Museum Buildings

Construction and Design Manual Museum Buildings Hans Wolfgang Hoffmann Edited by Christian Schittich

Museum Buildings Construction and Design Manual Hans Wolfgang Hoffmann Edited by Christian Schittich

Contents

Foreword Christian Schittich Page 8

History and Theory Hans Wolfgang Hoffmann Page 10

Design Parameters Hans Wolfgang Hoffmann Page 42

Buildings Page 76

Interview with Uwe R. Br端ckner Christian Schittich Page 304

Index

Page 410

Authors Page 415

Buildings

Glazed Roof at the Victoria and Albert Museum in London MUMA Page 124

David Zwirner Gallery in New York Selldorf Architects

Can Framis Museum in Barcelona BAAS arquitectura

Art Museum in Ahrenshoop Staab Architekten

HEART – Herning Museum of Contemporary Art Steven Holl Architects

Page 76

Page 82

Page 130

Page 136

Extension of the Kimbell Art Museum in Fort Worth Renzo Piano Building Workshop, Kendall / Heaton Associates

MAXXI in Rome Zaha Hadid Architects

A Covering for Cour Visconti at the Musée du Louvre in Paris Mario Bellini, Rudy Ricciotti

Brandhorst Museum in Munich Sauerbruch Hutton

Louvre-Lens SANAA

Centre Pompidou-Metz Shigeru Ban Architects Europe, Jean de Gastines Architectes

Page 142

Page 88

Page 150

Page 96

Page 100

Page 158

Luxembourg City Art Museum Diane Heirend & Philippe Schmit Architectes

Chopo University Museum in Mexico City TEN Arquitectos

The Hepworth Wakefield David Chipperfield Architects

Galeriehaus am Kupfergraben in Berlin David Chipperfield Architects

Page 106

Page 112

Page 164

Page 170

Extension of the Städel Museum in Frankfurt am Main schneider + schumacher Page 118

The Unteres Remstahl Arts Educational Centre and the Stihl Gallery in Waiblingen Hartwig N. Schneider Architects Page 178

Gallery in La Pizarrera Elisa Valero Ramos Page 184

Danish Maritime Museum in Elsinore BIG – Bjarke Ingels Group Page 238

Refurbishment and extension of the Art Museum Moritzburg in Halle Nieto Sobejano Arquitectos

World of the Celts at the Glauberg kadawittfeldarchitektur

New Museum of Contemporary Art in New York SANAA

Kaap Skil in Oudeschild, Texel Mecanoo

Museum of Contemporary Art Denver Adjaye Associates

Riverside Museum in Glasgow Zaha Hadid Architects

Page 260

Extension of the Nelson-Atkins Museum of Art in Kansas City Steven Holl Architects

Extension of the San Telmo Museum in San Sebastián Nieto Sobejano Arquitectos

Casa das Mudas Arts Centre in Calheta, Madeira Paulo David

Protective Structure and Museum for Archaeological Site in Pedrosa de la Vega Paredes Pedrosa Arquitectos

Page 246

Page 188

Page 254

Page 194

Page 198

Page 204

Page 210

Page 266

Page 272

21st Century Museum of Contemporary Art in Kanazawa SANAA

Ningbo Historic Museum Amateur Architecture Studio

Visitors' Centre in Kosterhavet National Park White arkitekter

Pavilion of the Ecomusée de la Grande Lande in Sabres Bruno Mader

Martin Luther's Death House in Eisleben VON M

Heldenberg Museum in Kleinwetzdorf Atelier Peter Ebner + Franziska Ullmann

Page 278

Page 216

Page 224

Page 230

Page 284

Page 290

Documentation Centre in Hinzert Wandel Hoefer Lorch + Hirsch Page 294

Entrance Hall of the Vienna Technical Museum querkraft Architects Page 360

State Museum of Archaeology Chemnitz ARGE Auer Weber, Knerer und Lang

Joanneum Visitors' Centre in Graz Nieto Sobejano Arquitectos, eep Architects

BMW Museum in Munich Atelier Brückner

Nebuta Museum and Cultural Centre in Aomori molo design

Page 298

Page 314

Page 364

Page 370

Museum of Archaeology in Seró Estudi d’arquitectura Toni Gironès Page 322

Pavilion of the XVI. Architecture Biennale in Santiago de Chile Felipe Assadi + Francisca Pulido Architects Page 376

Patrimonio Wine Museum in Corsica Perraudin Architectes

Porsche Museum in Stuttgart Delugan Meissl Associated Architects

Archaeological Museum in Vitoria Francisco José Mangado Beloqui

Museum and Exhibition Centre in Veenhuizen Atelier Kempe Thill

Glass Pavilion of the Toledo Museum of Art SANAA

Exhibition Building in Busan Mass Studies

Museum of Modern Literature in Marbach am Neckar David Chipperfield Architects

Mercedes-Benz Museum in Stuttgart UNStudio

Architecture Firm’s Office and Exhibition Space in Shanghai Archi-Union Architects

Las Arquerías Documentation Centre in Madrid Aparicio + Fernández-Elorza

Page 328

Page 334

Page 380

Page 388

Page 394

Page 342

Page 348

Page 356

Page 398

Page 404

8

Foreword

Foreword Christian Schittich

Museums have been undergoing an unbroken boom period for many decades now – globally as well as here in central Europe.

New buildings are being constructed unceasingly, while existing ones are spruced up and equipped to meet other functions.

Building stock which originally served a different purpose is at the same time being renovated and converted into exhibition facilities. The museum has for some time now emerged as by far the most popular of all cultural institutions The number of visitors which exceed by a long way those of other facilities, such as concert halls or theatres, also underlines this fact. It almost seems to be the case that our increasingly digitalised world awakens in many people the need to engage with the authentic object, whether in the form of a work of art or a historical document.

The past decades have at the same time seen a profound change in the museum as an institution. At the end of the 1970s, the Centre Pompidou in Paris stepped up to the plate with a revolutionary concept. It not only presented itself as a spectacular exhibition machine, but also as a public forum which fast became one of the major focal points of the city. Since then, the tried-and-tested offerings have in recent times no longer proved sufficient for the majority of museums. The established tasks of collecting, preserving, researching and presenting are augmented by a wide range of other ones. The buildings increasingly become an event venue and meeting place (for dining) or a commercial marketplace with their ever-larger shops. However, it is primarily exhibition concepts which are changing: for example, the former endless long showcases (with exotic insects) in a natural history museum have long become outdated. Today, the sheer volume of objects is cohesively replaced by multimedia presentations and the observer interactively integrated. In so doing, the entertainment aspect also gains increasing importance. Irrespective of whether the museum exhibits works of the visual arts or of the history of technology, whether it displays natural history or ethnological collections, the current trend is shifting from the former sublime temple of learning towards a dazzling world of experiences courting an increasingly spoiled audience’s favour with special effects. This is often augmented by another task, not least owing to Frank O. Gehry’s

Guggenheim Museum and the associated Bilbao effect: museums are becoming the important pillars of city marketing or even the landmark of an entire region. This approach calls for freestanding buildings which clamour for attention and not infrequently compete with the exhibited objects. In extreme cases, sometimes visitors come not only because of the art presented within, but more because of the building itself.

However, it is not always a requirement that modern-day museums boast spectacular forms. It is precisely owing to their modest appearances and subtle concept of space that many of the examples in this book impress. This applies to both SANAA’s art gallery in Kanazawa and David Chipperfield’s Museum of Modern Literature in the Swabian town of Marbach. In his numerous museum projects, Renzo Piano also values the needs of the exhibits more highly than possible architectural escapades.

A defining characteristic of many of his exhibition halls is a technically and innovatively sophisticated illumination concept over the roof. The fact that markedly powerful architecture can also be formed in this manner is impressively demonstrated by Piano’s extension of the Kimbell Art Museum in Fort Worth in the United States. However, irrespective of whether spectacular or modest – ultimately the selected form must also correspond to the specific task and intent. Exhibition halls for modern art can be different in appearance than those which mainly present historical documents, and an ethnological museum will differ from the brand philosophy of a car manufacturer. The impressive examples of architecture in this book show just how varied the task of a museum can be in terms of size, function, form and material.

The classic museum concept featuring exhibition pieces in endless long showcases – such as those in the Natural History Museum in London – are rarely to be found these days Foreword

9

10

The History and Theory of the Museum Building

The History and Theory of the Museum Building Treasure Chambers, Showcases and Show-stopping Temples are a Thing of the Past – Museums will be the Workshops of the Future!

Hans Wolfgang Hoffmann

Milan in late summer 1490: on this evening Leonardo di ser Piero – known as da Vinci – was unexpectedly granted a little extra time.

The material from which he was to fashion a huge equestrian statue for Duke Sforza was missing. That is to say, it certainly did exist, just not here. The delivery has failed at the loading stage – an emaciated worker who still has a particularly cumbersome load to lift, and the whole enterprise lies in tatters. This was no surprise with the masses swallowed up by the workshops of the universal scholar.

Leonardo da Vinci: Studies for an Automobile Pen and ink over metalpoint, Milan, c. 1480

Leonardo deliberates. A pulley system cannot help in this situation, not even those designed by him. In light of such unforeseen fluctuations and encumbrances, something else is needed: something that would offset these variables, which provides different transmission systems – a compromise between the two. But just how, we may ask, is this to be achieved? With numerous wheels with interlocking teeth? Wheels of this kind do not always deliver what they promise. Cones or spheres would on the other hand offer infinitely more possibilities, in theory at least… Leonardo’s head begins to spin. The first automatic transmission in the world already exists in sketch form. Despite this, almost everything stands in the way of testing it: the Cathedral of Pavia, the statue of Sforza and numerous ornamental works – there is barely enough time to meet all the orders already in progress. It is thus that the picture in Leonardo’s notebook simply disappears – for the time being.

It was only when the Californian firm Fallbrook Technologies presented the first fully automatic switching gear, which is in fact roller-based, did his flash of genius come into fruition.

The design – which is as simple as it is solid – spreads rapidly and finds a home primarily in wind generators and electrically powered bicycles. During the press conference Donald C. Miller, Head of Development, also presents an illustration which is the spitting image of Leonardo’s. Even the catchy name of the product recalls da Vinci: Fallbrook names it NuVinci. There is only one flaw: more than 500 years have elapsed between the initial idea and its implementation!

The History and Theory of the Museum Building

11

Orthogonal path grid: design for a museum Architect: Jean-Nicolas-Louis Durand (1803)

Democratic access: design for a museum Architect: Ètienne-Louis Boullée (1783)

Circuit in its pure form: Glyptothek in Munich Architect: Leo von Klenze (1830)

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The History and Theory of the Museum Building

This changes the definition of museums: as of that time, they are factors in the shaping of public opinion. They provide nation states which are emerging at the time with historic legitimacy.

In order to underpin the supremacy of the home country, cultural assets are again procured from nations which are to be civilised, that is to be colonised – now also in the name of science. The construction programme simultaneously expands: the multitudinous target group makes the museums more extensive and numerous than ever before. For the first time since antiquity they emerge as detached buildings. No longer bound to rulers and residences, projects take place wherever there is an audience. Virtually all cities give themselves a museum – the metropolises several.

In terms of architecture, the orientation towards the public is also manifest: portals grow, as if eager to attract the whole educated bourgeoisie all at once. It is not seldom that columns cover the entire visible façade. This was also the case with Karl Friedrich Schinkel, who in 1830 places one of the first autonomous museum buildings on the Spree Island in Berlin. Here, the outside staircase continues through to the uppermost floor. However, true innovation occurs in the interior: now that huge crowds of people are to be funnelled through the museum, the question then arises of the room sequences! All kinds of alternatives are explored. The French revolutionary architecture which is based upon path grids is particularly radial. It is the visitor alone who decides which way to go. This form of connectivity is thus extremely “democratic” and a distant dream at that time. Consequently, that which is designed for example by Étienne-Louis Boullée or Jean-Nicolas-Louis Durand between 1783 and 1803 is not implemented.

Rather, circuits are created. Examples of these in their pure form can be found in the National Archaeological Museum of Naples, which Pompeo Schiantarelli implants within the Borbonico building of the university in 1790, or in the Glyptothek which Leo von Klenze completes in Munich in 1830. The priority of the route is always education. The visitor can only digress after

Spatial hierarchies: Märkisches Museum in Berlin Architect: Ludwig Hoffmann (1908)

all exhibits have been exhausted. In extreme cases implemented sporadically in the twentieth century, the compulsory tour not only extends over one floor, but across the entire building.

In the face of the absence of exits, signs of fatigue are inevitable – not only among the public. The educational value also remains modest – as long as only one work is lined up next to another, the museum undersells itself. Clout only emerges from the sum of the information. Key to this are the (spatial) relations which the museum sets up among its exhibits. All exhibits are ideally positioned around the core message. Irrespective of whichever system is brought into play, there always follows a main room that branches out into others.

Circuit in its pure form: Naples National Archaeological Museum Architect: Pompeo Schiantarelli (1790)

The Swiss National Museum, which Gustav Gull built in Zürich in 1898, and Ludwig Hoffman’s Märkisches Museum, which opens one decade later in Berlin, provide two examples among many.

Indeed, both put the exhibition system before even the interiors and façades, and in an exemplary manner: for example, the detour to religion has been designed as a church here and there. At the time, no circulatory system in its pure form is realised more often than this system of cul-de-sacs. The design leeway afforded to museum designers by this organisational concept demonstrates spatial hierarchies which reflect one-to-one the class-based society of the nineteenth century. The fact that these are ultimately dead-ends only becomes apparent at a later point in time. However, the majority of museums build on hybrid forms (for example, Klenze with the Pinakothek in Munich parallel to Schinkel in Berlin). Generations of architectural historians have since superimposed their floor plans without being able to bring them into alignment. The conclusion is clear: there is still a long way to go before the ideal mix is found.

Henceforth, no design for a museum is able to escape this quest.

The art of planning consists in that which unites all museums – even from the very outset: the appearance. The structures thoroughly embellish themselves with the tried and tested – both inside and out.

System of cul-de-sacs: Swiss National Museum in Zürich Architect: Gustav Gull (1898) The History and Theory of the Museum Building

17

Context

2 Gebäude Gebäude Form und Kontext 2 Gebäude Form und Kontext 2 Form und Kontext 2 Gebäude FormForm und Kontext 2 Gebäude und Kontext 2 Gebäude Form und Kontext

Treasure trove

Urban context

Open-air museum

Industrial plant

Museum within a park

Amusement park

Once the museum is roughly outlined as a construct of ideas, the project has to meet a series of practical challenges. Topping the list is the urban planning. Possible starting points are outlined above, whereby the building form is deliberately adhered to in general. While other architectural tasks are mainly characterised by the milieu, museums have tried to conquer their context.

Regardless of whether the museum is allowed to sprawl across greenfield development or has to make do with one room in a historically listed inner-city townhouse, the first obligation is to catch the attention of the observer. An appropriate tool may be to form a contrast with the neighbourhood. However, the primary objective is to communicate the intrinsic values externally.

Particular sensitivity in the case of territorial museums may be required since the place itself is a central exhibit! Any attempt

to create ostentatious architecture would be counterproductive here. Apart from this, museums are suitable for almost any construction site.

Any full-blown museum needs access roads in order to deliver people and material. In particular, these have to be suitable for heavy-duty vehicles if exhibits come from far and wide or when the repository and workshops are outsourced. The organisation of public access in turn means that the location of the museum must be reconciled with its visitor profile. Tourists are almost always the most important group. They only travel to remote museums using their own vehicles: car parks must be available here which not infrequently are larger than the exhibition area itself.

Museums on publicly developed terrain, which are reasonably popular, require bus stops – at least within walking distance.

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Design Parameters for Museum Buildings

Öffentlicher Bereich Öffentlicher Bereich Eingangsbereich, Public Non-Exhibition Area, Eingangsbereich, Public Non-Exhibition Area, Exhibition Area.

Exhibition Area.

Space Allocation Plans

Nicht öffentlicher Bereich Nicht öffentlicher Bereich Administration, Bibliothek, Restauration Administration, Bibliothek, Restauration

Horizontally divided

Spatially divided

Vertically divided

Mixed-use

Öffentlicher Bereich Eingangsbereich, Public Non-Exhibition Area, Exhibition Area. Öffentlicher Bereich Eingangsbereich, Public Non-Exhibition Area, Exhibition Area.

Public area Lobby, exhibition rooms etc.

Nicht öffentlicher Bereich Administration, Bibliothek, Restauration

The design addresses the core of the building once the formalities are cleared. The space allocation plan, which is inherent in every tender procedure, serves as the basis for the planning work.

The bulk of the demands placed on museums provides a less sophisticated reading than those of other architectural tasks. The exhibition space, in particular, serves as a firm point of reference. Room for manoeuvre is almost always created in every other aspect. Since the portion of remaining spaces has increased nearly twenty-fold in the past 150 years, stinginess here is uncalled for!

In order to translate the space allocation plan into the structure of the building, the long lists must be roughly divided up. With regard to the construction of museums, the distinction between public and internal, or between non-public has become established. In a classic scenario, the two categories stand for themselves and can be

Nicht öffentlicher Bereich Administration, Bibliothek, Restauration

Area not open to the public Administration, library, workshops etc.

accessed separately. However, in the meantime, the boundaries are in flux: workshops, libraries and repositories – which previously outsiders had nothing whatsoever to do with – are increasingly opening up to visitors. Occasionally, in some places they are even a component of the exhibition. Therefore, the first task of the architect is to evaluate the interior components with museologists according to public relevance. The diagrams above illustrate possible alternative combinations. In addition to the clear division within the building, the option of the mixed-use space allocation plan also presents itself.

As a matter of fact, interior components are the initial candidates for complete outsourcing. This is especially recommended if the museum is already very large and its demand for space is designed for growth, the construction site proves to be too narrow or preservation concerns restrict the adaptation of the existing building.

Design Parameters for Museum Buildings

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Access

Solomon R. Guggenheim Museum in New York Architect: Frank Lloyd Wright (1959)

Centre Pompidou in Paris Architects: Renzo Piano, Richard Rogers (1977)

Inner spiral

External vertical access

Solomon R. Guggenheim Museum, New York Externally, the ground floor serves as the access area and internally as the distribution level. The base is surmounted by the museum which is separated by its various functions. Each area is accessed separately. In the part devoted to the exhibition, lifts first lead to the uppermost floor. A spiral ramp marks the way back; located along it are display cabinets which are arranged like the segments of an orange. It is impossible to leave the exhibition without – at least indirectly – strolling past each individual exhibit.

Centre Pompidou, Paris The partially excavated souterrain serves on the inside and on the outside as an assembly point for art enthusiasts. Every vertical access is located in the building envelope. The primary route leads across an escalator in the opposite direction. Its Plexiglas® tube extends across the full broadside of the façade, right up to the vantage point on the roof. All floors have an open floor plan with variable walls. The stairwells are one-way and only lead out from the exhibition areas.

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Design Parameters for Museum Buildings

Glass pyramid of the Musée du Louvre in Paris Architect: I. M. Pei (1989)

Jewish Museum in Berlin Architect: Daniel Libeskind (1999)

Central entrance building

Access via neighbouring buildings

Musée du Louvre, Paris Ever since the French Revolution converted the royal residence into a museum, the Musée du Louvre has suffered as a result of its multi-wing palace complex: the distances were far and the countless access points an insurmountable obstacle. For the 200th anniversary, I. M. Pei solved the problem by placing the entrance midway underneath the palace garden. The new souterrain, which extends across all of the courtyards, provides a highly efficient access area. It also turned the most visited museum worldwide into the largest, based on area.

Jewish Museum, Berlin The Jewish Museum focuses on cultural heritage equally as much as on its loss. The theme also exploits access points much more than usual. The access area and the entrance are located in the existing palace. A cellar passage connects it with the new wing.

A word of caution: one branching point ends up in a tower which is a dead-end, a second in a hermetic garden. Only the third leads to a single-flight staircase which opens up to all exhibition levels.

Here as there, it goes constantly back and forth.

Design Parameters for Museum Buildings

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Building Services Engineering Security

Driveway Chimney

Protection of exhibit

Staff entrance and exit

Skylights

General access

Air channels Membrane

Ground floor windows Sewerage

Side not open to the public

Public side

Visitors' entrance and exit

Security Is this a dream? No, this is real life! Masterpieces are disappearing via the most ludicrous routes – across the roofs, the windowsills or even via the sewerage system. Since thieves allow themselves to be locked up in museums overnight, it is not unheard of them to use insider knowledge. They are hardly ever concerned with the exhibit in itself, but rather with the extortion of ransom money. Just as spectacular as thefts are destructive attacks by malicious visitors. The collapse of the air-conditioning system may bring about the worst-case scenario, but how do museums arm themselves against the multiple dangers to which they are constantly exposed? In addition to the material value, objects are usually of irreplaceable cultural or historical value as well.

Museum associations have a few recommendations for preventing this up their sleeves. The instructions of insurance companies, upon whom each museum is relying to secure liability and repayment, are important. These set standards which offer no leeway and in most cases are specifically tailored to each case. The safety of the staff, the visitors and in the construction of the museum is considered indirectly at best. The preservation of exhibits is always the first priority!

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Design Parameters for Museum Buildings

Safety Zones Safeguarding the collection is the oldest challenge of all for museums. Architects must also address this. Their construction scheme can greatly simplify matters through minimised entrances and exits as well as clearly outlined safety zones. The external membrane of the building, which ideally should be closed, represents the outermost rampart. The next step protects the collection area as a whole: surveillance must be concentrated here. Located in the innermost circle is the individual object of protection which is visible but stored in an inviolable manner.

Outer Ramparts This is not an argument for windowless façades! However, no rampart is more secure than its weakest part. This context calls for architects. As the coordinators of all planning and construction services, they see the gaps in the system and ensure that these are bridged. Particular attention should be paid here to aspects which may at first appear exceedingly absurd: skylights, chimneys, windowsills, fire ladders, emergency access routes, manholes, airconditioning ducts, the sewerage system and suchlike. Under no circumstances is this list complete without a little criminal imagination.

100

Lower object with railing

je nach Acc. to sculpture Skulptur

Field of direct vision

Blind spot

Field of indirect vision

Location surveillance

100 Cordoned-off suspended object

Exhibition Supervision Security technology has undoubtedly made progress. However, no one can intervene on site more rapidly than the supervisor.

He however comes with a price which is beyond most museums.

Architects can assist in the exhibition sector by dispensing with the need for walls or at least positioning them in such a way that there are no blindspots. It is thus possible to keep an eye on several exhibition rooms from a passageway. What is required is planning which tailors staffing levels and key positions to each other.

Protection of Items The days when objects are cordoned off are over. In order to maintain distance between the individual showpieces, (hidden) alarm systems are the prime choice nowadays. Valuable goods in particular also require safety glass casing. Certainly, the common cabinet is by no means the only option available. Rather, there are spatial arrangements which are a safety and a presentation feature: one effective device is to place the general public and exhibition objects on different levels.

Underground object Design Parameters for Museum Buildings

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Section through street façade scale 1:20 1 waterproof, moisture-diffusing coating 2 sheet-metal covering to 1 % slope 3 305 mm exposed concrete, sealed self-adhesive sealing layer 76 mm lam. rigid-foam PIR insulation between galvanised steel angles (angles adhesive fixed on outer faces with sealing strips) bearing structure: galvanised steel rails galvanised expanded-metal mesh as plaster lathing, lined with paper on rear face 25 mm elastomer rendering 4 610 mm substrate layer; filter mat 51 mm gravel drainage layer 6 mm protective mat 2 ≈ 51 mm exp. polystyrene thermal insulation drainage layer root barrier impermeable coating sloped lightweight concrete reinforced concrete slab 76 mm sprayed foam thermal insulation

cold fluid applied waterproofing membrane gypsum plasterboard suspended ceiling 5 305 mm exposed concrete, sealed 76 mm foamed thermal insulation

cold fluid applied waterproofing membrane channel-section supports to dry construction gypsum plasterboard, painted 6 teak door 7 teak threshold 8 102–203 mm substrate layer; filter mat 2 ≈ 51 mm polystyrene thermal insulation drainage layer root barrier impermeable coating sloped lightweight concrete

reinforced concrete floor 76 mm sprayed foam thermal insulation drawn under soffit 914 mm inside façade

cold fluid applied waterproofing membrane gypsum plasterboard suspended ceiling 9 102–203 mm layer of gravel, with galvanised steel angle divisions 10 triple glazing in solid teak window frame 11 white acrylic-bonded mineral cladding to sill 12 radiant heating loop at edge of floor slab to minimise thermal bridges (automatically controlled) 13 concrete flooring 14 dual-purpose blind (antiglare, blackout)

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David Zwirner Gallery in New York

2 Formwork boards 8 inches (20.3 cm) wide in standard lengths of 10, 12, 14 and 16 feet (305 – 488 cm) were laid next to each other in random order – not unlike wood-strip flooring – to create staggered vertical joints. The quality of the lightly sealed pine boards was precisely specified in order to obtain the desired texture, including knots.

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3

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The tongued-and-grooved joints of the boarding restrict shrinkage and resultant discolouration.

Firmly sealed joints between boards resist the pressure of the high fluid concrete mix and ensure precise edges and arrises. A very careful planning and execution of the boarded formwork was necessary, therefore.

Conically shaped PVC members create small, precise tie holes. The grout filling inside each hole is slightly recessed. The holes were laid out at regular intervals along vertical axes between the window openings in accordance with standard formwork construction.

In addition, for optical reasons and to ensure a good sealing effect during the pouring process, the holes were positioned close to the central axes of the boards.

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Selldorf Architects

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Site plan scale 1:8,000

Floor plans scale 1:2,000 1 2 3 4 5 6 7 8 9

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Auditorium Temporary exhibition Entrance hall Permanent exhibition Galerie du Temps Glass pavilion Restaurant Administration Entrance Book shop

Mediatheque CafĂŠteria Atelier Information Depot Training Personal Small auditorium Delivery of artwork Reception for groups

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Louvre-Lens

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Section of entrance pavilion scale 1:500

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SANAA

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MAXXI in Rome

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Sectional details of upper level gallery scale 1:20

cc 1

400 mm reinforced concrete exterior wall 50 mm thermal insulation panel 2 steel grating for light diffusion, galvanised, lacquered 3 12 mm concrete shell element, glass-fibre reinforced 4 solar-protection glazing: 8 mm toughened glass + 15 mm cavity + 11 mm laminated safety glass 5 automated window-cleaning system 6 blackout roller blind 7 fluorescent tube 8 6 mm acrylic glass pane, translucent, light diffusing 9 12 mm high-transp. toughened glass, machine operated for maintenance, 3 ≈ 600 mm panes, held lengthwise in alum. frame, joints open for ventilation

10 11 12 13 14

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steel truss supporting structure track for suspensions aluminium light-directing louvres adjustable emergency lighting: fluorescent tube 5 mm sprayed acoustical plaster; 12.5 mm perforated plasterboard; 20 mm soundabsorption mat 12.5 mm glass-fibre reinforced plasterboard, 25 mm MDF board; 12.5 mm glassfibre reinforced plasterboard; galv. steel supporting structure exhaust air duct crossbeam: HEM 900 steel beam, encased for fire-resistance cladding: aluminium sheet, coated screw-driven linear actuator, electric, for lightdirecting louvres

Zaha Hadid Architects, ABT

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Site plan scale 1:2,000

256

Kaap Skil in Oudeschild, Texel

Floor plans / sections scale 1:400 1 2 3 4 5 6 7 8 9 10 11 12

Model of the Texel roadstead Storeroom Mechanical services Entrance Foyer Office Copy room Cloakroom Rear entrance Kitchen Store Exhibition space

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First floor

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Mecanoo

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Site plan scale 1:7,500

Sections / floor plans scale 1:1,000 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

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Nebuta Museum and Cultural Centre in Aomori

Entrance Entrance hall Museum shop Restaurant/cafÊ Exhibition hall Engawa Rehearsal Artist’s space Administration Museum Foyer Theatre Studies Multi-purpose space Void Gallery

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b molo design, Frank la Rivière Architects, d /dt Arch

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The Deutsche Nationalbibliothek list this publication in the Deutschen Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de DOM publishers ISBN 978-3-86922-217-2 (Print) DETAIL ISBN: 978-3-95553-295-6 (Print) ISBN: 978-3-95553-296-3 (E-Book) ISBN: 978-3-95553-297-0 (Bundle) © 2016 by DOM publishers, Berlin www.dom-publishers.com © 2016 by DETAIL – Institut für internationale ArchitekturDokumentation GmbH & Co. KG, Munich www.detail.de This work is subject to copyright. All rights are reserved, whether the whole part of material is concerned, specifically the rights of translation, reprinting, recitation, broadcasting, reproduction on microfilms or in other ways, and storage or processing in databases. Sources and owners of rights are stated to the best of our knowledge; please signal any we might have omitted.

Editor Christian Schittich Author Hans Wolfgang Hoffmann Coordination Cornelia Hellstern (DETAIL), Inka Humann (DOM publishers) Editorial Assistance Samay Claro, Natalie Muhr (DETAIL), Adil Dalbai, Stefanie Villgratter (DOM publishers) Drawings (buildings) Dejanira Ornelas Bitterer, Kathrin Draeger, Marion Griese, Daniel Hajduk, Nicola Kollmann, Emese M. Köszegi, Simon Kramer, Alexander Araj, Ralph Donhauser, Martin Hämmel, Kwami Tendar Drawings (parameters) Fabio Schillaci Translation (pages 1 – 75) Clarice Knowles Translation (pages 76 – 416) Peter Green, Elise Feiersinger, Mark Kammerbauer, Clarice Knowles Design Masako Tomokiyo Printing Tiger Printing (Hong Kong) Co., Ltd. www.tigerprinting.hk