Joachim Daetz - WS 07 - Same But Different by joachimdaetz

SAME

BUT

DIFFERENT

Master European Architecture Workshop 7 - Lisbon Duration: 04.09.2017 - 28.09.2017 Location: Portugal Professor: Ricardo Carvalho, PhD Arch Assistant: Raquel Vicente, MA Arch Student:

Joachim Daetz

Title:

same but different

same but different A Lisbon Atlas for a Temporary Museum

Content

Introduction . .............................................................................................. 07 Case Study Bernd And Hella Becher - Life and Work.................................................. 09 Lehmbruck Museum - Manfred Lehmbruck.................................................. 13 Research Gordon Matta-Clark - Day’s End. ......................................................... 17 James Turrell - Sky Spaces........................................................................ 19 Hélène Binet - Photographer. ................................................................... 21 Atlas First Pictures of the Atlas......................................................................... 23 Second Pictures of the Atlas.................................................................... 29 Key Pictures of the Atlas.......................................................................... 33 Place Place 1 - StreetGrid................................................................................ 41 Place 2 - Stairs Trainstation Rossio. ......................................................... 43 Place 3 - Rua Cecilio de Sousa................................................................ 45 Place 4 - Rua da Cintura do Porto de Lisboa........................................... 51 Program Same But Different................................................................................... 59 Material Materials out of my Atlas........................................................................ 61 My Project

1â&#x20AC;&#x201A; Lisbon Sketch

A Lisbon Atlas for a Temporary Museum

Introduction

The objective of the 4 week workshop in Lisbon “focuses on open research questions like historical urban fabric, heritage transformation, tourism developments or new perspectives for industrial areas out of unction, modular settlements in state of repair, devastated landscapes and lost spaces. Moving into the future, all European metropolitan areas must rethink neglected districts in the contexts of architectural history and social dynamics.” (Quote: Program Ricardo Carvalho) The first question that arises for me is the meaning of the word “Atlas”. What does it mean? Where does it come from? How can I interpret it? The Oxford dictionary claims that the origin of the word “Atlas” started in the late 16th century: “Late 16th century (originally denoting a person who supported a great burden): via Latin from Greek Atlas, the Titan of Greek mythology who supported the heavens and whose picture appeared at the front of early atlases.” This explanation also clarifies the architectural meaning of the word “atlas”, which is “a stone carving of a male figure, used as a column to support the entablature of a Greek or Greek-style building.” (Oxford Dictionary) Despite all these meaning the first thing that comes to mind when we say atlas is of course a book with a collection of maps. An atlas has always been a collection of cartographic maps for me, to look up where a certain place is located. Since all the smart phones appeared on the market the word atlas has become more and more neglected, the word “maps” is now the term everybody uses: “Hey, can you check maps for me quickly..?” It is of course quicker to look up a certain location on the smart phone then taking out a big, usually A3 portrait sized, book out of the shelf, to then flick through the pages to find the right city and the right raster positioning. Furthermore, restaurants, bars, cafés, theatres and hotels are usually not mapped on a traditional atlas since the scale is far too big. Thus, it is obvious that the traditional atlas is dying out, even though it is much nicer to have a printed cartographic accurate map in front of you. The question that remains is: What is my interpretation of an atlas, in connection with architecture, maps and process?

2â&#x20AC;&#x201A; Half-timbered houses, Siegen industrial region, Germany, 1959-1973 / Photography by Bernd&Hilla Becher

Bern und Hilla Becher

3 Bernd&Hille Becher

Case Study

The book is the PhD work from Susanne Lange which was published in 2005 by the Schirmer/Mosel Verlag München. In 2007 the MIT Press translated to book into English. The original title of the book is: “Was wir tun, ist letztlich Geschichten erzählen.“ Which I would loosely translate into: What we do ultimately, is telling stories. Bernd and Hilla were both Born in Germany, in the second World War period, Bernd in the West and very industrial part of Germany in Siegen and Hilla in the East and less Industrial part of Germany in Potsdam. Bernds father had a restorer workshop for public buildings and churches, where Bernd worked at as a teenager before studying graphic design and painting and typography in 1953. Hillas mother was already a photographer so Hilla took her first photo when she was only 14 in 1947. Only a year later she even had her own dark room, which she got from her uncle when he moved to West Germany. Hilla, unlike Bernd, made an apprenticeship in the photostudio Eichgrün in Potsdam. Whereas Bernd started his apprenticeship at his fathers restorer workshop. Bernd also took drawing lessons twice a week during that period. Bernds first attempt with a Rolleiflex 6x6 camera was only in 1958, 4 years after Hilla had her final exam in photography, in which she presented her first industrial photo as a final result. She found her love towards industrial photography in her apprenticeship where she had her own task of documenting railway repair facilities. Bernd was a good painter and loved to paint his home and its industry. Although he said himself that he was unhappy about the subjective angle in his drawings and sketches that could just not been avoided in personal drawings. By that time he already had numerous drawings of industrial scenes of central Germany in the post-war times which were threatened by extinction. His goal or dream was to portrait the scenes as they really were, so he decided to change his tool and started with photography. In Hilla (Wobeser) he found a good partner (for life and work) since she also fell in love with industrial scenes. Soon after their unity they decided to not only document these industrial sights in a sense of an encyclopedic review, but to start a systematic approach with a very

9 Blast Furnace

5 Water Towers

4 Grain elevators

6 Gravel and stone-breaking works

8 Winding towers

7 Gasometers

specific visual grammar. Within their ordering system they subdivided their large industrial shapes like winding towers, water towers, gas tanks etc. into categories based on their functions, construction dates, regional idiosyncrasies and building material. With that they wanted to highlight formal/aesthetic differences and emphasize the stylistic diversity of industrial architecture, a quality that had until than long gone unnoticed. They established four criteria for their work-flow: Functional/constructive dimension; aesthetic dimensions; result of the actual photography itself; conceptional side of their method. The majority of the buildings have been long demolished, which makes their work and documentation of industrial photography/architecture even more significant. The book and their work, essentially deals also with the topic of memory, not of personal emotions but of memory of the pre and post world war industrial times that have changed into an new era of technology. Also the history is a valid point in their work, looking back over 4 decades of photography/architecture/industry...

“The main objective of our work is to prove that today’s shapes are technological forms even if they did not arise for form’s sake. Just as the medieval thought is manifest in a Gothic cathedral, our age reveals itself in technological buildings and devices. The significance of the architect has dwindled sharply, while cuttingedge achievements are quite evidently a matter of technology today. The structural tasks of past eras have essentially been accomplished. The challenges facing the human ability to invent are of technical nature.” 1971, Interview with Bernd&Hilla Becher

10â&#x20AC;&#x201A; Groundfloor Lehmbruck Museum, Duisburg

Lehmbruck Museum

11 Manfred Lehmbruck

On April 25th 1956 the new building of a museum of modern art was decided on the initiative of mayor August Seeling. The purpose was to comprise the prior collections of 20th century art in an attractive building and to present them adequately in a prospective museum of international sculpture. The assignment was given to the architect Manfred Lehmbruck (19131992) — son of the sculptor Wilhelm Lehmbruck from Duisburg-Meiderich. Regarding the very fact that a museum is located in the center of a big city, Manfred Lehmbruck was fascinated by the idea of ’embedding’ the museum in a park to provide “a place of leisure and contemplation” in “a sincere linkage of nature and art”. While, in the opening stage, the single constructional elements with their different heights could be noticed by the viewer as a visible unit, they are covered by dense trees and bushes today. On his way to the very low entrance the visitor passes a plate of concrete with the impregnated saying of Wilhelm Lehmbruck “All art is measure” and comes across the sculpture “Knieende” (1911), which was already exhibited in the Tonhallengarten since the 1920s. The statue has remained the symbol of the museum and the collection dedicated to Lehmbruck and Beuys’ art of objects. Manfred Lehmbruck has designed the three bodies of building due to their function. Collections of sculpture and painting are comprised in a big room surrounded by high walls of glass, having recourse to the construction theories of Mies van der Rohe. In contrast with this transparent construction of the hall, the architect worked out a threedimensional building of concrete with centric directions. The inner rooms of the north and the southside are bound by arched walls of concrete. The small windows, constructed in line, make the ceiling almost seem to hover. This sculptural aspect corresponds with the disposition and the illumination of Lehmbruck´s sculptures. The “Skulpturenhof”, located on a higher level, links the two bodies of the building and opens to the nearby Kant-Park. The big sculptures, which are located here (Henry Moore, Kenneth Armitage, Berto Lardera, David Rabinowitsch, Erwin Reusch), mediate between the building’s geometrically precise architecture and the floating forms of nature. Soon after the opening of the museum in 1964 it turned out that the growing collections and requirements of the museum needed further enlargements. The council of the town Duisburg had planned the enlargement only in 1983, which was realized on behalf of the concept of Manfred Lehmbruck in cooperation with the architect Klaus Hänsch from Dortmund. Three cubes of different sizes with no windows at all were built on a square foundation. A bridge made of glass (the cafeteria) connects the big hall and the newly gained rooms for temporary (source: http://www.lehmbruckmuseum.de/?page_id=773) exhibitions.

12 Sculpture by Wilhelm Lehmbruck

16 Patio

13 Patio

17 Exhibition of modern Sculptures

14 Ambulatory

15 Floorplan Lehmbruck Museum, Duisburg

19 Section Lehmbruck Museum, Duisburg

18 Sculpture courtyard

20â&#x20AC;&#x201A; Google Maps Satellite Picture from Duisburg

21 Alvin Baltrop - Days end Photograph courtesy of e-flux.com

24 Gordon Matta-Clark ‘Days End’, 1977, Obsessive Collectors archive

22 Sketch for Days End, 1975

25 Untitled, Gordon Matta Clarks sketchbook

23 Gordon Matta-Clark Day’s End, 1975

26 Gordon Matta-Clark Days End, 1975

Gordon Matta-Clark - Days End

Fourty “years ago and one block from the site of this exhibition, Gordon Matta-Clark created one of his most important works, turning an abandoned Hudson pier warehouse into a “sun-and-water temple” that he called Day’s End. During the summer of 1975, Matta-Clark made a series of large cuts into a 600-ft long metal hangar on Pier 52 that had once belonged to the Baltimore and Ohio Railroad Company. Removing sections of the floor and ceiling, along with portions of the western and southern sides of the building, the artist exposed the river and sky, creating a changing sculpture of light out of a structure the city had largely abandoned. Though not his first use of a Hudson pier—others included Untitled Performance (1971) and Pier In/Out (1973)—Day’s Passing, as the work was also known, incurred the wrath of the law. Matta-Clark’s opening event was shut down by the police, and dock authorities immediately locked the warehouse. The artist had hoped to let visitors in twice a week during the fall of 1975, but he soon found himself facing an arrest warrant and the threat of a million-dollar lawsuit. After leaving the country, Matta-Clark argued that he had created an indoor park, beautifying a decrepit space. The claims were eventually dropped. This film—or rather, the filing for a film permit by two of Matta-Clark’s friends—seems to have been what tipped off the authorities. Though stuck in a confiscated and inaccessible state, Day’s End survived longer than many of his other works. A quick walk from the exhibition to the end of Gansevoort Street brings you to Pier 52, which survives today as a Department of Sanitation parking lot.”

Research

(source: http://creativetime.org/programs/archive/2005/Heaven/artists-mattaclark.html)

27 A Skyspace by James Turrell, Photograph Florian Holzherr

31 James Turrell, Skyspace Rice University, Rice Skyspace, Sunset

28 James Turrell First Light, 1989 – 90; 20 etchings in aquatint Installation view © James Turrell. Photo Peter Huggins

32 Seldom Seen, James Turrell. Ph. Peter Huggins

James Turrell - Sky Spaces

James Turrell’s artistic medium is light—not paintings that depict light, nor sculptures that incorporate light, but simply light itself. His art offers viewers the opportunity to have unique and intimate experiences with light and to appreciate its transcendent power. Whether through projections, printmaking, or site-specific installations, Turrell’s work is influenced by Quaker simplicity and the practice of going inside to greet the light of revelation. In the 1960s, Turrell began to experiment with light projections and a variety of installations in which light from the outside penetrated inside, enabling viewers to perceive color within darkened interiors. In some, he cut away parts of the walls to reveal the sky. These cuts evolved into Skyspaces, rooms with sharp-edged apertures in the ceiling that seem to bring the sky down through the opening, almost within reach. The Color Inside is Turrell’s eighty-fourth Skyspace. Like many others, it is a destination, located on the rooftop of the Student Activity Center. Though Turrell’s architectural spaces are reduced to the most essential elements, they retain a simple elegance that makes them particularly enticing. The Color Inside is distinctive for its intimate proportions, elegant palette, lyrical lines, and brilliant washes of color that can be experienced during specialized light sequences at sunrise and sunset, causing the sky to appear in unimaginable hues. Also available for observation during the day, the Skyspace offers a quiet, contemplative space for the campus community and visitors. In naming The Color Inside, Turrell said, “I was thinking about what you see inside, and inside the sky, and what the sky holds within it that we don’t see the possibility of in our regular life.” The space he created encourages the kind of quiet reflection that cultivates attention. Turrell reminds us that not only does light reveal what is around us but it also makes known that which is within us. (source: http://landmarks.utexas.edu/artwork/color-inside)

“The light that we carry with us makes a difference.” James Turrell

35 Firminy-C, Le-Corbusier

36 LFone, Zaha Hadid

40 Heydar Aliyev Centre, Zaha Hadid

37 Kunsthaus Bregenz, Peter Zumthor

41 Kolumba Museum, Peter Zumthor

38 Brick House, Caruso St John Architects

43 Hélène Binet, Glasgow (2010)

39 Brick House, Caruso St John Architects

42 Pavilion Zaragoza, Zaha Hadid

Hélène Binet - Photographer

Over a period of twenty-five years Hélène Binet has photographed both contemporary and historical architecture. Her list of clients include architects Raoul Bunschoten, Caruso St John, Zaha Hadid, Daniel Libeskind, Studio Mumbai, Peter Zumthor and many others. While following the work of contemporary architects – often from construction through completion – Hélène Binet has also photographed the works of past architects as Alvar Aalto, Geoffrey Bawa, Le Corbusier, Sverre Fehn, John Hejduk, Sigurd Lewerentz, Andrea Palladio and Dimitris Pikionis. More recently, Hélène Binet has started to direct her attention to landscape photography, wherein she transposes key concerns of her architectural photography. Hélène Binet’s work has been published in a wide range of books, and is shown in both national and international exhibitions. (source: http://www.helenebinet.com/about.html)

“Hélène Binet has emerged as one of the leading architectural photographers in the world. Every time Hélène Binet takes a photograph, she exposes architecture’s achievements, strength, pathos and fragility.” (Daniel Libeskind)

Hélène Binet is one of the world’s leading architectural photographers, but after 25 years in the industry, she still refuses to shoot in digital. With an exhibition of her work now open in LA, Dezeen spoke to the photographer about her devotion to film and why drone-mounted cameras are “a bit of a shock”. The Swiss-French photographer shoots exclusively in analogue, and regularly works with some of contemporary architecture’s most famous names – including Peter Zumthor, Zaha Hadid and Daniel Libeskind. “I’ve never done anything professionally with digital,” Binet told Dezeen. “If something is a bit strange, a bit rough, you work with that.” “Digital has made architectural photography very slick – sometimes you don’t know if it’s a photo, or if it’s a rendering, and that I find very disturbing,” she added. “If you’ve spent five years to ten years making a building, you want to make sure that the photos are like a building and not like a rendering.” Binet’s images tend to focus on snippets of buildings, often heavily shadowed or flooded with light, and the title of the exhibition is Fragments of Light. According to Binet, this approach allows viewers to piece together a sense and “emotion” of a space. (source: https://www.dezeen.com/2015/03/23/helene-binet-interview-analogue-architecturalphotography-film-fragments-of-light-exhibition-wuho/)

First Pictures of the Atlas

Atlas Ideas

My Initial idea for the atlas was to use shadows that occur in Lisbon. It was early morning, the shadows were long and the sun was only reaching the top of the buildings. I started my tour from the hostel, taking pictures of objects first, like a picture from a bus stop, but only focusing the shadow of the bus stop, which was falling over an edge, so it was unrecognisable on the picture what it was suppose to be. Soon I reached a train station, metro station, where a lot of people came out from every 5 minutes. The sun was perfect for a play with people and shadows. Soon I realised, if I decide to take pictures of people that includes a whole new narrative to the pictures that needs explanation! Who are these people or who is that person? What is his/her story? Where is he/she coming from? That made the idea of the atlas with people much more complex. Therefore I decided to leave out people at the end. On my continuous path I came across different objects like traffic lights, cars, poles, stairs, shoes and chairs that all caught my keen eye. My first â&#x20AC;&#x153;adventureâ&#x20AC;? tour was really a playful one with yet no clear structure and heavy try outs. After the tour I looked at the pictures and made an reflection about them. Realising that there is no shadow without sun, so the light factor is far more important in the picture than the shadow one. This conclusion influenced my next walk intensively.

Second Pictures of the Atlas

Surfaces. Surfaces are everywhere, there is nothing special about them in Lisbon, but maybe I can find one or multiple surfaces that make me think only about Lisbon. I have not found them yet but I believe there are some potential materials that already are stuck in my brain when I think about Lisbon. Cobblestone and tiles (special painted tiles) are the ones that first came to my mind. To then deepen the idea of surfaces I thought about juxtaposing one material with light and shadow. Surfaces look different in the light than in the shadow. Some surfaces have a beautiful detailed structure that can only be fully grasp if the light in shining on them, to create small shadows, which again creates structure within the material. Now I have two choices that create possible topics for the atlas, one is taking two picture of each surface, one in the sun on in the shadow. The other one is to take only one picture that shows one surface half in the shadow and half in the sun to have the direct juxtaposition of them right next to each other in one picture! I like both ideas, although I prefer the second version. Using this method now, creates many other â&#x20AC;&#x153;problemsâ&#x20AC;? that need to be solved, or new rules that need to be created to narrow the choice of surfaces down to one that is workable with in 2 weeks time. Should I pick my favourite ones? Only ones that occur on housing buildings? Only Public buildings? Only ones on the street facade? Only the street? There are many possibilities, its again about making conscious decisions. Another idea that can be part of the exhibition method could be to make small exhibitions in every entrance of a house to show only the surfaces used in this building. This idea can reoccur throughout the street and of course it varies. This way you can see the variety of materials used just in one building and street.

ATLAS VARIATIONS

Half sun/Half shadow surfaces

Shadow of object with object

Long shadows on facades

Shadow of people without people

Shadow of object without object

Shadow of people with people

Surface in the sun

Reflection of window in the shadow

Surface in the shadow

Surfaces. Surfaces are everywhere, there is nothing special about them in Lisbon, but maybe I can find one or multiple surfaces that make me think only about Lisbon. I have not found them yet but I believe there are potential materials that already are stuck in my brain when I think about Lisbon. Cobblestone and tiles (special painted tiles) are the ones that first came to my mind. To then deepen the idea of surfaces I thought about juxtaposing one material with light and shadow. Surfaces look different in the light than in the shadow. Some surfaces have a beautiful detailed structure that can only be fully grasp if the light in shining on them, to create small shadows, which again creates structure within the material. Texture. The key for the perfect picture is to get exactly the same spot twice, once with shadow, once with full sun. Using a tripod would be the ideal solution, but since I do not have one on me its all about post production, setting guidelines to arrange the pictures in the same angle. As of the shadow and light part, I could of course wait couple of hours until the surface becomes part of the shadow, but it took the liberty to get a helper (Tanja) to create a â&#x20AC;&#x153;fakeâ&#x20AC;? shadow on the spot where I was taking the picture. Place. It is rather difficult to make a quick choice for a place, I do not know Lisbon that well yet and I am not familiar with every corner that can be maybe a better place for the exhibition. What I can say though is that I would like to use the sun and the shadow as part of my architecture. Just like Manfred Lehmbruck did in his Museum for his father. The art was first and is therefore to be used as part of the architecture. This idea would also suit my project. I can use the direction of the sun to my advantage, the sun raises in the east (nothing new about that) and sets in the west. Thinking rather rational here: Lisbon has a few street grids from different periods of time. Some of these streets follow East/West and some North/ South. The East/West streets should have sun all day long, compared to the North/West streets which only get sun during noon/afternoon hours. Somehow I can work with this information to create a beautiful play of sun and shadow compositions in my exhibition. Let the sun shine on the pictures with light patios, just like Lehmbruck.

Atlas Key Idea

Key Pictures of the Atlas

Place 1 - Streetgrid

Campo de Ourique

Bairro Alto

Place

Baixa-Chaido

Place 2 - Stairs Trainstation Rossio

Place 3 - Rua Cecilio de Sousa

This location is near the Jardim do Principe Real. A beautiful park on a Plato just north of Bairro Alto. The site that I chose has a natural given topography that automatically slows down once movement, no shortcut possible. People today don’t take the time to appreciate quality photography anymore, due to Facebook&Co. we take less than a second to look at a picture. Facebook symbolises the short-cut in my program, the detour on the other hand symbolises an actual exhibition, since museums are always a detour, a decelerator, a conscious choice. Whereas pictures on Facebook seem to happen to you, you never know what you are going to see once you enter Facebook. It is still your choice if you want to see pictures on there but you get more surprised and maybe not impressed by them at the same time. The existing building on the south side of my site acts as a shell, a mere walk-through connector to symbolise the time stress that we are pretending to have! (Ode to the great author Michael Ende and his book Momo). We want to save as much time as possible. Forget to take time for important things and end up with no time at all. The “pavilion” like decelerator acts as the symbol of time, appreciation and real understanding. Underlining the theme of slow vs. fast with music, to influence the pace of the visitors? Slow: calando / rallen tando / ritardando Fast: stretto / rubato / accelerando

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Place 4 - Rua da Cintura do Porto de Lisboa

Place. The place is something I had to struggle with in this workshop. In a way I wanted to find the perfect place that is already given to us by nature. So I kept looking out for topographical changes which slow down our movement automatically. I began to think that I needed to follow a streetgrid to get the best potential out of my architecture. The truth is that I was, once again, trying to hide my architecture or put my architecture in the background. Or not even trying to attempt to create architecture at all. So now I chose a place that is more or less neutral, there are mostly joggers or bikers passing by that create a strong axis long the riverside. The riverside in Lisbon in general is, as it seems, under huge reconstruction lately. As it is in all cities that we went to in our trips, the connection to the water is very difficult until today. In many cities it had to do with the history of the place. In Tallinn the waterfront is in bad memory with all the citizens because it used to be a military war zone not too long ago and the rest of the waterfront is covered with the port. In Ljubljana the water used to be the sewer of the city, so it used to smell badly, that is why the facade are not naturally turned to the water. In Haifa it was very similar to Tallinn, that the axis to the water was completely cut off with the construction of the port in the sixties. In Innsbruck the riverside was surprisingly well used, even though the actual access into the water was not possible in the city center. This leads me to my impression of the connection to the water in Lisbon. The port or multiple ports are along the riverside close to the city center! Which is of course natural, but the railway tracks are also a big impediment! Only at the Parca do Comercio the axis right to the water is given, along with the newly refurbished waterfront along the Sao Paulo promenade. And again in the direction of Alfama the waterfront seems to open up. Which also leads me to the argument of why did I chose the waterfront? The path that I chose is manly used by people doing sport. Its a neglected are in Lisbon which is newly coming to life, I believe. At this point I can try my interception with the people and the materials around them.

Sequences through spaces My main idea stated with the idea of the atlas. One material and two impressions. To be more precise two impressions do not even cover it, it is solemnly a start into the world of surface and material reflection. As an architect it is our job to bring light into a dark space. Peter Zumthor starts his way of designing with a space that is completely covered in darkness, only then he starts to create openings to ensure the best lightning, natural lightning, possible. Architects do not design a house to then call the electioneer so they can install the lightening where ever its needed. Architects make conscious decisions of where to open up a wall to flood the light into a certain space. Openings not only allow light to enter but openings also allow people to look inside and more important it allows people to have a glance outside. Openings are the most important element in architecture in a way, one opening determines many factors. Where is the private part that the owner does not want to show to the outside? What is a great place outside that needs to be seen from the inside? In my case, I will only create openings in the roof, since the surrounding area is not the key element that I want to show in my temporary museum. It is the material inside that I use. There are 7 different materials that I found in Lisbon that I want to use in this temporary museum: Cobble stone, tiles, limestone, plaster, concrete, wood, polished stone. These materials can be found on faรงades inside, outside or on the ground. To make the materials as comparable as possible I stated to design with a box of 4x4x4 meters. To ensure the golden ratio I always but two boxes behind each other, which creates a room of 8x4x4 meters. Within each room there is only one material shown, the rooms are separated with a wall with a small opening along the side walls, which will create new glances towards the next room to create this constant curiosity of the visitor. These measurements are difficult to deal with because they can easily seem like a ware fair container that just portraits that material. My task as an architect is to try and create spaces with certain quality. In my case its all about the quality of light juxtaposing materials. To ensure the maximal diversion between the rooms I decided to also play with the width and hight of the room, but only a little bit. From the outside the museum will appear as one block, but in the inside the rooms will vary immensely. Zumthor also said that there are different stages of intimacy. There are things around you that are much bigger than you, but there are also things that are much smaller than me. The bigger things are the once that tend to intimidate us. Thus, I want to consider the scale of materials within my temporary museum. The way I started my design process is based on tectonics. I take my block and I will compile them in ways to create different spaces that will meet my idea of the program.

Program

Program - same but different

Materiality Visions and Diagrams

White

Dark

Tiles

Platser

Concrete

Lime Stone

Polished Stone

Wood

Cobble Stone

Black

Materiality

Light

Index

Index 1 Lisbon Sketch..................................................................................................................................................................................6 2 Half-timbered houses, Siegen industrial region, Germany, 1959-1973 / Photography by Bernd&Hilla Becher..................8 3 Bernd&Hille Becher........................................................................................................................................................................9 9 Blast Furnace................................................................................................................................................................................10 4 Grain elevators.............................................................................................................................................................................10 8 Winding towers.............................................................................................................................................................................10 5 Water Towers................................................................................................................................................................................10 6 Gravel and stone-breaking works..............................................................................................................................................10 7 Gasometers...................................................................................................................................................................................10 10 Groundfloor Lehmbruck Museum, Duisburg...........................................................................................................................12 11 Manfred Lehmbruck..................................................................................................................................................................13 12 Sculpture by Wilhelm Lehmbruck.............................................................................................................................................14 13 Patio.............................................................................................................................................................................................14 15 Floorplan Lehmbruck Museum, Duisburg................................................................................................................................14 19 Section Lehmbruck Museum, Duisburg...................................................................................................................................14 14 Ambulatory.................................................................................................................................................................................14 16 Patio.............................................................................................................................................................................................14 17 Exhibition of modern Sculptures...............................................................................................................................................14 18 Sculpture courtyard...................................................................................................................................................................14 20 Google Maps Satellite Picture from Duisburg.........................................................................................................................15 21 Alvin Baltrop - Days end, Photograph courtesy of e-flux.com..............................................................................................16 22 Sketch for Days End, 1975.........................................................................................................................................................16 23 Gordon Matta-Clark Day’s End, 1975......................................................................................................................................16 24 Gordon Matta-Clark ‘Days End’, 1977, Obsessive Collectors archive................................................................................ 16 25 Untitled, Gordon Matta Clarks sketchbook............................................................................................................................16 26 Gordon Matta-Clark Days End, 1975.......................................................................................................................................16 27 A Skyspace by James Turrell, Photograph Florian Holzherr...................................................................................................18 28 James Turrell First Light, 1989 – 90; 20 etchings in aquatint Installation view © James Turrell. Photo Peter Huggins.......18 29 Skyspace © 2017James Turrell..................................................................................................................................................18 30 within without, Interior ©2017 James Turrell.............................................................................................................................18 31 James Turrell, Skyspace Rice University, Rice Skyspace, Sunset...........................................................................................18 32 Seldom Seen, James Turrell. Ph. Peter Huggins.......................................................................................................................18 34 within without, Exterior © 2017James Turrell............................................................................................................................18 33 Skyspace © 2017 James Turrell.................................................................................................................................................18 35 Firminy-C, Le-Corbusier..............................................................................................................................................................20 37 Kunsthaus Bregenz, Peter Zumthor ..........................................................................................................................................20 38 Brick House, Caruso St John......................................................................................................................................................20 36 LFone, Zaha Hadid ....................................................................................................................................................................20 39 Brick House, Caruso St John......................................................................................................................................................20 40 Heydar Aliyev Centre, Zaha Hadid .........................................................................................................................................20 41 Kolumba Museum, Peter Zumthor .............................................................................................................................................20 43 Hélène Binet, Glasgow (2010)..................................................................................................................................................20 42 Pavilion Zaragoza, Zaha Hadid.................................................................................................................................................20

European Architecture 11 Workshops at 6 Universities +1 Masterâ&#x20AC;&#x2122;s Thesis The two-year training is structured around a series of 8 project workshops + 1 reflective workshops at 6 different higher education institutions: Urban planning as well as architectural and artistic issues â&#x20AC;&#x201C; open questions virulent to the cities & regions of the participating universities â&#x20AC;&#x201C; will be examined at all scales; multidimensional planning processes, design and communication strategies constitute integral parts of a democratic culture of building to transform existing buildings and urban quarters with regard to ecological sustainability. Problems will be resolved in the context of cultural heritage and pre-existing structures. The postgraduate programme is a unique and innovative approach to international architectural education: it combines the idea of the classical artist journey with the intensive, interdisciplinary and project-oriented workshop tradition and teamwork, focusing on acute topics generating architectural knowledge and dialogue across greater Europe between cities as Tallinn, Lisbon, Helsinki, Dessau, Ljubljana, Innsbruck and Haifa.