The new Museum Luthers Sterbehaus by Stuttgart architects Von M is a grey-brick extension to the house where Martin Luther died – but it turns out the Christian reformer “actually died in another building around the corner” (+ slideshow + photos by Zooey Braun).
The “death house” museum extends a late-Gothic house in the UNESCO World Heritage Site of the town of Eisleben, Germany, that centres around the life of Luther, a key protagonist in the reform of Christianity in the sixteenth century.
Until recently the house was believed to be the place of Luther’s death, so Von M was commissioned to restore the house to its sixteenth-century appearance as part of a larger project to convert the site into a museum dedicated to the life of the man and the history of the reformation.
“Today we know it isn’t the building where Martin Luther died; it was a mistake and he actually died in another building around the corner that doesn’t exist any more,” Von M’s Dennis Mueller told Dezeen.
“As it was the building for thinking of Martin Luther, it is still seen as the Luther Sterbehaus [Luther’s Death House],” he added. “We still see the old building as not only a space for exhibitions, but as one of the most important parts of the exhibition. It’s an exhibit itself.”
The two-storey extension is located behind the old house and is constructed from pale grey bricks that were cut using jets of water to create an uneven texture.
“The colour of the bricks was especially chosen for the project so that the facade chimes together with the materials of the old building,” said Mueller.
The main entrance can be found at the rear of the site, leading visitors through to exhibition galleries and events rooms with exposed concrete walls and ceilings.
A ramped corridor slopes down to meet the slightly lower level of the old house, which has been completely restored.
The museum adds a rear extension to the historic building thought to have been Martin Luther’s “death house” – photograph by Dennis Mueller
Here’s some extra information from Von M:
Museum Luthers Sterbehaus
The building which is one of the UNESCO’s World Heritage Sites was extensively renovated and extended by a new building into a museum complex showing a permanent exhibition as well as exhibitions presenting diverse and specific aspects and topics.
The basic principle for the restoration of the building were the historically documented reconstructions by Friedrich August Ritter in 1868 and Friedrich Wanderer in 1894.
The relocation of the main entrance and all other important functional rooms into the new building made it possible to largely preserve the existing basic structure of the old building.
Because of its clear cubature and structure, the new building that is connected to the existing one expresses itself in a self-conscious and contemporary speech, still it subordinates itself under the existing and its environment conditioned by the materiality of its facade as well as the differentiation of the single parts of the building in dimension and height.
Because of the mutual integration of the new and the existing building a significant and impressing round tour through the museum rooms has been developed – a tour that confronts the visitor with a diversity of aspects and themes of the permanent exhibition “Luthers letzter Weg”.
News:Dutch office UNStudio has won a competition to design a residential and office complex in the German city of Munich.
UNStudio‘s design for the city’s new Baumkirchen Mitte development features a 60 metre tower with a facade divided by horizontal ribs that continue across the front of an adjoining housing block.
“In the design for the facade of the building we chose for an articulated sobriety, incorporating contrasting scales of detail,” said architect Ben van Berkel. “The horizontal bands which wrap and organise the building present a sober articulation from a distance, however as you get closer to the building you discover a refined scale of intricate, complex detailing.”
Metal and wood will combine to create contrast on the building’s facade, which the architects explained will give the building “the appearance of a custom-made furniture piece for the urban space.”
The office building will house flexible work spaces with foyers, lobbies and meeting areas providing neutral and adaptable public areas.
Flexibility is also key to the design of the residential wing, with floor plans that can be configured in numerous ways and individual apartments that can be customised to meet the needs of their occupants.
A multipurpose roof garden will incorporate ornamental plants and grasses, vegetable gardens, bee hives, play areas and rainwater harvesting. The linear design of the landscaping is influenced by the building’s location on the site of a former rail yard.
3D visual of the building
UNStudio collaborated with OR else Landscapes on the design, which was selected over entries from firms including BIG and J. Mayer H. Architects. It will be built at the entrance to the Baumkirchen Mitte development, which is located between Munich East station and the Berg am Laim suburb.
3D visual of living in the open concept
Here’s a press release from UNStudio:
Ben van Berkel / UNStudio’s design selected as winning entry for the Baumkirchen Mitte in Munich
UNStudio’s design for the Baumkirchen Mitte in Munich has been selected as the winning entry from a shortlist of 6 finalists which included, among others, BIG Architects, Juergen Mayer H Architects and Schneider + Schumacher Architects. UNStudio worked in collaboration with OR else Landscapes on the design for the 18,500m2 residential and office complex located in the east of Munich. With its 60 metre high tower the project will become the focal point for the entrance to the new Baumkirchen Mitte development.
Ben van Berkel: “In the design for the facade of the building we chose for an articulated sobriety, incorporating contrasting scales of detail. The horizontal bands which wrap and organise the building present a sober articulation from a distance, however as you get closer to the building you discover a refined scale of intricate, complex detailing.”
New work
Concentrated individual work, brainstorming sessions and impromptu meetings are fast becoming part of contemporary work culture and require spaces and layouts that can respond flexibly to these new demands. In UNStudio’s design neutral spaces, such as foyers, lobbies and meeting areas are used to establish the identity of the building. The design combines both zones that guarantee maximum flexibility for varying combinations of users and exclusively designed areas that provide spaces for communication and creativity.
New living
Changing demands and expectations in contemporary living form the starting point for the residential areas within UNStudio’s design. Flexible accommodation types are incorporated which afford variable constellations and offer the possibility to combine adjacent units. In addition, flexible floor plans enable a variety of configurations in the apartment layouts, thereby directly addressing the specific and individual needs of the residents.
North facade
Outdoor spaces vary in scale and form an integral part of the apartments. The living experience is therefore not confined to the dwellings alone, but instead begins as you arrive at the building and enter the circulation areas. Thereafter it extends into shared and private outdoor spaces. This extension of the living concept stimulates interaction between residents and creates a balance between activated public spaces and the need for privacy.
South facade
Duality
The facade design reflects the duality of the programme, with two contrasting materials defining the look and feel of the building. Bright metal forms the background, lending the structure a contemporary and light aesthetic, whilst the contrasting use of wood affords the building the appearance of a custom-made furniture piece for the urban space.
Section
A sustainable living landscape
The remaining traces on the location of a previous rail yard form the blueprint for the structure of the roof gardens. The linear frameworks in the landscaping of the gardens accommodate fields of kitchen gardens and play areas, as well as rows of ornamental grasses and flowering perennials and are inspired by the spontaneous vegetation of the track fields. Through the integration of vegetable gardens, systems for rainwater harvesting, composting and beekeeping areas the roof garden becomes more than just a recreation area. It additionally plays an important ecological role by contributing to a sustainable living environment. The sustainability concept for the complex is based on a requirement specific application of different types of façade, while reducing active technical building components.
This secondary school in Germany by Behnisch Architekten features a spectacular combined quadruple-height atrium and assembly hall (+ slideshow).
The foyer acts as the school’s entrance, circulation and social hub, with a series of staggered staircases that descend through the space linking the classrooms on the upper floors to the facilities on ground level.
“The heart of the new, middle school is a large open atrium that serves as an assembly hall, an interior meeting point, and a visual connection between the school’s various departments and functions,” said Stefan Behnisch, founding partner at Behnisch Architekten.
“Through this central hub, students can easily and intuitively find their way through the building from the classrooms in the upper levels down to towards the music and art rooms, gymnasium, cafeteria, and recreational spaces, all situated a ground level.”
The school, located in the town of Ergolding, 70km northeast of Munich in Bavaria, is arranged over four storeys and the architects designated a different colour for each floor, which can be seen from outside and from the large central foyer.
Throughout the building, raw concrete and industrial sound insulating panels contrast with smooth, brightly-coloured surfaces and wood used for the benches, staircases and banisters.
Hallways open up into wider spaces that Behnisch describes as “extensions of the classroom”. “These provide the students, teachers and parents with informal meeting points for gathering, planning extracurricular activities, and exchanging information,” he says. Breakout areas between clusters of classrooms can be used as alternative teaching spaces.
Classrooms for the natural sciences on the third floor can be used as large lecture halls or divided with partitions to create smaller rooms.
The school is surrounded by natural and manmade landscaping, with classrooms looking out onto the playing fields and a nature reserve and pond.
Here’s some more information from the architects:
Secondary School Ergolding Ergolding, 2001-2013
For the beginning of school-year 2013-2014, the District of Landshut has decided to construct a new secondary school (grades 5-12) and gymnasium. The building site sits in the town of Ergolding along the Highway 11/15 beside an existing Special-Education School within a far-stretching natural and artificial landscape. The schools will be nestled together between a nature reserve with a pond, a meadow, several sport fields, a few residences, and a community centre.
One enters the new building at a central point on the site, approaching from either the north, east or west over an extensive car-free pedestrian landscape. The visitor enters the building directly into a naturally-lit open foyer which functions as the central hub connecting all of the building’s four levels. Directly next to the foyer sits the school administration and the teacher’s area where they can easily supervise the entrance and the schoolyard simultaneously.
This large open foyer acts as the heart of the new school, functioning also as the assembly hall, an interior meeting point, and a visual connection between the school’s various areas. Through this open hub, students can easily and intuitively find their way from the classrooms on the upper levels down to the music area, gymnasium, cafeteria, and recreation rooms that sit on the ground level. For school events, exhibitions, and theater performances the foyer offers a direct connection to the schoolyard with a view of the nature reserve and the pond beyond.
To optimize the natural lighting and temperature of the classrooms, large windows have been oriented to the north. Clusters of classrooms are separated by de-centralized “Learning Stations” where alternative interactive educational opportunities can be developed. The hallways are considered “Extensions of the Classroom” providing informal meeting points for gathering and exchanging information between students, teachers, and parents.
On the third floor are the areas for the natural sciences; Physics, Chemistry, and Biology. Following advice from educational consultants the Teachers’ preparation and work rooms have been divided into smaller units, placed between the individual lecture room and laboratories. For each of the three natural sciences a classroom is planned that can be used as large lecture hall, or can be divided into smaller classrooms with a partition wall.
All in all, here stands a simply structured, technically optimised, open-spaced school building that reacts to and reinforces the qualities of its local community and environment.
Berlin practice Sauerbruch Hutton has renovated and extended a former Prussian military uniform factory to accommodate its own offices and an artist’s studio.
Sauerbruch Hutton added a two-storey extension with a grey render and zigzagging roof that contrasts with the listed brick building, which is the largest in a cluster of former barracks.
“The building as a whole appears to be made of two halves – a historic brick ‘base’ and a new addition,” the architects told Dezeen.
A long glass wall running along the centre of the renovated second floor separates a series of offices from a large open-plan space, while a staircase cast from concrete connects the two new storeys.
The new third floor contains a reception area and conference room that flank a gallery leading to a library and a series of smaller offices and meeting rooms.
Roof lights in the extension introduce daylight into the offices, while large windows frame views of the trees outside.
Sauerbruch Hutton also created a studio and apartment for conceptual artist Karin Sander in the eastern portion of the building.
Studio spaces with skylights, bedrooms, a kitchen, a library and a living room are spread across two storeys, with a roof terrace providing outdoor space.
A cast concrete wall separates the expansive 5.5-metre-high studios from the living spaces, with an opening connecting the main studio to the raised reference library.
News: visitors to the museum at the Dessau campus of the Bauhaus can now spend the night in the dormitories of the former German Modernist design school (+ slideshow).
Reconstructed room in the Studio Building at Bauhaus Dessau
Guests can book accommodation in the Studio Building once occupied by architecture and design students at the Bauhaus campus in Dessau, Germany, which is now a museum dedicated to the movement.
Reconstructed room
Visitors stay in one of the 28 rooms in the building, which were once let to junior masters and promising students.
Reconstructed room
Previous inhabitants include Marcel Breuer, Josef Albers, Erich Consemüller, Herbert Bayer, Franz Ehrlich, Walter Peterhans, Hannes Meyer and Joost Schmidt, plus Marianne Brandt, Gertrud Arndt, Gunta Stölzl and Anni Albers on the “ladies floor”.
Marianne Brandt room
The 24-square-metre studio flats are starkly decorated and minimally furnished. Boarders have to use the communal bathrooms and showers like the residents in the 1920s would have done.
Marianne Brandt room
One single room has been accurately reconstructed with the original furnishings, while others have been kitted-out with work by their previous occupants.
Josef Albers room
Prices start from €35 per night for a single room, while a double room on a Friday or Saturday night costs €60.
Franz Ehrlich room
The Bauhaus school was founded by Modernist German architect Walter Gropius in 1919 and was originally located in Weimar.
Studio Building (Prellerhaus) by Walter Gropius, 1925/26 – view from east. Photo by Silvia Höll
The campus was relocated to Dessau in 1925, where the iconic listed building was constructed in the Modernist style. The school was then moved again to Berlin in 1932 before closing down in 1933.
Diagonally laid timber planks create zig-zagging patterns across the exterior of this church in Cologne by German architects Sauerbruch Hutton (+ slideshow).
Sauerbruch Hutton arranged the buildings of the Immanuel Church and Parish Centre around an existing parish garden, creating a series of wooden structures that nestle amongst a group of trees.
A bell tower marks the entrance to the site from the street. A winding pathway leads up to the main church building beyond, then on to a small chapel used for private prayer and a columbarium where funeral urns are stored.
Each building is constructed from timber and clad with the diagonal panels. “Their character is defined by simplicity of form combined with straightforward construction and honest materiality,” said the architects.
Structural columns are exposed inside the church, creating a sequence of ribs that punctuate the pale wooden walls.
A low foyer brings visitors into the central nave, which is designed as a flexible space for hosting various community events. Seating can be moved into different arrangements and extra chairs can be utilised from a first-floor space above the foyer.
Two wings flank the nave on either side, accommodating a sacristy where the priest prepares for services, community rooms, a music room and a kitchen.
The organ is concealed behind a coloured timber partition, while a matte glass window catches light and shadow movements from outside.
Sauerbruch Hutton is a Berlin studio led by architects Matthias Sauerbruch, Louisa Hutton and Juan Lucas Young. Past projects include the colourful Brandhorst Museum in Munich, completed in 2009.
Here’s a project description from the architects:
Immanuel Church and Parish Centre
The new Immanuel Church in Cologne is approached through an existing parish garden defined by a circle of mature trees. Offering itself for outside activity and worship, this garden becomes the central element of a new ensemble that comprises a bell tower, the church, a small chapel for private prayer, as well as a columbarium.
The bell tower marks the entrance to the site from the street. A visitor enters the church through a simple rectangular entrance into a low foyer that opens out into a central nave flanked by two low wings, somewhat reinterpreting the classical section of a basilica for a small, modern parish. The wings accommodate the sacristy, community rooms, music room and kitchen. The central nave provides a clear space with loose chairs that can be rearranged for community events, while a tribune rising above the foyer provides additional seating.
Behind the altar a coloured timber screen reaches up to the roof, hinting at the location of the organ that lies behind. Daylight enters the church from above illuminating the altar wall, and from the rear above the tribune bringing light and the play of leaf shadows onto a matt glass screen. In the evening low hanging lamps provide an atmosphere of warm light and create an intimate scale.
Standing alone, the small, simple chapel is screened from the outside bustle. Behind the chapel a new columbarium is nestled amongst the trees. The bell tower, church and chapel are clad externally with diagonally laid timber planks. Their character is defined by simplicity of form in combination with straightforward construction and honest materiality.
Design studio Weiss-Heiten used emerald-coloured tiles to cover the walls, floors and surfaces of the new Berlin store for skincare brand Aesop (+ slideshow).
Aesop Mitte is the brand’s first flagship store in Germany and was designed by Weiss-Heiten to marry Berlin’s industrial history with references to the Bauhaus art school.
Handmade concrete tiles in different shades of green cover most of the surfaces, intended to reference the monochromatic canvasses of German artist Gerhard Richter.
“Our aim was to create a space that combines the clarity of industrial grids with the strength of historical materials and their individual patina,” said architect Alberto Franco Flores.
Shelves made from both German oak and steel display the range of products, while a 1950s sink salvaged from an old farm was added as a nod to the building’s former use as a dairy shop.
The back of the building provides a meeting space to host events and extra room for running Aesop’s German online store.
Aesop’s first German signature store recently opened on Alte Schönhauser Strasse in the capital’s central borough of Mitte. Crafted in collaboration with local architects Weiss-Heiten Design, it marries elements of historical Berlin with Bauhaus and contemporary influences. Inspired by Gerhard Richter’s abstract, monochromatic canvases, and by the city’s industrial history and everyday charm, the interior assumes a palette of sea-green and a quietly clinical aesthetic. Handmade raw concrete tiles cover the walls and floor creating a sense of having wandered into Berlin Alexanderplatz station or a hidden glade in the forest. A countertop of oiled German oak and near-invisible steel shelves provide subtle contrasting accents.
An aged sink salvaged from a 1950s farm tethers the heritage-listed building to its previous life as an early twentieth-century dairy store. Beyond the retail area, which occupies approximately half the store’s 80 square metres, a concept room provides the opportunity to host events; an additional space will service Aesop’s German online store.
Architects Agnieszka Preibisz and Peter Sandhaus have unveiled a conceptual skyscraper for Berlin with a twisted figure-of-eight structure that curves around elevated gardens and is held up by cables.
Agnieszka Preibisz and Peter Sandhaus, who are both based in Berlin, developed the design to contribute to a new masterplan being put together for the eastern quarter of the city.
“The state of society in the twenty-first century requires that we develop new visions for living in densely populated inner cities,” Preibisz told Dezeen. “This process inherently triggers an essential confrontation of material and social values, and so there is a nascent yearning for an architecture that offers a high degree of potential for community.”
Describing the building as a “vertical garden city”, the architects have planned a network of gardens and greenhouses that would slot into the two hollows of the figure-of-eight, intended to serve a growing desire among city dwellers for self-sustaining gardening.
Residences would be arranged to encourage neighbours to interact with one another, fostering a sense of community that the architects compare to social networks.
“While in social networking, the border between the public and the private spheres is being renegotiated, architecture and urban planning of cities such as Berlin lags behind these significant social and demographic changes,” they explain.
Named Green8, the tower is designed for a site on Alexanderplatz. The architects are now consulting with an engineering office to assess the viability of the structure.
Here’s a project description from the architects:
Green8 Concept
How Do We Want To Live?
While trying to answer the query of how and where to house, many modern families today are torn between the desire for a pulsating urban life and the craving for a lifestyle in harmony with nature.
Our identification with and our desire for a free and urban life style defined by short distances to work, excellent public transportation, and proximity to cultural and commercial amenities, does not need to end with the decision to start a family or with retirement from active professional life.
Current trends towards a ‘sharing-spirit’ and a new participation in the community life counteract the anonymity and isolation in the metropolis. While in social networking, the border between the public and the private spheres is being renegotiated, architecture and urban planning of cities such as Berlin lags behind these significant social and demographic changes.
The unease with the global imperative of continued growth propagated by financial markets, seems to be spreading. Confidence in industrial food production finds itself nowadays significantly eroded. At the same time also the mass production of organic and healthier food has its limits and fails to appease growing groups of customers.
The longing for self-sustaining gardening and for knowing about the origins of what one is eating, are the most important reasons for the current boom in urban gardening.
What do these developments mean for architecture and urban planning? How do we want to live and house in the future?
As an integrative solution to this dilemma, the architects Agnieszka Preibisz and Peter Sandhaus are proposing project Green8 for a vertical garden city on Alexanderplatz in Berlin.
The residential high-rise structure is based on a business model of a cooperative collective. It envisions a self-determined community encompassing all generations. With its generous greenhouse and community spaces Green8 offers to organise not only the food production but also the sport and leisure activities, as well as the care of children and seniors.
Green8 reflects a dream come true: living in the centre of the city with breathtaking panorama views, while having one’s own vegetable garden at one’s doorstep.
Thanks to its cooperative and integrative principles, this housing concept is economically efficient. This form of home ownership is free from many constraints of real estate or land speculation, and the long term costs are lower than those of conventional homes.
A house-shaped tower with no windows rises from the roof of an ageing warehouse to create a new archive building for the state of North Rhine Westphalia, Germany, designed by German architects Ortner & Ortner.
Under construction beside the harbour in Duisburg, the NRW State Archive will become the largest archive in Germany, with 92 miles (148 kilometres) of shelving contained behind its walls.
Ortner & Ortner designed a 76-metre tower to rise up from the centre of the old brick warehouse, which is a listed corn silo building constructed during the 1930s.
They’ve also added a snake-like extension that stretches out from the north-west facade, accommodating reading rooms, offices and storage facilities over six storeys.
“In architectural terms the addition blends with the existing building, but without weakening the independence of either,” say the architects.
Dark red brickwork contrasts with the brown bricks of the old building, plus the architects have infilled original windows to create a protective enclosure for housing the archive’s fragile contents.
A woodland landscape scene is hidden within a pattern of coloured polka dots on the exterior of this house extension in Moers, Germany, by Düsseldorf studio MCKNHM Architects (+ slideshow).
MCKNHM Architects made three separate additions to the single-storey family home, adding a second storey on the rooftop, a sauna and guesthouse in the garden, plus a combined workshop and garage at the site’s entrance.
The architects named the project CMYK House as a reference to the colour model used to create the dotty facade of the roof extension and guesthouse.
The mixture of cyan, magenta, yellow and black dots give the walls a halftone pattern. At close range, the dots can be made out individually, while from a short distance they blend together in a camouflage pattern and further away they form an image of a deer in a forest.
“The colour scheme of the pixilated image is intentionally reflected by the landscaping, consisting of wildflower meadows,” said the architects. “From a middle distance, the human eye interpolates the colours and a shaded and textured surface of brown and green seems to appear, leading to a camouflage effect.”
The architects chose to conceal an image of a deer within the facade, as a reference to hunting trophies that were once displayed inside the house.
“The father of the client was a hunter and the house was filled with stuffed animals at the time the son took it over,” explained the architects.
The original house was built without any views of the nearby lake, so the combined sauna and guesthouse was positioned to face onto the water and opens out to a generous terrace.
The rooftop extension accommodates a small office and lounge, also with views of the lake.
A timber-clad garage and workshop was the final addition.
When the father of the client bought the plot of land besides an open gravel pit south of Moers, Germany in the late fifties, it was still unclear if the mine would be converted into a landfill of garbage or a lake. Luckily, the family ended up with a villa at an idyllic lake that is surrounded by a forest.
Because of the possible landfill at the time of construction, the house was orientated away from this now beautiful nature reserve: An existing garage was blocking the view towards the lake. The extensive paved driveway was situated between the house and the fantastic nature setting. Inside the house, none of the spaces provides a view of the lake.
Context
The new addition is set to solve these problems. The approach towards the site places three pavilions onto the park-like property. They are positioned in a way to achieve new spatial qualities in-between the old building and new additions, helping to connect the lake with the existing house.
At the same time the old house with its white plaster façade and its black double pitched roof, that evoked a sense of melancholy and displays a certain stuffiness in its German fifties zeitgeist needed a more fresh addition. Therefore, the extension is also supposed to add a friendlier and playful atmosphere.
Three pavilions
The workshop and garage is moved and situated as an autonomous pavilion towards the entrance of the site. A second pavilion accommodates a sauna and guesthouse, which is assigned to the existing house and directly orientated to the lake through an open terrace. A third pavilion is situated on top of the roof of the old house, extending the existing attic into a workspace and lounge with a beautiful lake-view.
Concept diagram
Façade
All new additions are clad with a special façade, made up from a building textile that features a colourful but also camouflaging print that was developed through a very close and intensive design process with the client. The print fulfils a number of tasks: It is an image that is very roughly pixilated by a halftone pattern, which is exaggerated in a way, that by close distance the façade only displays big dots in the Cyan, Magenta, Yellow and Kay colour realm.
Concept diagram
These dots create a pattern, which is also a reminiscent to the petticoats of the fifties, adding a playful colour palette and graphic to the existing situation. The colour scheme of the pixilated image is intentionally reflected by the landscaping, consisting of wild flower meadows.
From a middle distance, the human eye interpolates the colours a shaded and textured surface of brown and green seems to appear, leading to a camouflage effect. The additions seem to blend within the colour palette of the site.
Only from far distance at the lake, the image will appear: A forest landscape with a deer, a classic and conservative German motive giving an ironic touch to the existing building and a reference to its history, as the father of the client was a hunter and the house was filled with stuffed animals at the time the son took it over.
The interior spaces are highly flexible the pavilions feature a ‘multi-wall’ that is designed as a ‘hollow’ 1,20m thick wall or woodblock, which functions as a storage that is accessible from both inside and outside. The sauna-pavilion has a ‘multi-cube’ that houses the actual sauna and also a space for technical equipment, a wardrobe and bathroom fixtures on the outside. Through these interventions, the space becomes highly flexible and also open, the space is one continuum, there are no doors separating the bathroom from the Sauna.
The concept of the building is creating a new experience on the site and adding something very playful and friendly. At the same time the building is blending into its natural environment. In this sense the addition mediates the genius loci of the existing building and the natural environment the architecture is not an alien anymore it becomes more natural.
Some measures were taken to not only blend the house visually into its context but also to provide a tactile sense of dematerialisation that is reflected in the actual construction. All building details aim to hide the physical thickness of the construction and create a very light to paper thin appearance quality. The parapet flashing is set behind the façade, visible doors and windows are encased in a metal siding which peaks to a millimetre thick tip that hides the real wall thickness, the textile façade is wrapped around the corners and has a very minimal aluminium frame.
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