Marriage between the old and the new: Learning from the work of Herzog & de Meuron

Marriage between the old and the new: learning from the work of Herzog & de Meuron

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Bahram Yaradanguliyev 150399953 Space of Fictions

Table of contents 1. Introduction: the old and the new

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2. Herzog & de Meuron - material scientists

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CAIXA Forum

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TATE Switch House

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Elbphilharmonie

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3. Walworth Theatre library: Personal Approach

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4. Conclusion

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5. Bibliography

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6. List of Illustrations

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1. Introduction: the old and the new Conversions and building extensions nowadays account for 40 percent of the construction industry in Europe1.

This number will only increase in the future as the reduced amount of land to build on would force architects and developers to work with existing buildings. However, such task is of a big complexity not only in terms of structure and building regulations, but also in terms of establishing the right material language.

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This short essay will discuss a synthesis between the materiality of the old and the new, while referring to the work of Herzog & de Meuron (fig 1.1). Additionally, the approach of the architects will be related to the personal graduation project: an extension and reuse of the existing Grade II listed Town Hall in Elephant & Castle, London.

- Christian Schittich, In Detail (Munchen: Edition Detail, 2003).

Fig. 1.1 - Pierre de Meuron and Jacques Herzog

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2. Herzog & de Meuron - material scientists Herzog & de Meuron are recognized for their radical approach to architecture that involves a careful consideration of context, innovative materiality and attention to detail2.

For them, the process of formfinding comes from logistics rather than from an ambition, while material application comes from a desire to embrace materials for what they are while pushing their possibilities to a whole new level3. The three particular projects to be covered in this essay are CAIXA Forum in Madrid (2009), TATE Modern Switch House, London (2014) and Elbphilharmonie, Hamburg (2016).

- JosĂŠ Rafael Moneo, Theoretical Anxiety And Design Strategies (Cambridge (MA): MIT Press, 2004).

3 -Mateo Kries, Vitra Campus - Architecture Design Industry, 2nd edn (Vitra Design Museum, 2017).

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CAIXA Forum - Madrid, Spain (2009) CAIXA Forum is a mixed-use building (Fig. 2.1) featuring galleries, an auditorium, a restaurant and offices.

In this project, which the architects themselves describe as a “surgical operation”4 the walls of the existing power station were lifted after the granite base has been demolished.

Thus, a plaza at the entrance level has been created making the building appear hovering above the ground (Fig. 2.2). This helped to get rid of some unnecessary building elements and to solve problems posed by the site4.

The façade is perforated in areas where there is a demand for natural light and ventilation creating an effect of mashrabiya: the users have an access to daylight without their privacy being disturbed (Fig. 2.5 a,b,c).

The approach to materiality in this building has been highly intricate: the brickwork of the existing power station has been carefully restored while the openings have been filled with bricks left from demolition (Fig. 2.3). The architects’ intention was to echo the existing brick in the new addition by looking for a material that has a similar colour and tactile feel5; hence, they chose naturally oxidised cast iron sheets (Fig. 2.4 a, b) due to their slightly uneven surface.

- Cohn, David, “Herzog & De Meuron Manipulates Materials, Space, And Structure To Transform An Abandoned Power Station Into Madrid’s Caixaforum.”, Architectural Record, 196 (2008)3 - Fernando Márquez Cecilia, Richard C Levene and Paloma Poveda, Herzog & De Meuron(Madrid: El Croquis, 2010).

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Fig. 2.1 - External view

Fig. 2.2 - Concept diagram: subtracting and adding

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Fig. 2.3 - Retained walls

Fig. 2.4 b - Old meets new (In context

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Fig. 2.4 a - Old meets new (fragment)

Fig. 2.5 a - Perforated facade pattern

Fig. 2.5 b - Oxidised cast iron facade

Fig. 2.5 c - Interior effect

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Even though the project was very challenging, the resulting scheme is a true triumph due to its respect to the context and innovative reuse of the existing fabric. The former impresses me due to its subtlenessthe radical form of the extension is designed to mimic the surrounding roofscapes, while the latter refers back to the Moorish past of Spain.

It is also exciting how the cast iron cladding comes all the way to the edge of the existing walls leaving no shadow gaps.

The construction sequence can be divided into two basic steps: subtraction and addition. The exact same hierarchy is applied to my project where the bits of the Town Hall are removed and the extension is added.

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TATE Modern Switch House - London, UK (2016) H&deM were appointed to design an extension of the existing Tate Modern to link Southwark with Thames and create a more open public square6. The Switch House is built on the existing oil tanks serving as foundations and houses gallery spaces, members’ rooms and a roof terrace.

The form was derived from merging the footprint of the site with the footprint of the existing museum creating a striking geometry (Fig. 2.6 a, b). Many study models were made to test out the relationships between the internal volumes and the external fabric as well as fenestration (Fig. 2.7).

The architects aimed to reflect the existing Tate Modern (Fig. 2.8): hence, the new extension is built of the same colour perforated brickwork (Fig. 2.9 a, b) that filters light during the day but makes the building shine at night (Fig. 2.10 a, b). The perforation also helps to protect the privacy of the residents living in the adjacent towers designed by Richard Rogers.

As for fenestration, the façade features horizontal windows placed where necessary for natural ventilation and daylight access (Fig. 2.11).

Fig. 2.6 a - Diagrams showing: site geometry, existing geometry and the generated form.

- Fernando Márquez Cecilia, Richard C Levene and Paloma Poveda, Herzog & De Meuron(Madrid: El Croquis, 2010).

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Fig. 2.6 b - Diagrams showing the existing Tate Modern before and after the new addition has been inserted

Fig. 2.7 - Study models

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Fig. 2.8 - Old meets new

Fig. 2.9 a - Comparison of the brick work

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Fig. 2.9 b the gradual change of the brick work with it being the most solid at the entrance level

Fig. 2.10 a - Light filtration during the day

Fig. 2.10 b - Glow during the night

Fig. 2.11 window and facade detail

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I see the extension as a perfect example of function going hand in hand with the form. The Switch House creates a great addition to the skyline of London by fitting in yet standing out.

Turning to materiality, Herzog and de Meuron did an impressive job in exploring the potential of brick in order to create an exciting contemporary faรงade that echoes its neighbor. The approach has helped the Switch House reflect the futuristic view of Tate Modern through its radical form and a layered transparency.

The architects managed to challenge a preconception of a brickwork as a solid turning it into more of a veil that covers the structural concrete frame.

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Elbphilharmonie - Hamburg, Germany (2016) Elbphilarmonie is a project that screams “contemporary” due to the highly advanced technologies used to inform a unique façade. Resting on top of the old cocoa warehouse, the concert hall utilizes the existing building as a foundation repeating its footprint, but featuring an incredibly contrasting undulating roof8 (Fig. 2.12 a, b). The existing warehouse is a 19th century building made of brick.

It is a rather solid structure designed to withstand the weight of countless bags of cocoa thus providing strong enough foundations for the new concert hall.

Additionally, due to the created plaza (Fig. 2.15) that connects the warehouse to the concert hall, the building seems to be floating above like an iceberg10 (Fig. 2.16). The arched openings were carved at the bottom of the extension to allow views from the plaza onto the river of Elbe .

The extension, on the other hand, is covered in chrome coated glass panels (Fig. 2.13 a, b) that are carved open in places for ventilation.

Due to the reflectiveness, the facade changes its appearance based on the surrounding context by burrowing colours from it. The coating (Fig. 2.14 a, b) has been applied in order to filter views without blocking them and to reduce glare which is echoing the approach used in the two previously mentioned projects9.

- Fernando Márquez Cecilia, Richard C Levene and Paloma Poveda, Herzog & De Meuron(Madrid: El Croquis, 2010).

9 - Suzanna Stevens, “Show Boat.”, Architectural Record, 204.12 (2016).

10 - Frank Kaltenbach, “Elegance Beyond Pomo-The Elbe Philharmonic Hall”, Detail, 2017.

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Fig. 2.12 a Diagram showing the design intent

Fig. 2.12 b Building in its context, the form and materiality make it stand out yet blend in.

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Fig. 2.13 a Window detail

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Fig. 2.13 b Modular unit manufacturing process

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Fig. 2.14 a Chrome coating appearance from the inside

Fig. 2.14 b Distribution of openings and coating across the facade

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Fig. 2.15 a Plaza created on top of the warehouse showing undulating glass panels

Fig. 2.15 b View on to the plaza from street level revealing the relationship between the old and the new

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In this case, the extension is rather juxtapositional than reflective of the existing structure, but through this bold statement, the architects have created a landmark for Hamburg.

Elbphilharmonie helps to connect the city to the river and to highlight the urban context of Hamburg, by fueling its future progress which is to be witnessed and reflected by the glass façade of the Elbphilharmonie.

It seems like the architects have pushed their limits by accomplishing such a striking glass façade, which only strengthens their case as being rightfully named as the wizards of glass11.

- José Rafael Moneo, Theoretical Anxiety And Design Strategies (Cambridge (MA): MIT Press, 2004).

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3. Walworth Theatre Library: Personal approach Turning to my project, the faรงade is supposed to play a crucial role in establishing a dialogue with the existing masonry building and the whole neighbourhood. As an area that is gradually loosing its authenticity to the regeneration, the proposal strives to establish a unique language and style to revitalize the culture of Elephant & Castle and to create a landmark that can be appreciated not just by tourists, but also by local people (Fig. 3.1). The project also aims to pay tribute to Coronet, an iconic local theatre that recently went out of business and is due to be demolished.

In order to find the right solution, much research and experiments had to be undertaken including physical model making which is a commonly used method of Herzog & de Meuron.

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From the start of the design process, the aim was to juxtapose yet refer back to the heritage of the Town Hall and the whole of Walworth.

I started first by making various options of what the faรงade could look like and what materials it could be built out of by producing elevations (Fig. 3.2 a, b, c, d)

Fig. 3.1 Concept Art showing the intention to preserve the spirit of Coronet and bring together different communities

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Fig. 3.2 a Option 1 - Corten Steel with Town Hall windows etched on its surface. The window patterns echo the existing Town Hall, while corten’s tactility juxtaposes yet compliments its colours. The glazing is distributed according to the function and need.

To filter views, retain privacy and aid acoustics, cylindrical acrylic tubes are considered in the rehearsal space and the dance studio.

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Fig. 3.2 b Option 2 - Polycarbonate double skin facade. The rippled effect echoes the Coronet, while the translucency juxtaposes with the Town Hall’s solid facade. The double skin facade allows efficient LED distribution to advertise activities. The option was later replaced due to the small amount of glazing across the building; hence polycarbonate loosing its effect.

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Fig. 3.2 c Option 3 - Rippling mesh double skin facade. The rippled effect echoes the Coronet, while the perforation retains the privacy of the users. The double skin facade allows efficient LED distribution to advertise activities. The option was later amended due to an extensive amount of features going on which, with the existing facade, cause a disconnection.

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Fig. 3.2 d Option 4 - Steel cladding painted black with Town Hall windows etched on its surface. The window patterns echo the existing building, while steel reflects the damaged slate roof. The glazing is distributed according to the function and need. To filter views, retain privacy and aid acoustics, cylindrical acrylic tubes are placed in the rehearsal space and dance studio.

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The elevation studies have helped to understand that the new facade would appear more elegant if kept simple and minimalist. Due to the complexity of the Town Hall’s elevation, a sophisticated facade of the extension in addition to its radical form would cause the two to fall out of balance with each other.

To continue the experiment, a series of physical models (Fig. 3.3 a, b, c, d) have been produced to test the options in a three-dimensional form. This helped to visualize how the materiality goes hand in hand with the form and how it is experienced by users from the street level. Additionally, it establishes the tectonic intent towards the treatment of junctions and shadow gaps. The roof is treated as a fifth elevation with the external finishes wrapping around it and utilizing hidden gutters.

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The tests have generated the following approach: the roof of the East wing is restored to echo its original form, while the middle section has its walls continuing in the same type of terracotta brick all the way up to the new extension (Fig. 3.4). The structural beams are visible in places to highlight their function, but do not interrupt a seamless elevation, which almost aims to be a work of art. The form, on the other hand, stays true to the building’s program avoiding form for the sake of form alone which is also similar to the approach of H&deM.

Fig. 3.3 a Option 1

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Fig. 3.3 b Option 2 (New) - Mirror-finish stainless steel facade. The rippled effect echoes the Coronet, while the reflectiveness is aimed to constantly response to the external environment of the ever-changing Elephant and Castle. The perforation retains the privacy of the users and filters light.

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Fig. 3.3 c Option 3 (Changed) - Rippled mesh. The mesh has been simplified.

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Fig. 3.3 c Option 4

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Fig. 3.4 Approach

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Throughout the design process, model-making has been a valuable tool to figure out volumes, materiality and details (Fig. 3.5 a, b, c, d).

Fig. 3.5 a Concept model showing the initial materiality principles and tectonic intent.

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Fig. 3.5 b 1:10 Model showing the relationship between the old and the new in terms of structural strategy and detail.

Fig. 3.5 c 1:500 massing model showing the proposal in context.

Fig. 3.5 c 1:100 Fragment model exploring cladding options

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4. Conclusion Overall, the parallel between the work of Herzog & de Meuron and my personal project can be traced through the ambition of exploring the possibilities of materials and the process of doing so via model making and elevation studies. Even though the project is still in the process, the approach to materiality and form finding has already been established. The resulting scheme is supposed to be a subtle reflection of the context, yet a bold statement in its own right. It is aimed to connect different communities of Elephant & Castle while putting forward a vision for the area as a place for not just tall residential blocks, but also for meaningful and intricate projects.

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5. Bibliography Schittich, Christian, In Detail (Munchen: Edition Detail, 2003) Márquez Cecilia, Fernando, Richard C Levene, and Paloma Poveda, Herzog & De Meuron (Madrid: El Croquis, 2010) Kries, Mateo, Vitra Campus - Architecture Design Industry, 2nd edn (Vitra Design Museum, 2017) David Cohn, “Herzog & De Meuron Manipulates Materials, Space, And Structure To Transform An Abandoned Power Station Into Madrid’s Caixaforum.”, Architectural Record, 196.6 (2008) Stevens, Suzanna, “Show Boat.”, Architectural Record, 204 (2016) Kaltenbach, Frank, “Elegance Beyond Pomo-The Elbe Philharmonic Hall”, Detail, 2017

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5. List of Illustrations Cover - Image by Author Fig. 1.1 - Jacques Herzog And Pierre De Meuron <https://www.vitra.com/en-us/ corporation/designer/details/herzog-de-meuron> [Accessed 18 April 2018] Fig. 2.1 - Halbe, Roland, 2008 <http://rolandhalbe.eu/portfolio/caixa-forum-byherzog-demeuron/> [Accessed 18 April 2018] Fig. 2.2 - Image by Author Fig. 2.3 - Reused wall https://architizer.com/projects/caixaforum> Fig. 2.4 a - Gangutia, Alfonso, Caixa Forum, 2008 <https://www.flickr.com/ photos/alfonso79/3086770542/in/photolist-T3N3Dt-awZVht-5GLvkL-969VdK6hfDpH-cVyrpb-arJpFX-6F2J8q-6nLUsp-TGqCzs-nEd8Jw-k2wPsm-cVvpCycsd1js-5oLria-k4aDXj-bskFpz-9tvR3Q-9GVfP2-9rfbJv-9mrCK8-rqAAHY9VCP26-5K9FxF-cVyxbC-chzPAq-5Vng7u-r9eW4B-Y6ercL-4QPQCahsge5Q-aDx7wB-dKtdpE-7Tpn9p-kkdDk-5QK21J-6UwaEs-6jmf8e-aNaQJ6dCbGnm-cVsYKd-22wAU5f-7Tpjp6-9Lyzmf-7TpjSi-4Fhuwg-8NwTfH-96cVQh4rgfL7-7TsyhJ> [Accessed 18 April 2018] Fig. 2.4 b - Halbe, Roland, 2008 <http://rolandhalbe.eu/portfolio/caixa-forumby-herzog-demeuron/> [Accessed 18 April 2018] Fig. 2.5 a - Courtesy of Herzog & de Meuron FIg. 2.5 b - Luisa, Maria, Compulsive Rust, 2009 <https://www.flickr.com/photos/ mluisa/4365017533/in/photolist-7DHRCZ-bTtRFt-diNZ2b-EA8s7-GQWSL6EGa7B-ea2LUZ-25s2rwD-VcLxre-9gLrDE-dcYUTW-642ECP-7s2KLF5oiABH-7yxanV-6MYvHo-hPDXAR-nrG319-focd1j-aDhE6o-o7YJwE-4vK9Lmby6oKr-9317FJ-642EM8-byw4Df-9319js-hNwcUa-8pxmmr-bk35pf-V16g3e4ECaeu-hNaWhD-931ft5-cntsKC-Ar5Bc8-dSHHAn-9318dq-gqjTA8-eRkxSk7mMYvB-9hMait-sKnd6v-5g5RgV-92X4bt-5YHFKY-9316au-9317fJ-931e8U931apU> [Accessed 18 April 2018] Fig. 2.5 c - Kaspari, Jรถrg, Caixa Forum - Top Floor Window, 2008 <https://www. flickr.com/photos/23098373@N05/2917531065/in/gallery-28670112@N0872157630526107480/> [Accessed 18 April 2018]

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Fig. 2.6 a - Courtesy of Herzog & de Meuron Fig. 2.6 b - Image by Author Fig. 2.7 - Courtesy of Herzog & de Meuron Fig. 2.8 a, b - LUC BOEGLY & SERGIO GRAZIA, 2016 <https://divisare.com/ projects/316291-herzog-de-meuron-iwan-baan-luc-boegly-sergio-grazia-radumalasincu-the-new-tate-modern> [Accessed 18 April 2018] Fig. 2.9 - Stephenson. Jim, 2016 < https://www.dezeen.com/2016/06/20/tatemodern-switch-house-herzog-de-meuron-london-opens-to-the-public-jimstephenson/> [Accessed 18 April 2018] Fig. 2.10 a - Image by Author Fig. 2.10 b - Courtesy of Hayes Davidson and Herzog & de Meuron Fig. 2.11 - Courtesy of Herzog & de Meuron Fig. 2.12 a - Image by Author Fig. 2.12 b - Schulz, Maxim, 2016 < https://archi.ru/projects/world/170/zdaniegamburgskoi-filarmonii-elbphilarmonie> Fig. 2.13 a - Courtesy of Herzog & de Meuron [Accessed 18 April 2018] Fig. 2.13 b - Courtesy of Herzog & de Meuron Fig. 2.14 a Baan, Iwan, 2016 <https://www.archdaily. com/802093/elbphilharmonie-hamburg-herzog-and-demeuron/585bed54e58ece953e0001c1-elbphilharmonie-hamburg-herzog-andde-meuron-photo> [Accessed 18 April 2018] Fig. 2.14 b - Courtesy of Herzog & de Meuron Fig. 2.15 a Baan, Iwan, 2016 <https://www.archdaily. com/802093/elbphilharmonie-hamburg-herzog-and-demeuron/585bed18e58ece3895000155-elbphilharmonie-hamburg-herzog-andde-meuron-photo> [Accessed 18 April 2018] 38

Fig. 2.15 b - Baan, Iwan, 2016 < http://transsolar.com/projects> [Accessed 18 April 2018] Fig. 3.1 - Image by Author Fig. 3.2 a, b, c, d - Images by Author Fig. 3.3 a, b, c, d - Images by Author Fig. 3.4 - Images by Author Fig. 3.5 a, b, c, d - Images by Author

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