Hasta La Ideas

Hundreds of circular holes puncture a faceted bronze extension to a fortified museum in Rapperswil-Jona, Switzerland, that is set to reopen next month.

Added during a renovation by Swiss architects :mlzd, the shiny four-storey volume reconnects the two halves of the town museum, which comprise a thirteenth century stone tower and a former residence.

An exposed concrete wall separates the new central staircase from the ground-floor entrance, which leads into a double-height gallery.

The museum’s north elevation is left unchanged to respect the historic townscape.

We also featured a museum extension in Switzerland by Herzog & de Meuron quite recently – take a look here.

Photography is by Dominique Marc Wehrli.

Here’s some more text from the architects:

janus_Extension and renewal of the Rapperswil-Jona municipal museum

The ensemble of buildings that today makes up the Rapperswil-Jona municipal museum looks back on a history of more than 700 years. In 2010/11, it underwent extensive renewal and restructuring.

Starting at the end of the 13th century, a small fortified complex was built inside the town walls of Rapperswil on Lake Zurich. It was comprised of a fortified tower and a residential building, which were linked to one another by a utility building constructed along the town wall. A number of the extravagant interiors from halfway through the 16th century have been preserved until the present and they formed the origin of the museum, which was established in three buildings from 1943 onwards. The new use as a museum called for a number of adaptations, and they included, in particular, the conversion work performed in 1960, during which the connecting building was given a ‘medieval’ mock-historical timber-truss façade including open galleries.

By 2002, it was obvious that the property, which was known as “Breny” after its last owners, would have to undergo thorough renovation, and considerable structural shortcomings had been detected, especially affecting the connecting building from 1960.

Another factor was that the layout of the buildings, which had evolved gradually over time, was such that the ways of getting through them were convoluted, which rendered it impossible to satisfy the requirements of safety and security as well as those of present-day museology. At the same time, the idea was progressively taking shape on the political front of merging the towns of Rapperswil and Jona, which became reality in 2007. Renovation of the museum was thus the first joint project as a step into the cultural policy of the future.

The “janus” project, which won a competition held in 2007, is giving the Rapperswil-Jona municipal museum a new profile commensurate with its public significance. It is designed to attract the attention of members of the public interested in culture without stopping at the municipal boundaries and presents the museum and the town as an appealing destination for excursions. The project to put up the new building has been sensitively integrated in the historic town.

The view from the north, which is important for the overall visual impression of the town, is to remain unchanged. The building fits discreetly into the background of the historic picture presented by the narrow town-centre streets.

With the new terrain situation and the tasteful bronze façade, the building imposes a new emphasis on its immediate surroundings and can easily be read as the main entrance to a modern museum complex.

In addition to a new main entrance, the Breny House and Breny Tower parts of the museum now benefit from disabled access thanks to the new building.

As a new part of the whole complex, “janus” satisfies the all building-services and operational requirements of a modern, round-the-year museum operation and thus makes it possible for the legacy buildings too to justify their existence as authentic witnesses of their day and age.

It is with this same respectful attitude that the shape of the new building has been developed out of the lateral façades of the old buildings. Its façade and roof have been designed in such a way that the existing windows and doors of the old buildings are not intersected anywhere.

The newly created rooms are extending the museum’s spectrum in terms of space, operations and the possibilities available to the curator. The ground floor, for example, fulfils several functions.

After entering the complex, visitors immediately move into the main room, which is two floors high. Given its central position and the model of the town on display there, this room is a suitable starting point for conducted tours of the museum or the town. For prestigious events, it can be combined with the forecourt or the gallery floor.

Many different rooms are also available in addition to the main one and are appropriate for a variety of exhibition purposes. One example is the second floor, where the rooms have had plenty of windows incorporated in their walls, affording marvellous views. Another is the third floor, which is drenched in bright light, making it possible, on the one hand, to admire the impressive roof timbering of Breny House, which had previously not been visible, and, on the other hand, to provide a setting for a modern presentation of contemporary contents.

The way that different types of natural light are brought into play adds another interesting dimension to the building in the course of the day and the succession of the seasons.

Illumination of the building through its roof and the transmission of light from floor to floor deliberately create a stark internal contrast with the legacy buildings. Firstly, that makes it easier for people to find their way around the whole complex and, secondly, the new is clearly offset against the old, heightening awareness for the threshold to the latter. Stepping into the legacy buildings thus becomes an eventful journey in time, back into the past. Thanks to spatial references of this nature, the new building kindles visitors’ curiosity and stimulates them to set out on this journey of discovery.

Various direct lines of vision show up the town and museum in unexpected perspectives and vistas. They create the desire to move around in the museum and to get to know the buildings and the exhibitions on display in them.

Key figures:

Surface area 370 m2: (old buildings 290 m2, new building 80 m2)
Floor space 990 m2: (old buildings 820 m2, new building 170 m2)
Façade of new building: 200 m2
Costs of construction (including exhibition): CHF 5.8 million

:mlzd architects, 2011

After surviving a very rough and tumble summer, starting around mid-October, things were began looking tough again for both the Abu Dhabi Guggenheim and the Louvre wing that was also set to go up in the Middle Eastern cultural hub, and it only got worse from there. First, there was a semi-innocuous delay on the Frank Gehry-designed Guggenheim there, blamed originally on some government contract disputes. Then, as more news was released about a mass of unpaid bills and the entire United Arab Emirates quickly pulling their money out of any and all cultural projects to focus instead on Arab Spring-related matters, it was sounding like both projects might be entirely abandoned. So dire did it seem that the Guggenheim was quick to ramp back up their interest in building a new arm in Helsinki (though this could have been just convenient and beneficial timing). However, it now seems like perhaps both the Guggenheim and the Jean Nouvel-designed Louvre extensions have been placed back on track and all the worry may have been for naught. Yesterday, the Abu Dhabi Tourism Development and Investment Company announced that work will soon resume on the projects, as well as the surrounding Saadiyat Cultural District in which both will call home. The only thing changed will now be the opening dates, pushed back by a number of years. The Louvre, originally set to open sometime next year, is now slated for 2015. The Guggenheim, also originally set to open in the next year or two, has been pushed back to 2017. A long time to wait, for sure, but both institutions must be breathing a sigh of relief in knowing that, at least for now, the projects haven’t been abandoned.

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London’s Design Museum have unveiled designs by British architect John Pawson for their new home in the former Commonwealth Institute building in west London.

Top: new design museum, second floor
Above: new design museum, second floor showing the permanent exhibition 

Due to open to the public in 2014, the £80 million plans include galleries for permanent and temporary exhibition spaces, an auditorium and a library, which will accompany a separate housing development by Dutch firm OMA.

Above: new Design Museum, entrance foyer

The former Commonwealth Institute, which was completed in the 1960s, hasn’t been used for over ten years but will retain its hyperbolic paraboloid roof structure in the refurbishment.

Above: new Design Museum, exterior view

New glazed entrances will lead in towards the galleries located on the ground floor, basement and second floor, giving the museum three times the exhibition space of its current home at Shad Thames on the Southbank.

Above: existing Commonwealth Institute building, exterior view

See all our stories about the Design Museum here and listen to our podcast interview with John Pawson here.

Above: existing Commonwealth Institute building, interior

Visuals are by Alex Morris Visualisation. Photos of the existing building are by Luke Hayes.

Above: existing Commonwealth Institute building, interior

Here are some more details from the museum:

£80m PLANS UNVEILED TO CREATE WORLD’S LEADING DESIGN MUSEUM IN LONDON

The Design Museum today unveiled plans to create the world’s leading museum of design and architecture at the former Commonwealth Institute building in Kensington, London. Designs for the site have been produced by two of the world’s most innovative architectural practices: John Pawson has redesigned the interior of the Grade 2* listed building and OMA has planned the surrounding residential development.

The move will allow the new Design Museum to become a word class centre for design, nurturing British talent and its international influence on design of all kinds. It will bring the museum into Kensington’s cultural quarter, where it will join the V&A, Science Museum, Natural History Museum, Royal College of Art and Serpentine Gallery, creating a platform for the promotion and support of the next generation of creative talent.

The new building will open to the public in 2014, giving the Design Museum three times more space to showcase its unique collection. The museum aims to double its visitor numbers to 500,000 a year, and will greatly expand its education and public events programme with state of the art facilities.

The 1960s Commonwealth Institute building has lain dormant for over a decade. Its refurbishment will give a neglected London icon a new life and purpose and will revitalise an important area of West London. In July 2010 the Royal Borough of Kensington and Chelsea granted planning permission to Chelsfield Partners and the IIchester Estate to modify the Grade 2* listed building and for a residential development. The design team for the new project has been assisted by Lord Cunliffe, a leading member of the original architectural team for the Commonwealth Institute in 1958, and by James Sutherland, the building’s original structural engineer.

The new Design Museum, which is an £80 million project, will open in 2014. The Design Museum fundraising target is £44.66 million of which it has secured more than 60% through the support of a number of individuals and trusts and foundations.

The Museum announced today that The Dr Mortimer & Theresa Sackler Foundation has pledged to support the project, making a generous donation to create The Sackler Library, a learning resource at the heart of the new Design Museum. Other major donations include The Conran Foundation, which has pledged £17m, The Heritage Lottery Fund which has made a first stage grant towards an application of £4.95m, The Wolfson Foundation, The Sir Siegmund Warburg’s Voluntary Settlement, The Hans and Marit Rausing Charitable Trust, The Atkin Foundation and, in addition, a further £2.75m has been raised in early stage fundraising from a small number of individual donors.

Culture Minister Ed Vaizey, said “It is immensely exciting to see the plans for the new Design Museum at the Commonwealth Institute in Kensington. The UK leads the world in design and architecture and it is entirely appropriate that we should be creating the world’s greatest Design Museum at this iconic London landmark. The new Design Museum will be a truly outstanding visitor attraction, learning resource and celebration of the best of British creativity. It is only through the generosity of others that this has become possible and I would like to extend my gratitude to all those who have made this possible.”

The Mayor of London, Boris Johnson, said “From the Olympic Park to the new bus for London, our city is a hotbed of creativity, the epicentre of design, and deserves a world-class museum to celebrate the amazing work being created here in the UK and around the world. Housed in an iconic architectural landmark and offering state of the art learning facilities, this new museum puts design firmly in the spotlight and will become a must see destination for visitors as well as designers and students.”

Deyan Sudjic, Director of the Design Museum, said “This is an important step forward for the Design Museum. We are very excited by all the work that John Pawson and the rest of the design team have done. They have put forward a brilliant strategy to bring the former Commonwealth Institute back to life, which will allow the public to see the essential qualities of this historic listed building, and make a wonderful new home for the Design Museum.”

John Pawson, architect, said “The most exciting thing about the project is that, at the end of it all, London will have a world-class museum of design, with galleries for permanent and temporary exhibitions, education spaces and a library. There is particularly nice symbolism in the fact that in making this legacy for future generations, we are saving a work of iconic architecture. I hope the result will demonstrate that you don’t need to demolish old buildings to make wonderful new public space.”

Reinier de Graaf of OMA adds “In conceiving a new future for London’s former Commonwealth Institute, we pay tribute to a period that continues to inform contemporary architecture.”

Sir Stuart Lipton, Chairman, Chelsfield, said “We are delighted to be supporting the Design Museum to realise its vision of becoming the world’s leading centre for design and architecture. Britain’s designers are taking the lead internationally and it is fitting that there will be a world-class centre for design and architecture in London.”

ARCHITECTURAL STATEMENT
JOHN PAWSON

A centre of design for London

The goal of the project is the creation of a world-class museum of design in the heart of London, with galleries for permanent and temporary exhibitions, education spaces and a design reference library. The architectural vision developed to realise this goal has been profoundly shaped by the fact that the new Design Museum’s permanent home is within the skin of an existing building – the Grade 2* listed former Commonwealth Institute, designed by Robert Matthews, Johnson-Marshall & Partners, which opened in 1962. Driving the process of reclaiming this iconic example of post-war British Modernism as a contemporary cultural space has been the wish to preserve and enhance its inherent architectural qualities for future generations of Londoners and visitors to the city. The outcome should be a building that feels as though it has retuned itself.

A new public space in Holland Park

This process of natural evolution and readjustment begins with the character of the relationship of the new Design Museum with its setting in Holland Park. Freedom of access will allow the public to move comfortably from the green spaces of the park to the interior spaces of the building in a relaxed, open and instinctive manner. In line with the wider design strategy for the building, greater transparency is introduced on the north and east facades. Glazed entrances are created to the ground floor foyer and the existing stained glass windows, currently installed on the south façade, are relocated to the north façade, adjacent to the new entrance from Holland Park.

Dynamic spatial experiences

Once inside, visitors will be naturally drawn up through the atrium space towards the hyperbolic paraboloid roof structure – the defining architectural gesture of the original design. The central staircase leads to the mezzanine level – an echo of the original dais, at the centre of the exhibition building. As in the original building, this level offers a chance to view the whole building, as well as providing space for exhibiting a key piece from a visiting exhibition or the permanent collection. As one moves upwards through the central void, so the framed view of the roof will widen and transform, assisted by the enlarged openings in the top floor slab, creating a dynamic experience that will change according to the time of day and the light conditions. Providing sightlines to all of the building’s principal spaces, the central void acts as a key medium for orientation and navigation. From the entrance foyer, a visitor will see the entire route through the building, winding up from the central platform around the opening at first floor level to the permanent exhibition space on the top floor and the sweeping curve of the roof. The material palette is purposefully restricted, with concrete terrazzo floors at basement and ground levels and hardwood used for the remaining floors and also for wall panelling.

Layout

The programme is split between five floors, providing a total around 10,000m2. The museum’s main exhibition space is located on the ground floor, together with the café, bookshop and design store. The first floor contains the administration and learning departments, design reference library and an area of open storage where the museum’s collection may be accessed for research purposes. An exhibition of the permanent collection, designed by Studio Myerscough, is located on the top floor, where the roof soars up to 16m above one’s head, alongside the restaurant, event space and the members’ room, all of which will enjoy views over Holland Park. The second exhibition space and the auditorium are located at basement level, which also accommodates curatorial spaces, workshops, kitchen and back of house areas.

Opening up sightlines to the hyperbolic paraboloid roof

In the existing building, the central concrete section of the roof rises up through the building on two structural supports, arches over the central space and then down towards the top floor. The floor slab opens up around the structure, allowing it to pass through to the floor below. To give the central roof structure the same freedom, two new openings are formed in the new top floor slab. The larger opening relates to the central void and an additional smaller opening visually connects The Sackler Library on the first floor to the permanent exhibition space. The creation of the second opening allows further views up to the roof from the first floor level, as well as allowing views into the workings of the museum for visitors to the permanent exhibitions on the second floor.

Horizontal elements

A key part of the design rationale is for the floor slabs to be clearly expressed as strong horizontal elements. The slab edges are therefore finished in white, as in the original building, contrasting with the timber walls and defining the volumes of the first and second floors. To reinforce this idea, all volumes, including the lift cores on the top floor, are located around the perimeter of the building.

Structure

One of the key elements to the building is the structural design developed by Arup to retain and preserve the original roof structure. These complex proposals will allow the internal floors of the existing building to be demolished, a new basement to be built across the site and the new structure of the museum building to be constructed under the roof.

The existing fabric of the building has shaped how the new structural design has developed. The rhythm of the edge support mullions sets up a typical structural grid of approximately 9m x 9m. Shear walls, built in as part of the service cores distributed through the building, will brace the structural grid.

A series of piles, temporary beams and trusses will be built around and through the existing structure to support the internal roof support columns and the roof edge support mullions. The external walls and internal structure will then be demolished and the new structure built up around the temporary works until it can support the roof. The temporary supports will then be removed and the new structure completed, to allow the fit-out work to commence.

Get ready for MOCA TV! The Museum of Contemporary Art, Los Angeles has teamed with YouTube to create a new video channel for fresh contemporary art and culture programming. The online programming venture, part of YouTube’s new original programming push, is expected to debut in July with an identity designed by L.A.-based Studio Number One. “Contemporary art is the new international language, unifying leading creators across art, music, fashion, film, and design,” said MOCA director Jeffrey Deitch, who has always struck us as a natural VJ. “MOCA TV will be the ultimate digital extension of the museum, aggregating, curating, and generating the strongest artistic content from around the world for a new global audience of people who are engaged in visually oriented culture.” Slated for the MOCA TV line-up? Global art news briefs, programs focused on the latest collaborative projects (art and music, art and fashion), looks inside artists’ studios, the street art beat (natch), and an interactive education series called MOCA University. The musem has tapped social media company theAudience to help get the word out about MOCA TV as the launch approaches.

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It’s shaping up to be another eventful year for Tom Dixon and his addictive forms. On Friday, the self-taught designer-maker will debut his collection of everyday home accessories and design objects at Maison & Objet in Paris. “Eclectic by Tom Dixon” includes gift-ready goodies made of materials such as copper, marble, cast iron, and wood. But that’s nothing compared to what he’s got in store for Milan Design Week. Come April, Dixon and friends will transform the National Museum of Science and Technology Milan into MOST, a new cultural hub that will showcase the creations and wares of a handpicked group of designers, curators, and companies.

“In a fit of spontaneous madness we decided that the world’s most important meeting place for global design obsessives needed a new epicenter, a space for quiet contemplation or chaotic energy—a platform for the exchange of big ideas,” said Dixon in a statement announcing the project, which kicks off on April 17. “We have created a place where we can demonstrate the new democratization and hyperactive innovation of technology in art, food, fashion, manufacturing, and communication.” His creative partners on the project are Design Miami veteran Ambra Medda and Milan native Martina Mondadori, who is working with TAR Magazine to assemble a slate of lectures and seminars that will take place in the museum’s gorgeous auditorium (pictured). MOST will provide each exhibitor with an individual space within the approximately 400,000-square-foot museum, and there will be an overall exhibition theme. Exhibits of various sizes, positioned inside and outside of the museum, are expected to create a carnival-like environment. Interested in exhibiting? Contact Alice Foster (Alice.Foster@tomdixon.net) for more information and an application.

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