OMA Netherlands Embassy Case Study

Page 1

N E T H E R L A N D S O M A

A R C H I T E C T S ,

J O A N N A C A R L O S

E M B A S S Y,

2 0 0 3

L U O , M I C H A E L J I M E N E Z

M A T T H E W S

B E R L I N



T H E

E M B A S S I E S

O F

T H E

N O R D I C

C O U N T R I E S ,

B E R L I N

N O R D I C E M B A S S I E S M A S S I N G

D U T C H E M B A S S Y M A S S I N G

copper wall

mass

d i s t i n c t

b l o c k

unified block

void

circulation cuts The Critical Reconstruction project in Berlin since the fall of

unified block

d i s t i n c t

b l o c k

communism has strived to create a unified architectural experience through instating regulations about the size of

defined block

buildings. New building projects must fill the site entirely by extending to each of its four corners, and fall within a height requirement. The Nordic Embassies and the Dutch Embassy both comment on this restriction, but in different ways. The former uses the formality of the strict block to create unification, while the latter fills the four corners of the

block edge

site but also uses the distinct cube to break away from the block.

combined block

combined block


U N F O L D I N G

A N D

F O L D I N G

T H E

T R A J E C T O R Y

politics

fitness cafe

meeting room

entrance

internet space

public works

post

deputy

ambassador roof terrace


T H E

T R A J E C T O R Y

A S

A

S E Q U E N C E

adjacent residences

Rem Koolhaas argues that Berlin is a city of voids due to its insistent awareness of its war-torn history. Bombings have created absences across the city in otherwise dense areas. Koolhaas continues the presence of the void in the city to give the Netherlands Embassy a sense of identity and context. It achieves a high level of contextual relevance by allowing this voided trajectory to fuse with the facade of the building, creating overlooks of the city.

O F

V I E W S

street

tv tower

park and river


T H E

T R A J E C T O R Y

A S

A

S E Q U E N C E

red mirror

The views are carefully calculated at each stage of the building. For example, the view of the TV Tower (a prominent communist icon) piereces through the wall and cube of the building and can be seen from the ground level by a pedestrian as well as in the building itself. Periodic views throughout an

otherwise

claustrophobic circulation path give the trajectory a sense of time. This concept is reinforced by the use of color as well, allowing it to punctuate and distinguish certain stages along the entire route.

O F

C O L O R

green trajectory

orange lighting

yellow lighting


P R O G R A M

level

1

S H A P E D

level

2

level

entrance trajector y

B Y

3

T H E

level

4

T R A J E C T O R Y

level

level deputy office

press

admin

post waiting room

sky box

deputy office

meeting room

meeting room

reception

offices

offices

offices

offices

Spaces Shaped by Trajector y

6

ambas office

internet room

Circulation Path

level

public works

entrance hall

multi-purpose room

5

7

level

8

level

9

level

politics

fitness

cafe

offices

offices

lounge meeting room

10

level

roof terrace

11


S E C U R I T Y

A L O N G

T H E

T R A J E C T O R Y

section A

L I V E

WORK

PARK

The Dutch Embassy emphasizes the security of openness, by separating living and work spaces. The access road between the cube and the reisdential wall acts as a courtyard open to one side to allow a panoramic view over the Spree and the park.

section B

B

A circulation spaces public spaces private spaces

The trajectory of the Dutch Embassy defines the programmatic requirements. Public spaces line along the trajectory, such as meeting rooms, fitness area, and cafe. The workspaces are the ‘leftover areas’ after the trajectory was ‘carved’ out of the cube and situated along the facade. A continuous trajectory reaching all eight stories of the embassy shapes the building’s internal communication.


T H E

M A S K

O F

B E R L I N tra ns l uc e nt

The exterior of the Netherlands Embassy appears to be a conservative structure governed by the conventions of West Berlin. The regularity of the cube’s glass and steel facade uses materials that emphasize OMA’s overall approach to the design of the embassy: the obedient approach (strictly fulfilling the block’s perimeter) with a disobedient one (building an isolated cube). The range of opacity of the materials used on the facade of the building highlight the public spaces that graze the exterior and provide strategic views of the Spree and the TV tower. There are two different types of broad glass walls, which include occasional sliding elements, and also of plates-lacquered steel bearing a large number 50, the address of the building below on the KlosterstradBe.

clear glass

tinte d g las s

p e r f o rate d s te e l

b r us he d s te e l

re inf o rc e d c o nc re te

opa que


T E C H N O L O G Y

A I R F L O W

D E T A I L

S E C T I O N

3 -

o

-

o

-

+ +

o

o o

-

o

-

o +

o +

o

o

o

+ + +

2o

-

metal slats sunshading coating

south facade section

1

2

safety glass

double pane glass stretch metal cover

north, east, west facade section

1 trajectory contains pressurized air

1 air moves through grill openings

2 air passively moves into office space

2 slots with preset openings sized for program

3 negative charge pulls air outside into facade

3 self-regulating air valve, preset for temperature

24mm 100mm

10mm

1

o

3

S E C T I O N S

trajectory wall section

16mm

-

o

+

W A L L

40mm

S E C T I O N

100mm

A I R F L O W

F A C A D E

32mm

P E R M E A B L E

safety glass

double pane glass sunshading coating sunshading coating


S T R U C T U R E A T E A C H L E V E L

S T R U C T U R E

The structure of the embassy is highly irregular, but from the facade it is

dynamic: the façade is nothing else than an envelope or a filter between interior and exterior. In Koolhaas’s project there

level

relation allows us to put light on a new

8

difficult read the complexity. This

is not an immediate relation between the two spaces. The building envelope just covers the function of border. This

The skin also creates a strong, defined boundary between the interior and

level

ornamental function.

7

dynamic frees the shape from any

exterior, as if the facade is a mask. Although this limit allows the structure

level

2

contrary it hides it behind a veil.

level

not reveal it in its true essence: on the

4

to define itself through a shape, it does

C O N S I S T E N T

I N C O N S I S T E N T

elevator core load-bearing mullions

walls columns


R E L A T I O N S H I P P R O J E C T I O N S C U B E

T O

C O N T E X T P R O J E C T I O N S

F R O M

O U T W A R D

T O

C O N T E X T

C O N T E X T

F R O M

I N W A R D

T O

C U B E

skybox

view to the tv tower

A meeting room projects over the

The TV Tower is a strong symbol

courtyard space, cantilevered by

in Berlin representing the former

giant trusses. Passerby can see

communist regime. A void carved

into the meeting space, creating a

from the ground level in the park

dialogue between the public and

cuts through the cube and the wall

the ambassadors.

to frame a view of the tower.

trajectory

entrance from courtyard

The most transparent part of the

The TV Tower is a strong symbol

building winds throughout the

in Berlin representing the former

interior, carving its presence into

communist regime. A void carved

the two exterior facades.

from the ground level in the park cuts through the cube and the wall to frame a view of the tower.

core The

residential wall elevator

provides

A residential wall adheres to the

structure and the mechanical core

Critical Reconstruction city code

houses

of

which specifies that all four

performative equipment. They

corners of the site have to be built

pierce through the roof, exposing

up. It also frames the cube from

a stable center around which the

the major road to the north,

trajectory can wind.

reorienting the cube towards the

the

core

majority

river to the south.


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