of the completed seafront Turner Contemporary gallery in Margate composed of six identical volumes with an acid-etched glass skin.

The gallery, which Dezeen showed designs for back in October, is intended to withstand the corrosive effects of the seaside environment, including the occasional high wave.

The ground floor accommodates a reception area, event space and cafe while the exhibition spaces are on the first floor, benefitting from natural north light.

The gallery will have no permanent collection, but will feature temporary exhibitions combining historic and contemporary works, with a focus on the work of artist JMW Turner (1775-1851).

Photography is by Richard Bryant.

More projects by David Chipperfield on Dezeen »
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Here are some more details from the gallery:

Turner Contemporary opens 16 April 2011
Margate’s new Turner Contemporary gallery, one of the largest and most important spaces for art outside London, opens to the public on Saturday 16 April 2011.

The gallery will be opened by one of Margate’s most famous residents, Tracey Emin, with the musician Jools Holland and a group of local schoolchildren.

Designed by internationally acclaimed architect, David Chipperfield, winner of 2007 RIBA Stirling Prize and RIBA Royal Gold Medal for Architecture, the opening of the new gallery is one of the most anticipated cultural events of 2011.

Victoria Pomery, Director, Turner Contemporary said:
“I am thrilled to be opening the gallery on 16 April. It will be a momentous day for both Turner Contemporary and Margate and the moment we open the doors and see visitors entering this fantastic new building will be very special.”

Taking inspiration from Britain’s best-known painter, JMW Turner who was a regular visitor to Margate throughout his life, the gallery is situated on the sea front on the site of a guesthouse frequented by the artist. To mark this connection there will always be works by Turner on display in the gallery.

John Kampfner, Chair, Turner Contemporary said: “The opening of Turner Contemporary marks the start of an extraordinary opportunity for Margate and Thanet to become one of the UK’s most compelling culture and tourism destinations. I would like to pay tribute to Kent County Council and our other partners for delivering this outstanding building on time and on budget.”

Turner Contemporary’s exhibitions programme shows a unique combination of contemporary art alongside historical work, demonstrating a particular focus on the art, thought and the legacy of JMW Turner.

The opening show Revealed: Turner Contemporary Opens explores the themes of imagination, discovery, wonder and the creative spirit. Centred on JMW Turner’s extraordinary but little-known painting The Eruption of the Souffrier Mountains, in the Island of St Vincent, at Midnight, on the 30th of April, 1812, from a Sketch Taken at the Time by Hugh P. Keane, Esqre 1815, on loan from Victoria Gallery and Museum, University of Liverpool, the exhibition will feature new commissions by Daniel Buren, Russell Crotty, Ellen Harvey and Conrad Shawcross, together with selected works by Teresita Fernández and Douglas Gordon.

The opening exhibition will be followed by:

• Nothing in the World but Youth (17 Sep 2011 – 8 Jan 2012)
  An exhibition exploring how youth experience has been reflected in art, culture and the media from the late nineteenth century to the present day.
• Hamish Fulton: Walk (17 Jan – 6 May 2012)
  Hamish Fulton’s first one-person show in the UK since 2002, will include new work made as the result of the group walks in Kent that we commissioned in the lead up to the opening of Turner Contemporary.
• Turner and the Elements (28 Jan – 13 May 2012)
  The gallery’s first major exhibition of works by JMW Turner a collaboration with Bucerius Kunst Forum, Hamburg and National Museum, Cracow, exploring the important role that the depiction of the elements played in Turner’s landscapes, watercolours and late paintings.

Mike Hill, Cabinet Member for Community Services, said: ”I have been involved since the very beginning and I am immensely proud of the hard work of so many people who have worked tirelessly to reach the opening day.

It is a magnificent building which will provide many different opportunities for local people and visitors from far and wide, to come and enjoy what is on offer and help build the local economy of Margate and East Kent.”

Sally Abbott, Regional Director, South East, Arts Council England, said: “We’re proud to support Turner Contemporary, and we’re looking forward to the year ahead with its programme of high quality international contemporary art. Turner Contemporary will be integral to local life and vital to regeneration, with long lasting benefits for the community. Great art enriches lives, and this gallery will help more people experience and be inspired by the arts.”

Pam Alexander, Chief Executive of the South East England Development Agency and Chair of the Margate Renewal Partnership, said: ”The opening of Turner Contemporary is a huge step into the future for Margate. As an international venue, it will bring an exciting buzz to the town and create new opportunities for the people of Margate and the local economy. With the recent letting of the former M&S building in the town centre and the plans for Dreamland, it is a landmark in our work to regenerate and revitalise Margate. The project has been a great example of collaboration and we hope it will demonstrate how the arts and culture can stimulate regeneration, and we are proud our £4m investment has supported the creation of this world class Gallery.”

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Museum Folkwang by David Chipperfield	Nottingham Contemporary by Caruso St John Architects	Galeria Adriana Varejão by Rodrigo Cerviño Lopez

Exploring the limits of greyscale in a group show

With a mission of reinvigorating Chelsea’s once youthful and vibrant art scene, Mallick Williams (daughter-in-law of actor Robin Williams) launched Mallick Williams & Co. in November of 2010. In the short time since opening, the upstart has already drawn attention for its ability to connect big-name artists to high-profile young collectors and shows no signs of stopping with their first official gallery show, cleverly titled “Hueless,” opening tomorrow.

An exploration of the possibilities of grey scale, “Mallick Williams & Co. carefully curated pieces from both artists who normally work in black and white (in mediums such as graphite, charcoal, paper cut and photography) alongside work from artists who are stepping out of their traditional colorful palette to create something uniquely hueless.” At the core of the group show is a roster of heavyweight street artists, including Shepard Fairey, Eric Haze, Skullphone and Russel Young. These more established artists will show alongside lesser-known talents like Marissa Textor and Sam Ske.

Young’s piece, “Fifteen Minutes With You; Well I Wouldn’t Say No”, consisting of acrylic paint enamel and diamond dust screen-printed onto linen, creates an ethereal manifestation of a memory without falling into the abstract (pictured below left). Another portrait, “Drawn Face V” (above left) by Dirk Dzimirsky aims to “not only portray the physical attributes, but more importantly the subjects inner presence of life. I chose drawing over painting as this allows me to create many layers over layers of lines and dots which react to each other in order to create a vibrant texture with directions and movement.”

On the darker side thematically, Marissa Textor’s piece “An Outlet for Pent up Forces,” (also graphite on paper, like Dzimirsky’s) breathtakingly depicts volcanic rock in photorealistic detail. Nicholas Forker takes on a “shattered sense of community in the face of capitalist driven isolation” with a greyscale drawing representing an artist informed by a globalized marketplace of ideas.

“Hueless” runs through 15 April 2011. Visit the Mallick Williams & Co. website for the full list of artists.

Photographer Fernando Guerra has sent us his images of a public passage and gallery in Vila do Conde, Portugal, designed by Portuguese architect Manuel Maia Gomes.

Called Galeria.Solar.S.Roque, the staircase and elevator lead between two old buildings to a square eight meters below.

The staircase is made of concrete with a red pigment and features a large window of brightly coloured glass panels.

Artworks are displayed behind glass-lined walls along the corridor and parts of the original sixteenth century building are left exposed.

Other projects by Manuel Maia Gomes on Dezeen »
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The following information is from the architects:

The project concerns the construction of a passage through two buildings leading to a square which lies eight meter below, leveled by one elevator, inside the staircase. The passage works like an exhibition space, for paints, sculpture and video arts.

Conducts directly to the “Galleria Solar”, gallery which is specialized in cinematic art video and shortcut films. There is also a city bookshop. The original building was constructed in the sixteenth century, being deeply transformed in the eighteenth century.

The refurbishment is done after the building was totally ruined. Being the passage a public space, which is opened from 8:00 am until 12:00pm, the art is protected by glass panels which are provided with natural heating and ventilation.

In the middle of the passage, we leaved some remains, testimony of the sixteenth century original building: a stone portico and some steps characteristic of this period. In the first floor and in the attic, the space is converted in one student residence with eighteen sleeping rooms, kitchens and living spaces. Here, the strategy of the project is different.

While in the ground floor, all the stone remain nude, without plaster and the floor are made of stone or cement, in the student residence, the space has been treated in terms of comfort: the floor was paved with wood and the walls are plastered and painted.

Being one temporary residence, the common spaces communicates with the gallery through transparencies, communicates also at the level of the attic with city monuments through windows placed specifically to guide the viewing angles.

The presence of the colored glass helps to make the transition between the historic manor house build in stone and the staircase constructed in pigmented concrete. Both materials went through unfinished treatments, evidencing the imperfection of the mankind.

The space with the colour glass iluminate the passage wich incorporates a space for art exhibitions, introducing a section of cinematic gallery inside.
By this way, people meet art when walking through the city public spaces, being directly confronted and surprised by the regular exhibitions of the gallery.

It combines the old with the new design, taking the atmosphere and ambience of gothic vitrals into contemporary architecture.
The way that the luminous color panel is seen at the entrance of the building, attracts people to come and see the bright colors: the light at the end of the tunnel.

The Gallery was designed taking into account the principles of reuse of construction materials. The granite, building material which predominates in the building complemented with pigmented concrete, used in the construction of stairs and lift box. This project exposed the enormous capacity for conversion of the granite material seen as natural and environmentally friendly.

The huge thermal inertia of the granite associated with its high density, permits this material to be used as heat accumulator during the summer, releasing the energy accumulated during the winter months, thereby avoiding the use of forced air-conditioning spaces. Our little contribution to the desirable sustainability.

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Visitor Center by Standardarchitecture	Educational Centre by Alejandro Muñoz Miranda	Sugamo Shinkin Bank by Emmanuelle Moureaux