New between Old - building in historical context

New between Old building in historical context an architectural review by Hannah Anouk Freund, 20.02.2017

Townhouse, Frankfurt Main

New Historical Museum, Frankfurt Main

New between Old building in historical context Since some years and currently increasingly, historical buildings are considered to have a sacred value. Dealing with history, in terms of architecture, is especially in Germany an controversial issue.

Due to tremendous wartime destructions, urban development measures are a sensitive but indispensable venture. Discussions are usually concerning reconstruction versus new construction, focussing on dealing with history in general. According to a widespread belief, the aesthetic discomfort in Modernist architecture can only be solved by readopting old stylistic devices. That is why real and unreal, veracity and deception, tradition and modernity as well as historical awareness and oblivion are facing each other. All in all resulting in the questions: How can we build in historical context these days? Should we adapt or differentiate, reconstruct or interpret and what tools are accepted or necessary for a good architectural design?

The historical centre is with an area of 1/2 km² the smallest district of Frankfurt am Main. During the Second World War three British airstrikes destroyed it massively in March 1944. Already in those days, the people commissioned for reconstruction could not agree on the new shape of the old town. Because of persistent discussions, reconstruction works did not start until 1947, three years after the bombings. An agreement was made in form of a compromise: A mixture between new constructions and simplified reconstructions of some of the most important architectural monuments.

In the Seventies two modern concrete buildings extended the old town. The technical city hall and the historical museum (fig. 1) attracted a great deal of attention and were criticized by the population for their brutalist concrete facades. In 2005 previous concerns about a modification of the town hall resulted in the decision of demolition. As consequence a competition for urban design proposals was announced, concerning the new development of the large-scaled area between the Schirn museum and the dome. The requirements comprised a step by step construction, a harmonious insertion in the still existing old town and the reconstruction of the Coronation Path (16 coronations in Frankfurt,14. - 18. century). The results of the competition were highly discussed and changed steadily until the town council decided for the project New Old Town (Neue Altstadt) in 2007. The project started in 2010 with the demolition of the technical town hall, followed by the extension of the historical museum one year later.

Hannah Anouk Freund, 20.02.2017 Parts of the extensive renewing project are 15 reconstructions and 20 new constructions. The almost precise reconstruction of the pre-war road system shall give the historical centre its new face. The construction works started in 2012 and are controlled by a company called Dom-Römer GmbH, which was particularly founded for that purpose. The completion of the project is expected for 2018 and the coasts are currently estimated to be 186 million euros.

fig. 1 Old Historical Museum

fig. 2 Townhouse, view from dome-square

fig. 3 New Historical Museum, view from Römer

This article offers a comparing analysis of two buildings which are exemplary for the guiding topic building in historical context, in doing so the critical contemplation should contribute to the currently highly charged discussion concerning that issue. Therefore two public buildings are investigated, both situated in historical context but offering different approaches.

The Townhouse (Stadthaus am Markt) (fig. 2) which is the first implemented building of the project New Old Town was planned by Meurer Architekten, urban development architects and engineers from Frankfurt, in collaboration with cba architects from Luxembourg.

The new construction of the Historical Museum is provided as comparing architecture (fig. 3). The design of Lederer Regnarsdottir Oei (LRO) from Stuttgart is not part of the project New Old Town but is eligible due to its context in the historical centre.

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Townhouse

new construction

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fig. 4 Position of the Townhouse in context of the project New Old Town

The Townhouse is located between Schirn museum and dome, it forms the southern conclusion of the New Old Town (fig. 4). The construction consists of five parts and is going to be connected to a sequence of houses located along the Coronation Path, which are still under construction. Significant reconstructions of this sequence shall form the core of the quarter.

The main entrance of the Townhouse is situated in the north and oriented to the dome-square. The southern facade opens up to a narrow street (Bendergasse) which is limited on the opposite side by the Schirn museum and rises westwards in the direction of Römer. The complex overbuilds the historical important archeological garden, which shows excavations from the time of the Carolingian and the Roman age.

On behalf of the city government and the owner, the Townhouse was planned by Meurer and cba architects as event building with multipurpose use. The archeological garden with foundation-walls from the early period of the city should be protected but still accessible for the public.

The design of the Townhouse follows the approach of a ‚stony‘ building. The five parts with pointed gables, built of red sandstone from the river Main, fit in the surrounding fragmented old town. Historic stylistic devices like arcades and profilings but also the urban planning positioning next to the dome (1861 urban planning shows former building development next to the dome (fig. 5)) are used for adapting to the historical context.

Modern metallic elements and the rhythmical window positioning refer to the present and build a bridge to the opposing Schirn museum.

Likewise the design, the construction is a combination of history and modernity. The sandstone facade is superimposed on a modern reinforced concrete construction, which on the one hand enables the self-supporting conference hall over the archeological garden, on the other hand provides a plain interior for a suitable presentation of the excavations.

fig. 5 Urban planning ‹Ravensteinplan› from 1861, excerpt historic centre Frankfurt

1

2

4 3

fig. 6 Complex - Townhouse

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The floor plan structures the two- till four-story complex (fig. 7) with 4000 m² usable area in five parts (fig.

6). The eastern house 1, which forms the main entrance and is clearly visible from the dome-square, has three floors. It accommodates the foyer and conference facilities in the third floor. House 3, oriented to the Schirn museum, offers accesses and view points to the lowered archeological garden as well as it forms an extension of the foyer on the first floor. There is a direct entrance through the Foyer to the spacious event hall (fig. 8). As house 2, it is the centre of the complex and should relieve the city hall as conference venue. To the west, the technology and service department in house 4 is connected to the hall. House 5 concludes the complex in the west, provides commercial premises at ground level and space for apartments at the three upper floors.

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Dom

Weckmarkt

event hall archeological garden foyer

seminarfacilities

living

technology and service

comercial premesis

fig. 9 Townhouse, view from Weckmarkt

fig.10 Door main entrance - Townhouse

The building complex emphasizes gently the connection from dome to Schirn museum and the detailed old town architecture through its stepped, slave-covered gable roof and a colour palette ranging from red to grey (fig. 9). As special and intense staging, the event hall got a golden roof. The golden elements repeat in the whole design as highlights in the facade. The door of the main entrance (fig. 10), the window frames and the gratings of the archeological garden, all golden metal (fig. 11).

Special views and daylight extend the presentation to the interior. Due to open spaces between centre piece and surrounding parts of the building, the hovering hall is highlighted on the one hand and the subjacent archeological garden receives indirect daylight on the other.

A mystical atmosphere arises, which suits the old walls appropriately. The feeling is enabled by a restraint of interior architecture, holding back by designs with exposed concrete and anthracite elements.

fig.7 Section and uses - Townhouse

fig.11 Facade design with golden elements - Townhouse

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Stadthaus am Markt

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fig. 8 Exemplary floor plan, 1. floor - Townhouse

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new Historical Museum river Main

existing Historical Museum existing fig. 12 Position of the New Historical Museum

The new construction of the Historical Museum, which comprises two opposing buildings and a public courtyard with an open staircase, is located between the historic public square Römer and the river Main (fig.

12). The larger of the two new buildings emerges behind the old church and restores the adjoining street in its former shape (Urban plan from 1861, route of the Saalgasse (fig. 5)). The smaller building connects directly to the the old historic part of the museum in the south. Between the two new building parts a public courtyard opens westwards. Both parts are connected by a subterranean floor.

In cooperation with the city of Frankfurt, as building owner, the office LRO has planned a new exhibition house, a public square and a smaller administration building, which enlarges the Historical Museum to a total area of 6000 m². The design of the new Historical Museum pursues a clear approach: Continuity. The context is characteristically important for the architect, that is why the language of the surrounding old town buildings is assimilated and carried on in the design.

At this point the pre-war structures of the city loom large. Former characterizing elements are focused again: for example the emphasis of the opposing building, the

last maintaining half-timbered house of the old town, which receives special attention by the opening of the courtyard. Also the saddle roofs, covered with natural slate, integrate in the overall appearance of the district.

By continuity and gentle reintroduction of old stylistic devices, in urban positioning as well as in the composition of the facades, the design transfers into the present.

The construction of the new buildings is a steel-concrete construction with a superimposed sand-stone facade just as the Townhouse. Captivating by traditional manual processing of high quality the material blends into the environment (fig. 13).

fig. 13 Connection new construction and existing building - Historical Museum

The layout of both buildings divides on two underground connecting levels, as well as four additional floors in the entrance / administration building and three floors in the exhibition building (fig. 14). The visitors will enter the museum over the court and the main entrance in the southern new building (fig. 15). From there they get in the first basement floor, which illustrates the urban history of Frankfurt and impresses with a robot, exchanging urban models. On the ground floor, in the large exhibition house, temporary exhibitions will take place. The permanent historical exhibition spread on two floors above. The attic provides visitors a particularly splendid view over the city out of 84 lined windows. As usual in museum constructions, the exhibition areas are designed barrier-free.

fig.16 Lightconcept - New Historical Museum

urban history exhibition technology service wardrobe temporary exhibitions

permanent exhibition

connection new and old building

foyer administration

existing building fig. 17 Mirroring of the Nicolaichurch

fig.14 Section and uses - Historical Museum

fig.15 Model - New Historical Museum

fig.18 Lozenge pattern - New Historical Museum

The staging of the new Historical Museum is fitting the concept of continuity therefore it presents itself rather decently. The facade of the exhibition building stands out through its structure in terms of setbacks.

The rhythmical arrangement of the setbacks conform to the window arrangement of the opposite located church. Thus, the architecture refers to the surrounding area directly and adapts smoothly. The windows, repeating the rhythm of the setbacks, guide the visitors view in direction Rรถmer and old church (fig. 17). In the future, figures and historical components from the inventory of the museum will be located in the setbacks of the facade. By taking them out of the exhibition hall into urban space the utilization of the building should be emphasised. An additional light concept will support the staging (fig. 16).

The smaller administration building inhabits the new expansive main entrance and is reachable across the courtyard. The importance of the entrance is underlined by a special facade with lozenge pattern (fig. 18) plus inner circles which glow at night.

The design of the Townhouse and the new Historical Museum are in their own way both an appropriate answer on the question of how to deal with historical context these days. The townhouse was heavily criticized among architects. Yet, on closer examination the layout of Meurer and cba architects turns out to be a harmonic mediator between traditional and modern architecture, especially in aspects of urban development.

The stepped, gabled buildings connect dome and Schirn museum, topographically and in appearance. Furthermore it forms as extension to the dome-square a welcoming entrance to the historical centre. The red sandstone facade adapts well to the surrounding area, however the modern window arrangement prevents to appear too historical.

The forthcoming usage is the main flaw of the building.

As first component of the project New Old Town, it was planned by the old city government. After the political change in early March 2016 the new city government stipulates a ecumenical church museum besides the public use as event venue. A museum utilization of the 20 million euro building yet would cause massive conversion measures. Additionally, the new gem of the city cannot get promoted because a final decision is pending. The potential conversion would start in 2017 and devour more unnecessary coasts, but is expected to be really unprofitable. For this reason, it is not surprising that the population of Frankfurt is not very enthusiastic about their new flagship. However, the real problem is not the architectural design, but rather the idea of self-realization of the city government. From an architectural perspective the weakest point might be the narrow street between archeological garden and Schirn museum, because the incidence of light is very limited in this area. On the one hand this could benefit the historical atmosphere of the archeological garden, on the other there may be the risk of pedestrians avoiding the alley. Cafes and stores, which are intended to move in, shall counteract the desolation. Also the interior design of the object convinces by its balance of historical and modern elements. Todays building technology enables the construction of a self-supporting event hall, which facilitates the excavations to stay completely untouched. Historical motives like the lozenge pattern at the entrance door, which reminds of the Carolingian Gate Hall of Lorsch (world heritage since 1991), forms a gentle contrast.

This tribute to the history reappears in the facade design of the new Historical Museum as well. The design of Lederer Regnarsdottir Oei, which generally follows a

similar concept like the Townhouse, is rated far more positive by critics. An explanation could be the extremely high contrast to the preceding building, which caused rejection all along due to its brutal concrete components. The new building adapts to the surrounding area, tries to convince with details, new room situations and hence occurring visual axes. The overall appearance wants to be timeless but seems to be overdone, especially the design of the facades in combination with extreme light elements. The construction, coasting 52,7 million euros, is to be opened in 2017. Afterwards it can be evaluated how the museum gets accepted by the public and how especially the public courtyard is used.

In conclusion, there is to say that both designs support a clear position towards working with historical buildings. Both projects respond to the questions concerning adaption or differentiation, reconstruction or interpretation by a mediation between those components.

Historical research is in relation to the old town indispensable. Resuming old urban structures and former stylistic devices are not an attempt to deceive, but necessary measures in order to create a reasonable design.

Furthermore, both buildings demonstrate the age we are living in and the relevancy of using modern building techniques in order to develop modern architecture.

Therefore, modernity does not have to be the antagonism of history, but can also function as expansion and enrichment.

Bibliography Literature

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fig. 15

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fig. 2-4, 6-14, 17-18

fig. 16

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fig. 5

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