Building A Palimpsest [Master Design Studio - Housing in Palma de Mallorca]

BUILDING A PALIMPSEST

ught of of other or from temperabeen a

e Molina

Institut für Gebäudelehre · Projektübung · Sommersemester 2019 Guest Professors Irene Pérez, Jaume Mayol · Assoc.Prof. Andreas Lechner

BUILDING A PALIMPSEST

Institut für Gebäudelehre · Projektübung · Sommersemester 2019 Guest Professors Irene Pérez, Jaume Mayol · Assoc.Prof. Andreas Lechner

Documentation Master Design Studio „Building a Palimpsest“ Summer term 2019 Institut für Gebäudelehre Lessingstraße 25/IV 8010 Graz www.gl.tugraz.at www.facebook.com/Gebaeudelehre Chair: Univ.-Prof. DI Arch. Hans Gangoly Studio: Guest Professors Irene Pérez & Dr. Jaume Mayol Associate Professor Dr. Andreas Lechner Appendant courses: 147.807 AK Gebäudelehre 147.813 Funktion & Typus im Architekturentwurf Student assistant: Markus Pöll

TEd´A arquitectes

intro 6 topos 13 Palimpsest & collage 34 local resources 44 first assignment | collage 57 excursion 86 plot division 99 projects 103

INTRO

Im Sommersemester 2019 konnte das Institut für Gebäudelehre erneut Gastprofessoren begrüßen, die diskursbestimmende Positionen innerhalb des europäischen Architekturnachwuchses einnehmen. Nach Job Floris (Monadnock), Markus Penell (Ortner & Ortner Baukunst), Kersten Geers (Office KGDVS), Andrea Zanderigo (Baukuh) und Christian Müller Inderbitzin (Edelaar Mosayebi Inderbitzin Architekten) waren es nun Jaume Mayol und Irène Pérez vom mallorquinischen Büro TEd’A Arquitectes, die gemeinsam mit Andreas Lechner das dieser Dokumentation zugrundeliegende Entwurfsstudio im Masterstudium leiteten.

weitergebaut wurden.

Das umsichtige und behutsame Verwenden von vorhandenen Ressourcen, der möglichst umfassende Rückgriff auf lokale Materialien, handwerkliche Verfahren und Konstruktionsweisen, die grundlegend und identitätsbildend in der Gestaltung verankert werden, sowie höchste Aufmerksamkeit auf die zeichnerische Detaillierung und erzählerische Ausarbeitung der Entwürfe, waren dabei die charakteristischen Schwerpunkte, für die auch die Bauten und Projekte von TEd’A Architekten internationale Anerkennung erfahren.

Die Relevanz ihrer „kritischregionalistischen“ Position belegte das 2010 gegründete Büro des Architektenpaares mit der 2018 erschienene Ausgabe von El Croquis, der international renommiertesten Zeitschrift für Architektur und Städtebau, eindrücklich (#196II).

Bearbeitet wurde in diesem Semester das aufgelassene Kasernengelände Son Busquets in Palma de Mallorca, dessen Bestandsbauten in 15 Studierendenentwürfen zu einem zukunftsfähigen Stadtquartier mit über 800 Wohneinheiten transformiert, um- und 7

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TEd’A Architekten entwickeln ihre Architektur „territorial“ – aus den Elementen, Materialien, Fügungs-, Konstruktions- und Bauweisen eines Ortes, beschränken diesen Zugang aber nicht auf Mallorca bzw. mediterrane Typologien. Mit einem Schulbau für das westschweizerische Dorf Orsonnens in der Nähe Fribourgs greifen sie in Form und Bauweise deutlich auf die traditionelle Architektur der Region zurück – „Grangécole“ bzw. Scheunenschule nennen TEd’A arquitectes ihren an vernakularer Architektur orientierten Entwurf entsprechend.

Eine alpenländische Scheunenkonstruktion, die sich selbstverständlich in die umgebende Landschaft und den Dorfcharakter einfügt. Die Strenge und Einprägsamkeit ihres exponierten Schulkubus lockern sie mit Ornamenten, dunklen Holzschindeln, Kupferelementen und Beton in Richtung einer spielerischen Heiterkeit wieder auf.

TEd’A architectes verfolgen in ihrer Gestaltung die „präzise Ungenauigkeit“ handwerklicher Prozesse, die aus ihrer Auseinandersetzung mit örtlichen Stoffwechselund Materialkreisläufen ebenso herrühren, wie sie ornamentale Überschüsse und formale Vielschichtigkeit provozieren. Architektur kann das in baulicher aber auch infrastruktureller und landwirtschaftlicher Form gebundene und tradierte Wissen auch heute noch anzapfen und weiterbauen – ohne ökoromantischen Kitsch oder naiver Provinzbegeisterung.

Dass die „neuen“ zugleich die „alten“ Formen sind, dass Typen und Materialien darauf warten, von uns immer wieder auf’s Neue (wieder)entdeckt, transformiert und weitergedacht zu werden, belegt vielleicht kein anderes Bauwerk so eindrucksvoll, wie das berühmte Ferienhaus Can Lis von Jörn Utzon, das er Anfang der 1970er Jahre zur Gänze aus dem sandfarbenem Marés-Stein Mallorcas auf 9

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einer Felsklippe im Südosten der Insel errichtete. Hier war eine wichtige Station im Sommersemester, nicht nur aufgrund der magisch eingefangenen Präsenz der Natur und des atemberaubenden Blicks auf’s Meer, sondern auch weil alle Bestandsbauten der Entwurfsaufgabe aus diesem Marés-Stein errichtet wurden und die Eindrücklichkeit der Um- und Verwandlung dieses Material in ein architektonisches Meisterwerk an diesem Exkursionsnachmittag so offen, karg, einfach und dennoch unergründlich erfahrbar wurde – Foto links.

Natürlich ist Can Lis ist nicht nur für TEd’A Architekten und viele ihrer befreundeten mallorquinischen Architekturbüros eine zentrale Referenz, wenn es um die die Entdeckung und Wiederentdeckung lokaler Ressourcen, Techniken, Traditionen und Besonderheiten der Balearen geht.

Can Lis weist darauf hin, dass es kein „Regionales“ ohne Blick von außen geben kann – immer wieder aufs Neue.

Andreas Lechner

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TOPOS

ogeneity e center a sea? ms there

ates and ments to

tvejevic

ogeneity e center a sea? ms there

ates and ments to

tvejevic

“The peculiarity of the Mediterranean’s position and homogeneity of its space make it seem a world in and of itself or the center of the world. It is a sea surrounded by land or a land by a sea?

The sun that rises in its skies and shines down upon it seems there for it and it alone; it seems to belong to it.

The openess and transparency of the sky produce mystic states and fear of the other world. The Mediterranean has raised monuments to faith and superstition, magnanimity and vanity.”

Mediterranean: A Cultural Landscape.

Predrag Matvejevic Abraham and Jefudà Cresques - Catalan Atlas (1375)

Abraham and Jefudà Cresques - Catalan Atlas (1375)

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hich are 859,289

ear 2300 Muslim,

pecially beaches. hich are

ly from 859,289

ear 2300 Muslim,

pecially beaches.

ly from

Mallorca is the largest island in the Balearic Islands, which are located in the Mediterranean Sea. Mallorca has an area of 3,640.11 km2 and a population of 859,289 inhabitants.

The first human settlement in Mallorca dates back to the year 2300 BC and it has been under the influence of Punic, Roman, Muslim, Catalan and Spanish civilisations.

Juan de Aguirre Mallorca (18th century) Nowadays the main economic activitymap is of tourism.

The island is an extremely popular holiday destination, specially in the summer season because of its wheather and natural beaches.

In 2018, 16.596.194 tourists visited Mallorca, particularly from Germany and the United Kingdom.

Juan de Aguirre map of Mallorca (18th century)

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Cardenal Despuig map of Mallorca (1785)

Cardenal Despuig map of Mallorca (1785)

Map of Mallorca (1965)

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Map of Mallorca (1965)

“Embat” (sea breeze) in Mallorca

“Embat” (sea breeze) in Mallorca

Geological composition of Mallorca

17 Geological composition of Mallorca

Traffic saturation in Mallorca. Summer 2018

Traffic saturation in Mallorca. Summer 2018

Airbnb accomodations in Mallorca. 2018

18 Airbnb accomodations in Mallorca. 2018

ands. It Palma.

61 inha-

alaiotic s during the Byt Medina o called the War the city

has been any wor-

ximately Tourism

Palma is the capital and largest city of the Balearic Islands. It is situated on the south coast of Mallorca on the Bay of Palma.

Palma has an area of 208,63 km2 and a population of 409.661 inhabitants.

G. Alomar. Primitive settlement and two firs city walls.

Palma was founded as a Roman camp upon the remains of a Talaiotic settlement. The city was subjected to several Vandal raids during the fall of the Western Roman Empire, then reconquered by the Byzantine Empire, then colonised by the Moors (who called it Medina Mayurqa) and, in the 13th century, by James I of Aragon (who called it Ciutat de Mallorca). In 1714 as a result of the end of the War of the Spanish Succession, with the Nueva Planta decrees, the city took again Palma as the official city name.

Since the advent of mass tourism in the 1950s, the city has been transformed into a tourist destination and has attracted many workers from mainland Spain.

More than half of the population works in tourism, approximately 80%, therefore being the main economic portal of Palma. Tourism has affected the rapid economic and urban growth of Palma.

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Growing process of the city of Palma

Growing process of the city of Palma

F.EstabĂŠn. The 4 first city walls of Palma

20 F.EstabĂŠn. The 4 first city walls of Palma

Anonymous - Painting of Palma. 1644

Anonymous - Painting of Palma. 1644

Anonymous - Plan of Palma. 1896

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Anonymous - Plan of Palma. 1896

Calvet urban plan for Palma. 1901

Calvet urban plan for Palma. 1901

Gabriel Alomar urban plan for Palma. 1943

22 Gabriel Alomar urban plan for Palma. 1943

Hydrological plan for Palma

Hydrological plan for Palma

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Airbnb accomodations in Palma. 2018

Airbnb accomodations in Palma. 2018

Traffic saturation in Palma. Summer 2018

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SITE & PROJECT BRIEF

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019

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Autor: IDEIB Govern de les Illes Balears

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Palma. 1956

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Mapa IDEIB

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Crèdits capes: Ortofoto 2015 (SITIBSA - scne.es)

Crèdits capes: Ortofoto 1956 (SITIBSA - scne.es - CECAF)

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Palma. 2015

Palma. 2015

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Autor: IDEIB Govern de les Illes Balears

Autor: IDEIB Govern de les Illes Balears

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Palma. Son Busquets. 1956

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Palma. Son Busquets. 2015

Palma. Son Busquets. 2015

29

e north 1954 and ce, Son soldiers

. It has

area of e north different 1954 and ce, Son soldiers s arranth-south Vall.e It has the old tion and

area of different

s arranth-south e Vallthe old tion and

Palma. Son Busquets

Son Busquets is an old military settlement located in the north part of the city of Palma. It was build between 1949 and 1954 and it was in use until 2000. During its 46 years of existence, Son Busquets has come together to bring together up to 1.200 soldiers during their most active years.

Palma. Son Busquets Nowadays this enclosed area remains abandoned and for sale. It has become an space of opportunity for the city.

The enclosed space includes 110.865 m2 and a total built area of 27.743 m2 which includes several buildings that are in different conservation status.

In the complex is composed of sixteen single-storey hangars arranged east-west and another 18 smaller ones, in the north-south layout as well as other isolated constructions. Facing the Valldemossa road, there are three more buildings that housed the old dwellings. In addition, there is a large amount of vegetation and trees that have grown during all years of abandonment.

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usquets, as the

usquets, as the

Palma. Son Busquets

We propose to work in the old military barracks of Son Busquets, with the aim of reconsidering the model of city we want.

We would like to introduce the Palimpsest and the Collage as the main topics of the course.

Palma. Son Busquets

Palimpsest and collage... ...of interventions, ...of times, ...of buildings, ...of typologies, ...of uses, ...of structures, ...of materials, ...of building processes, ... ¡

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s, with the the ground the aim of

se it, with reuse than

to confront n Busquets, hinking the

e buildings s, with the

rder to unthe ground the aim of s, in order

se it, with interaction reuse than istic.

r become toto confront

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interaction istic.

Palma. Son Busquets

r to become We propose to intervene in the whole built area of Son Busquets, in order to build a pice of city, with the aim of rethinking the model of city we want.

We propose to divide the barracks in groups of students, with the aim of intervene on the whole set of buildings.

We propose to introduce different public uses (mainly on the ground floor) and housing (possibly on the upper floors), with the aim of making the exersice more complex.

Palma. Son Busquets We propose to maintain most of the existing and to reuse it, with the aim of showing that nowadays it makes more sense to reuse than to build from scratch.

We propose to introduce 800 new apartments, in order to confront other solutions to the existing urbanistic plan.

We propose to use the existing as a tool, not only the buildings but all the resources that the area delivers us.

We propose to overlap the new and the existing, in order to understand the city as build a palimsest.

We propose to overlap different typologies of buildings, in order to become complex.

We propose to generate an intense debate and strong interaction between the different students, in order to become realistic.

We propose to rethink about the city we want, in order to become utopic.

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Palma. Son Busquets

Palma. Son Busquets

33 Palma. Son Busquets

PALIMPSEST AND COLLAGE

ught of of other or from temperabeen a

e Molina

“Collage is one of the fundamental strategies for the thought of architecture. That is why the historical use of fragments of other architectures did not come only from the shortage of media or from a will of recycling, but it had its origin in a special temperament. The use of stolen fragments and intrusive forms has been a true source of vitality for each work to be done.�

Hambre de arquitectura. Santiago de Molina

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36

pression ccessive new adis the remains

events. ime, and

, Kevin.

“Layering is used as a deliberate device of esthetic expression – the visible accumulation of overlapping traces from successive periods, each trace modifying and being modified by the new additions, to produce something like a collage of time. It is the sense of depth in an old city that is so intriguing. The remains uncovered imply the layers still hidden. [...]

We are familiar with the visible accumulation of historical events.

The juxtaposition of old and new speaks of the passage of time, and occasionally the contrast is eloquent.�

What Time is This Place? Lynch, Kevin.

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to be ree, the live in e should also our

Robbert.

“Eduardo Souto de Moura once said: “architecture lives to be transformed and therein lies its true calling”. I fully agree, the responsability of architecture is to the people that will live in it, occupy it, and in occupying will change it. I think we should accept that in time our environment transforms, and thus also our buildings and places.”

Palimpsest in architecture. Verheij, Robbert.

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40

imporpletely. broken chanisms me, even e solely

i, Aldo.

“... the question of the fragment in architecture is very important since it may be that only ruins express a fact commpletely.

Photographs of cities during war, sections of apartments, broken toys. Delphi and Olympia. This ability to use pieces of mechanisms whose overall sense is partly lost has always interested me, even in formal terms. I am thinking of a unity, or a system, made solely of reassembled fragments.�

A Scientific Autobiography. Rossi, Aldo.

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rlds are at? Not ng as we king is Nelson.

“The many stuffs, matter, energy, waves, phenomena, that worlds are made of are made along with the world. But made from what? Not from nothing, after all, but from other worlds. Worldmaking as we know it always starts from worlds already on hand; the making is a remaking�

Ways of Worldmaking. Goodman, Nelson.

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LOCAL RESOURCES

45

tive ally emaral, . In r in used the its dity cific ypes cal, sion y.

eous than sts, ween

ion, es. tics ted, for

the ilands.

MARÉS The marés sandstone has traditionally been the most representative and characteristic building stone in Mallorca, used practically exclusively as construction material for centuries. Such emblematic buildings for the island, as Bellver Castle, the Cathedral, La Lonja or the old city walls of Palma, bear witness to this. In Mallorca, the marés sandstone is quarried in the open air or in subterranean galleries. Vernacular architecture has always used the most accessible appropriate materials, and in the case of the marés, its abundance, sufficient softness, which facilitates its extraction, together with sufficient hardness to confer solidity and durability in constructions, converge. The lack of specific scientific and geological data published about the different types of mares in Mallorca, added to the recent resurgence of technical, applied and landscape interest in this stone, have made a revision of its definition, characterization and classification necessary.

The main differential features that characterize marés are: 1. It’s a calcarenite. It is a sedimentary rock of a calcareous detrital nature, more or less consolidated,composed of more than 50% of calcareous elements (bioclasts, oolites, lithoclasts, etc.) pertaining tothe sand fraction, with a grain size of between 2 and 1/16 mm, agglutinated by cement.

2. Easy to work. It’s characterized by its ease of extraction, cutting and adaptability to the shapes needed for different uses.

3. Used as a construction material. Its intrinsic characteristics such as ease of cutting allow suitable pieces to be extracted, which gives place to diverse varieties and sizes appreciated for different uses.

4. It’s an abundant natural stone in Mallorca and the rest of the Balearic Islands. Its large undergroundconcentration and availability explains its systematic use in construction in the islands.

46

47

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calcashells) has very 25 and origin:

lor

raw llow

ght llow

lden llow

eyish ite

dish/ llowish

MARÉS The marés sandstone is a stone of the Balearic Islands which is extracted in blocks of 40x40x80cm and it is very useful for the execution of walls and vaults. And you can also obtain blocks of 5, 10, 15, 20, 25, 30, 40cm thick, always 40x80cm.

Their characteristics depend on their origin which can be calcarenite (cemented sand grains with calcium from mollusks shells) or eolianite (sedimented sand) and therefore each quarry has very different properties with resistances which vary between 25 and 630Kg/cm².

Its characteristics can be very different depending on its origin: Quarry

Density kg/m3

Absortion

Compression kg/cm2

Flexion kg/cm2

S’Arenal 1,462

23,19%

35

Muro

1,528

23,62%

44

23

Porreres 1,597

18,43%

36

21

Santanyí 1,794

3,48%

131

55

Felanitx 1,961

9,23%

59

54

48

18

Color straw yellow light yellow

golden yellow

greyish white

redish/ yellowish

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what can th local he same

allorcan ry chanancient t on the ing new

nufactubiomass

ll work the tiascaró a

uries in

BRICKS AND CERAMIC TILES MANUFACTURERS To apply the traditional thought of “what do we have, and what can we do with the things we have”, we would like to work with local resources, in order to reduce the CO2 emissions and at the same time to reinforce the local craftsmen net.

Since the Neolithic age, ceramics have been part of the mallorcan history and its invention was an important and revolutionary change that improved the quality of life of our ancestors. Our ancient cultures (Talayotic, Roman and Islamic) left their imprint on the evolution of ceramics in the Balearic Islands by introducing new shapes that have survived until the present.

In Mallorca there are several bricks and ceramic tiles manufacturers. Mainly in Vilafranca and Felanitx. Some of them use biomass mortar kilns to fire the pieces.

Soler is a ceramic tile manufacturer in Felanitx that still work with an strong sense of craftsmanship, making and glazing the tiles one by one. In Vilafranca is where you can find Can Mascaró a brick factory.

Ceramic has been a tradicional local material during centuries in Mallorca.

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51

company from the pical of (marble rs, and

s. They tiles. sed for hey have at mimic are not e. They hydrated sand and he sur-

ral pigmold is composimarble nt tiles , which

HYDRAULIC TILE MANUFACTURER Huguet Rajoles Hidrauliques SL has emerged out of the company founded in Campos in 1933 by Gabriel Huguet Vanrell. Right from the beginnning the company manufactured the hydraulic tiles typical of that time. Floor and decorative cast tiles and Marbline (marble dust slab) products such as kitchen tops and sinks, stairs, and others.

Hydraulic cement tiles appeared in Catalonia in the 1850s. They are mostly known throughout the world as encaustic cement tiles.

They took the name from the term “encaustic� which is used for metal enameling that uses a type of lost wax procedure. They have this name because of the intricate patterns and designs that mimic the encaustic enameling process. Hydraulic cement tiles are not fired, there is no glaze layer on the surface of the tile. They derive their durability from the combination of finely dehydrated ground Portland cement layer and the more coarse layer of sand and cement. The pigment layer is hydraulically pressed into the surface and becomes a part of the tile.

Cement tiles are made by hand, one at a time, using mineral pigments, cement, a mold, and an hydraulic press. The metal mold is handmade following specific design drawings. The pigment composition is a mixture of high quality white porland cement, marble powder, fine sand and natural mineral colour pigments. Cement tiles being handmade are expected to have slight imperfection, which give them character.

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craftsditional

a. Also in Pòrthe roba en worraftsmen and. An r.

und the on the

in work created epeating Try to I have?

t a matrespons

OTHER LOCAL CRAFTSMEN All around the island we still can find an important net of craftsmen that still know how to work using and updating the traditional techniques.

We will find small carpenters ateliers all along Mallorca. Also craftsmen working with clay in Felanitx and pottery mainly in Pòrtol. Craftsmen that work with textiles, it’s very popular the roba de llengües, in Pollença, Santa Maria or Lloseta. Craftsmen working with blown glass technique in Algadia and Campanet. Craftsmen doing llatra with palmetto plant in the east of the island. An strong list of shoemakers around Inca working with leather.

Tradition always work from common sense. And, all around the world, tradition has a wide range of solutions, depending on the conditions and resources of each place.

Tradition works by repetition. Identity comes rom the latin work “idem”, “the same”, “repeated”. The identity of a place is created by repetition. That’s how tradition and craftsmen work: repeating and perfecting. Try to work in continuity with tradition. Try to prefer evolution to revolution.

Traditional architecture is a matter of resources: what do I have? and what can I do with the things I have.

Traditional architecture is not a matter of buildings, but a matter of ecosystems.

Traditional architecture consists in a completely efficient respons using local resources.

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STUDIO 1st aSSIGNMENT

COLLAGE

"Dialogue is in essence about the moment when two - or more - elements meet.

One could also say: the moment when „Dialogue is in essence about the moment when two - or two or more time periods - old and new for example more - together. elementsIt meet.

One could say: the moment come is this moment thatalso is somehow whencelebrated two or more time periods old and and has a reciprocal affinity [...]." new for example - come together. It is this moment that is somehow celebrated and has -aPalimpsest reciprocal affinity …“Robbert in Architecture.

Verheij,

Robbert Verheij: Palimpsest in Architecture (2016), 140

Bert Poly Jame Pezo

Bertrand Goldberg: Prentice Women’s Hospital, Chicago (USA) 1975-2013 (demolished) Polyklet: Epidauros Theatre, Lygourio (GRC) ~325 BC James Stirling, Michael Wilford and Associates: Neue Staatsgalerie, Stuttgart (GER) 1977-1984 Pezo von Ellrichshausen: Poli House, Coliumo (CHL) 2005

Architecture is not only a narrator of the past, but it also

ability to stimulate ones memory. Marco Frascari beArchitecture is not onlyhas a the narrator of the past, but it lieved that “architecture is a kind of corporal time machine also has the ability to stimulate ones memory. where the past, the present, and theMarco future are related architecturally through memory.”

Frascari believed that “architecture is a kind of - Robbert Verheij corporal time machine where the past, the present, and the future are related architecturally through memory.”

Robbert Verheij: Palimpsest in Architecture (2016), XY

An He He OM Fo

it also cari bemachine ted archi-

rt Verheij

Andrea Palladio, Vincenzo Scamozzi: Teatro Olimpico, Vicenza 1580 - 1586 Henri Labrouste: Bibliothèque Sainte-Geneviève, Paris 1850 Henri Labrouste: Salle Labrouste, Paris 1854-1868 OMA, Koolhaas: House Bordeaux, Bordeaux 1994-1998 Foster + Partner: Willis Farber Dumas, Ipswich 1975

“Dialogue is in essence about the moment when two - or more - elements meet. One could also say: the moment when two or more time periods - old and new for example - come together.“

Robbert Verheij: Palimpsest in Architecture (2016), p. 140

SO Al OM Sa Ch

SOM, Gordon Bunshaft: Beinecke Rare Book & Manuscript Library, New Haven 1963 Alison and Peter Smithson: The Economist Building, London 1959-1964 OMA: Lille Congrexpo (Grand Palais), Lille 1990-1994 Sante Lombardo, Pietro Bon and Antonio Abbondi: Scuola Grande di San Rocco, Venezia 1477 Charles Moore: Moore House, Orinda (California) 1962

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“Layering is used as a deliberate device of esthetic expression – the visible accumulation of overlapping traces from successive periods, each trace modifying and being modified by the new additions, to produce something like a collage of time. It is the sense of depth in an old city that is so intriguing. The remains uncovered imply the layers still hidden (…).”

Kevin Lynch: What Time is This Place? (1972), 171

Jo Le He Lu

Josef Gerl: Narrenturm, Vienna (Austria) 1784 Le Corbusier: Palace of the Assembly, Chandigarh (India) 1952-1963 Herman Hertzberger: Centraal Beheer, Apeldoorn (Netherlands) 1968-1972 Ludwig Mies van der Rohe: Villa Tugendhat, Brno (Czech Republic) 1929-1930

“The architect is an expert collector, one who skillfully and meaningfully disassembles and reassembles architectural elements from an existing palimpsest, in such a way that old and new story might merge.�

-Federica Goffi

Robbert Verheij: Palimpsest in Architecture (2016), XY

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Louis Kahn: Phillips Exeter Academy Library, New Hampshire, 1965-1971 BBPR: Torre Velasca, Milan, 1956-1957 Eric Moller and Arne Jackobsen: Rødovre City Hall, 1952-1956

„In order not to erase the past we need to preserve some traces. However, not all traces can stay on the foreground, therefore the notion of a palimpsestuous overlay becomes relevant.“

Robbert Verheij: Palimpsest in Architecture (2016), 105

Ko Pe Os Gi

Konstantin Melnikov: Rusakow Workers Club (1928, Moskau) Peter Zumthor: Therme Vals (1996, Vals) Ospedale Maggiore Filarete - University building Mailand Giuseppe Terragni: Casa del Fascio (1936, Como)

“Dialogue in architecture is most felt in the scale of the detail. Dialogue is in essence about the moment when two - or more - elements meet. One could also say: the moment when two or more time periods - old and new for example - come together. It is this moment that is somehow celebrated and have reci procal affinity likewise to the successive texts of palimpsest that need each other.“

Robbert Verheij: Palimpsest in Architecture (2016), 140

Do Av Au Fr

Dominik.Bohm： St.Engelbertskirche (Cologne, Germany) 1932 AvEyck： Orphanage Amsterdam （Amsterdam, Holland）1955 Aurelio Galfetti： Bagno di Bellinzona （Bellinzona, Switzerland) 1967 Frank Lloyd Wright: Larkin Building (New York, USA) 1906

„It is not about creating a palimpsestuous aesthetic but to recognize its philosophy: a sensitive attitude towards dealing with the past, present and future. The palimpsest is about a delicate layering of the different stages of being through time: both as material and immaterial.“

Robbert Verheij: Palimpsest in Architecture (2016), 163

Al Jo Fr Un Jo

Aldo Rossi: Teatro Del Mondo, Venice 1979-1980 (demolished) Jorn Utzon: Bagsvaerd church, Copenhagen, 1976 Frank Gehry: Winton guest house, Minnesota 1987 (later moved to Owatonna) Unknown: Thermal baths of Diocletian, Rome 306 John Pawson, Claudio Silvestrin: Neuendorf House, Mallorca 1989

“This gesture of not touching also creates a sort of delay and therefore emphasizes the notion of time. The gap which in fact is immaterial, establishes layers.

It allows for things to breath and creates a gesture of making something loose from something else.�

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Robbert Verheij: Palimpsest in Architecture (2016), 142

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Louis Kahn, Olivetti Underwood, Harrisburg 1970 Aldo Rossi, Gallatarese Housing Block 1972 Le Corbusier, La Tourette 1953 - 1961 SANAA, 21st Century Museum 2005 Peter Märkli, La Congiunta 1992

„...one can read a palimpsest on various scale levels.

The one that is considerably important is the scale of the detail. In fact, on this level everything comes together. Regarding materiality, detailing is fundamental in order to experience spaces. Materials can speak, bear traces, indicate changes in time and trigger our memory.“

Robbert Verheij: Palimpsest in Architecture (2016), 121

Gi Al Gu Gu Ch

Giuseppe Terragni, Pietro Lingeri: Danteum, Rome (unbuilt) 1938 Aldo Rossi, Gianni Braghieri: Scuola Media Broni, Broni, 1979-1981 Gunnar Asplund: Villa Snellman, Stockholm 1917-1918 Gunnar Asplund: Stockholm Public Library, Stockholm 1918-1927 Charles Moore: Moore House, Orinda (California), 1962

„Architecture is a kind of corporal time machine where the past, the present, and the future are related architecturally through memory.“

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Marco Frascari: Palimpsest in Architecture (2016), 82

Gi Fr Lo C.

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Giorgio Grassi: Casa Dello Studente, Chieti 1976–1980 (unfinished) Frank Gehry: House F, Santa Monica, built 1920 - added from 1977 till now Louis Kahn: Trenton Bath House, New Jersey 1955 C. W. Moore, D. Lyndon, W. Turnbull, R. Whitaker: Condominium 1, Sonoma County 1965

“Dialogue is in essence about the moment when two - or more - elements meet. One could also say: the moment when two or more time periods - old and new for example - come together.�

Robbert Verheij: Palimpsest in Architecture (2016), 140

L F S H

Le Corbusier: Notre-Dame-du-Haut (Ronchamp), Ronchamp (FRA) 1955 Frank Lloyd Wright: Johnson Wax Headquarters, Wisconsin (USA) 1936 Sou Fujimoto Architects: Children’s Center, Hokkaido Prefecture (JAP) 2006 Hans Hollein: Kunstmuseum, Möchengladbach (GER) 1982

„Dialogue is in essence about the moment when two - or more - elements meet. One could also say: the moment when two or more time periods - old and new for example - come together. It is this moment that is somehow celebrated and has a reciprocal affinity …“

Robbert Verheij: Palimpsest in Architecture (2016)

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Ad Jo Vi Al

Adalberto Libera, Curzio Malaparte: Casa Malaparte, Capri 1938-1942 Josef Plecnik: Herz-Jesu-Kirche, Prague 1928-1932 Vilhelm Wohlert, Jørgen Bo: Lousiana Museum of Modern Art, HumlebÌk (Denmark) 1957-1998 Alberto Campo Baeza: Casa Gaspar, Zahora (Spain) 1992

EXCURSION TO MALLORCA

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marès quarry | Porreres

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old city | Palma

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Josep LluĂ­s Sert | Taller Sert | Palma, 1965

Aulets | Municipal Archives | Felanitx, 2013-2018

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SMS arquitectos | Plywood House | Palma, 2017

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Jørn Utzon | Can Lis |

Portopetro, 1972

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St. Miquel 19 | Carles Oliver | Palma, 2016

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Casal Balaguer | Flores & Prats | Palma, 2016

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project site | Son Busquets | Palma

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STUDIO

PLOT DIVISION

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3

4

5

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12 9

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8 6 7

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STUDIO

PROJECTS

1 Bernhard Ogrisek 2 Thomas Rogl 3 Anna Müller 4 Maike Gold 5 Chong Leng Lao 6 Helena Marit Oberholzer 7 Pamina Rafezeder 8 Laura Einfalt 9 Jana Holzmann 10 Lukas Boß 11 David Pons Montaner 12 Gabriel Weitenthaler 13 Nuhi Ismail 14 Eszter Katona 15 Lucía Seguro Manteca

1 Bernhard Ogrisek

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Grundriss EG - Schnitt - Ansicht • M 1:200

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Grundriss OG - Ansicht - Schnitt • M 1:200

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Fassadenschnitt - Fassadenansicht • M 1:40

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Wohnungstyp Detailgrundriss - Detailschnitt • M 1:25

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2 Thomas Rogl

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S1

S2

S1

S2

S1_1:200

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S1

S2

S1

S2

S2_1:200

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S 12-21

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Schnitt

1:200

S 12-24

FASSADENSCHNITT

1:25

monday morning

saturday afternoon

13.

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3 Anna Müller

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4 Maike Gold

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areas

12.855 m2

ground floor

gross floor area

3.991 m2

existing halls

2.700 m2

market hall

1.401 m2

first floor

gross floor area

housing floors

net floor area

1.736 m2

service areas

904 m2

4.928 m2

linear volume

1.656 m2 standard type - 4x3 second type - 2x3

duplex

105 m2 66 m2 3.272 m2

type A - 2x3x2 incl. Außenraum

168 m2

type B - 2x2x2 incl. Außenraum

157 m2

store

store

supermarket

store

restroom

store

store

restroom

stock

connection #12

market hall

libary

libary

libary

ground floor | 1:200

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housing floor | 1:200

connection #10

shop/service

shop/service

shop/service

shop/service

shop/service

shop

shop/service

shop/service

shop/service

shop/service

shop/service

shop/service

first floor | 1:200

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elevation west | 1:200

elevation north | 1:200

elevation & section south | 1:200

section | 1:200

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duplex type A | ground plan & section| 1:50

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duplex | type A

groundplan typologies | 1:200

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duplex | type B

duplex type A | axonometry

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