grundstein magazin thesis by David Innerhofer

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Impressum 02

Nobody goes into architecture because it’s quick and easy. There’s no siren’s call of money or power, and there’s just a tiny mouse-squeak promise of fame. Instead, the discipline requires, well, discipline: an unflinching capacity for late nights, glacial career advancement, and low pay. Hardship is an integral part of the professional culture. Many architects take pride in the inflexible, boot-camp trek to full membership, and with good reason: The few, the proud, the licensed. But while it takes 12 weeks of boot camp to make a Marine, it takes more than a decade to become an architect in the United States, from college matriculation to the final attainment of licensure. Year after year, schools produce a host of hardworking potential architects, eager to make their mark. How does the profession receive them? Not with an exam and a license for those who pass it, as law does, but with thousands of hours of work requirements and a degrading label: intern. That’s not much of a welcome wagon. It’s hard to blame Millennials who gripe about architecture’s cumbersome Intern Development Program (IDP) and an educational system that too often provides insufficient preparation for the realities of practice. The average time it takes in architecture to go from graduation to licensure is 8.5 years that’s an eternity compared to the one year it takes in law and the four years it takes in medicine. Under the circumstances, it’s no wonder that young designers increasingly question the value of licensure, that a third of those laid off during the Great Recession say that they will not be returning to architecture, and that the profession can expect to face a serious labor shortage in the not-so-distant future. Tyler Durden

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MY LIFE

DESIGN STORIES MADE IN ITALY

Chaos. German style.

Gemini Residence ‰

DESIGNPREIS DER BUNDESREPUBLIK DEUTSCHLAND 2013

Durchgeführt von

Banking. German style. www.forum.ua

INTERNATIONAL PLATFORM FOR ARCHITECTURE INTERIOR & PRODUCT DESIGN

Im Auftrag des

in architectura veritas

Index

Interview of the Fourteen Principals of Diamond & Schmitt Architects

Cantina Antinori

48 designed by Hans J. Wegner 27 architecturedesign porsche

dialog

Pins 08

PINS Buildings are rooted to their sites, which provides a context, orientation and reliable location. But what if a building slips from its site? Untethered, it begins to wander on its own, like a raft without rudder. How does our relationship change with an architecture that is continuously shifting from place to place? Do we follow it nomadically, or do we remain rooted to a geographic position and abandon the shell? What happens when an indeterminacy replaces a fixed site? What happens when foundations wander? Participates are asked to design structures that move periodically or continuously in unpredictable directions, without human control. New contemporary acoustic darling on the design scene: the James Turrell Skyspace, entitled Twilight Epiphany, at Rice University in Texas. Erected in close proximity to the Shepherd School of Music, the space is acoustically equipped for musical performances and as a laboratory for music school students. The pyramid esque structure is made of grass, concrete, stone and composite steel, and has a state of the art LED light performance built in that projects on to the ceiling and into the sky through the opening in the roof. The best bit? The roof changes color based on the sunâ&#x20AC;&#x2122;s movement. The composition of light is the perfect complement to the ambient natural light during sunrises and sunsets, and also doubles as a magnet for design enthusiasts and beautifully peaceful place for thought and introspection for all.

us Wüstemann is a top firm in the world. With a beautiful view over the lake of Zurich, all the windows disappear and the inside and outside patio become one. The inside and the outside are joined leaving only a concrete mass left.

he place: Autostadt in Wolfsburg, Germany. The client: Iconic car manufacturer Porsche. The architects: HENN. The result: A breathtaking waveinspired structure that resembles the curves of the cars Porsche makes.

The inside becomes a covered outside space giving a tranquil, hushed Mediter-

The sci-fi-esque pavilion is located in the heart of the theme park and is home to

ranean feeling in the northern hemisphere. With natural and raw materials like

a large open exhibition space for the brand’s contemporary car creations.

concrete, travertine or wood, the house takes on a modern zen monastery feel.

From mini-models to life-sized car creations, visitors are briefed on the iconic

Throughout the whole house indirect lights are giving directions, and attract

car company. The consensus: A contemporary building that is at once both

theperiphery of the spaces rather than the center. Achtung, Wüstemann!

innovative and spectacular to look at—and be in.

orora house by daniel marshall architects bridge stretching between the Hauraki Gulf and the pastoral landscape of Waiheke Island provided a stunning, and challenging, context in which to design a home. The home was

angling like a hushed, modern cave above the majestic splendor of the Mediterranean Sea, in the Israeli city of Old Jaffa, this lofty gem built by Pitsou Kedem Architects is housed in a building that is hundreds of years old.

built to work within the contour of the ridge as an attempt to minimize

The central idea was to restore the structure’s original characteristics:

the impact on the landscape. The plan form of the house is spaced between two

stone walls, the segmented ceilings and the arches, including the exposure of

courtyards, which are bridged by a gabled roof stretched across the long axis.

the original materials (a combination of pottery and beach sand).

The courtyards provide the opportunity to shelter from either of the

In short, a perfect marriage of old. The modernist aspect is expressed by the

two dominant winds. The masonry of the home is inspired by the gun emplace-

opening of spaces and the creation of an urban loft environment along with the

ments of Stoney Batter. The use of cedar and plywood precarious

use of stainless steel, iron and Korean in the various partitions.

weekenders of the island’s past.

In the end, the space oozes romance, history, harmony…and an earthy sexiness.

ixty-seven years ago, the city of Hiroshima, Japan, experienced one of the biggest catastrophes in human history but the future looks bright these days for the tranquil enclave. The Glass House by NAF Architect & Design is an Escher-like, simple glass house using a system of stacking large concrete building blocks on top of one another, creating what has been dubbed as “slow archi-

range House Private Residence by Yazgan Design Architecture Construction This colorful, photogenic private residence located in the hilly Bilkent district

of Ankara has been developed by the Turkish architectural practice Yazgan Design Architecture Construction. The three-storey 1050-square-meters

‘Orange House’ has a steel structure, double-layered walls and manifold

tecture.” The building also has a function of landscape which controls wind,

polychromatic light fixtures including rainbow backlit staircases and circular

light and green—giving the Glass House a glowing, jeweled aesthetic and

recessed floor lighting.

forging a modern future for the once beleaguered city.

Pins 10

ico Van Der Meulen Architects have done it again: the South African design experts created an open air, modular modern space for their latest client. The result is a visually striking space,stark in design yet bright and inviting to

the eye.

ontemporary acoustic darling on the design scene: the James Turrell Skyspace, entitled Twilight Epiphany, at Rice University in Texas. Erected in close proximity to the Shepherd School of Music, the space is acoustically equipped for musical performances and as a laboratory for music school students. The pyramid-esque structure is made of grass, concrete, stone and composite steel, and has a state of the art LED light performance built in that projects on to the ceiling and into the sky through the opening in the roof. The best bit? The roof changes color based on the sunâ&#x20AC;&#x2122;s movement. The composition of light is the perfect complement to the ambient natural light during sunrises and sunsets, and also doubles as a magnet for design enthusiasts and beautifully peaceful place for thought and introspection for all.

PINS

ew contemporary acoustic darling on the design scene: the James Turrell Skyspace, entitled Twilight Epiphany, at Rice University in Texas. Erected in close proximity to the Shepherd School of Music, the space is acoustically equipped for musical performances and as a laboratory for music school students. The pyramid-esque structure is made of grass, concrete, stone and composite steel, and has a state of the art LED light performance built in that projects on to the ceiling and into the sky through the opening in the roof. The best bit? The roof changes color based on the sunâ&#x20AC;&#x2122;s movement. The composition of light is the perfect complement to the ambient natural light during sunrises and sunsets, and also doubles as a magnet for design enthusiasts and beautifully peaceful place for thought and introspection for all.

lectrolux Cube Pop Up Restaurant is on the move! Fashioned across Belgium, Italy, Russia, Switzerland and Sweden, the restaurant will feed the public for three months per location. The Cube is created out of laser cut aluminum and will sit at the top of monuments and water platforms. The Electrolux Cube is an architectural treat, where the concealed dining table would drop from the ceiling to bring the public together over great food & goodies.

Gemini Residence

architektonisch verbindet kopenhagen seine andersen-träume mit denen des einundzwanzigsten jahrhunderts.

Architekten

Autor

Photographie

Diamond & Schmidt

Josef Bruckmann

Sasha Grey

Die nouvelle vague der Architektur wogen lassen Die Schönheit gestapelter Vorgärten Kopenhagen hat sich in den letzten Jahren enorm verändert. Zwar haben Städte wie Barcelona mehr Wirbel um ihre städtebaulichen Großtaten entfacht, doch den Dänen ist es im Stillen gelungen, sich mittels Umbau zu verjüngen. Erst wurde der historische Kern Kopenhagens um attraktive Kultureinrichtungen bereichert, dann wurden die nördlichen und südlichen Hafengebiete revitalisiert, und schließlich schuf man einen völlig neuen Stadtteil, der mit La Défense in Paris Schritt hält. Für Letzteren wurde ein aufgegebenes militärisches Sperrgebiet zwischen Christianshavn und Flughafen ausgewählt. Nun ist daraus Örestad geworden, eine fünf Kilometer lange Bandstadt, wo dänische und internationale Architekten die nouvelle vague der Architektur wogen lassen. Später soll Örestad Hauptstadt der Region Öresund werden, des neuen Verbunds von Dänemark und Südschweden. Schon pendeln viele Kopenhagener täglich über die Öresundbrücke nach Malmö, wo Santiago Calatrava ein neues Hafenviertel mit dem Wohnturm Turning Torso akzentuierte. Während Calatrava längst zu den gefragten Jetset-Architekten gehört, frappiert der Senkrechtstarter Bjarke Ingels erst seit kurzem die dänische Architekturszene. Der vierunddreißigjährige Kopenhagener, der vor wenigen Wochen den Auftrag für eine Null-Energie-Insel am Kaspischen Meer ergatterte, betreute mehrere Großprojekte in Örestad, darunter VM Husene, ein mit Julien de Smedt entwickeltes Ensemble markant geknickter Blöcke mit gezackten Balkonen und mehr als achtzig Wohnungstypen, dass zum architektonischen Manifest des neuen dänischen Bauens aufstieg.

Noch mehr Aufsehen erregte Ingels mit Mountain Dwelling, das er direkt neben VM Husene auftürmte. Es wirkt wie eine Revolution der traditionellen Blockstruktur - der umlaufende Blockrand wurde zugunsten von terrassenförmigen, übereinandergestapelten Wohneinheiten aufgegeben, das Vorgartengrün in den Wohnbereich geholt und jeder Fahrzeugstellplatz in das Gebäude integriert. Ingels‘ bezwingende Idee war, die elf Geschosse Eigentumswohnungen wie hängende Gärten über die Parkgeschosse zu schichten. So erblickt man im Süden die terrassierte, begrünte Dachlandschaft, während im Norden eine geschlossene Fassade überrascht, die mit perforierten Aluminiumplatten beplankt ist. Die Öffnungen lassen nicht nur Licht und Luft ins Parkhaus, sie wurden auch so ausgestanzt, dass von fern die Kontur des Mount Everest erscheint; ein amüsantes Aperçu im f lachen Dänemark. Örestad ist schon heute eine eigene Stadt mit ungewöhnlich gestalteten Büro- und Wohnbauten, Schulen, Shoppingcenter, Radiostation und Universität. Dazu kommt Jean Nouvels blauer Philharmonie Kubus (F.A.Z. vom 21. Januar). Dagegen zielt der innerstädtische Wandel Kopenhagens auf möglichst nahtloses Einpassen in die historische Bausubstanz. Das gelang insbesondere am Hafen, wo die Kopenhagener Architekten Lundgaard & Tranberg kürzlich das Königliche Schauspielhaus zwischen die Altstadt, den Hafen und den Nyhavn-Kanal setzten. Während der mehrfach geschichtete Baukörper mit der traditionellen Bebauungsstruktur korrespondiert, recken sich die auf aufgestelzten gastronomischen Einrichtungen waghalsig über den Hafensaum hinaus.

Cultural Centre | Gemini Copenhagen 12

Die neuen Kulturbauten Zu den neuen Kulturbauten am Hafen gehört auch Henning Larsens Oper, deren Dach weit über das Ufer von Christianshavn auskragt. Sie leidet darunter, dass mehrere Wasserstraßen den Weg zu ihr durchtrennen, weil Larsen sie der historischen Sichtachse zum Schloss Amalienborg und zur Frederikskirche einfügte. Deswegen müssen Besucher vom Schauspielhaus her derzeit noch eine kleine Bootstour unternehmen. Weiter nördlich, am Rande des Sören Kierkegaards Plads, wird inwenigen Jahren Rem Koolhaas‘ Dänisches Architekturzentrum wie ein geschichtetes Massiv über dem Hafenbecken ragen. Kopenhagen erwartet von dem Neubau, der kulturelle Einrichtungen, Büros, Wohnungen und Gastronomie aufnehmen wird, Auftrieb für das unattraktive Stadtviertel und den Wandel des Hafens zum Stadtraum. Das gleiche Ziel wird auch im Nord- und Südhafen verfolgt. Hier setzt Kopenhagen auf Adriaan Geuze, der die marodeHollandse Waterstad in Amsterdams östlichem Hafengebiet revitalisiert hat. So wurde der Rotterdamer Landschaftsarchitekt beauftragt, zusammen mit Julien de Smedt im südlichen Hafengebiet Kopenhagens, das unmittelbar an die Silo-Apartments Gemini Residence von MVRDV anschließt, ein spannungsreiches Grachtenviertel zu entwickeln. Hier, am Eingangstor zur Ostsee,

The converted twin silos were raw concrete cylinders, standing 42 metres tall and 25 metres wide. The hollow cores of the silos are used for the infrastructure of the building, stairs, elevators and hallways. The two silos are connected on each floor, giving the building a basic layout resemblying the infinity symbol, ∞. The two rotundas are capped with a Texlon roof for natural light, creating a lobby area as tall as the building itself, within which residents and visitors can move up and down.

ließ er wie Landmarken wirkende Hochhäuser errichten, Speicher in Bürobauten umwandeln und höchst differenziert gestaltete Wohnblocks bauen.Geuzes Masterplan folgt dem Vorhaben der Stadtregierung, der Innenstadt mit ihrer typischen Kirchturmsilhouette Hochhäuser nur im nördlichen und südlichen Hafengebiet zu akzeptieren. Dem entsprechen auch Steven Holls spektakuläre, 65 Meter hohe Turmbauten, die künftig den Fährhafen zwischen den nördlichen Pieren Langelinie und Unicef-Plads durch eine Brücke verbinden und als weithin sichtbares Wahrzeichen der künftigen UN-City sowie als grandioses Stadttor dienen sollen. Angesichts der wirtschaftlichen Risiken scheint das inzwischen eher ein frommer Wunsch.

Cultural Centre | Gemini Copenhagen 14

Architects Friedrich Helmutson Architects Location Kopenhagen Project Team Laura Andreson, Marco Wander, Silvia Fabi, Year: 2011 Artistic Supervision Marco Wander Artistic Direction Assistant Gottfried Kolar Engineering Triumph Group Kopenhagen Client Elisabeth van Kope Budget â&#x201A;Ź 31,052,800

in architectura veritas Architekten

Bureau Union Autor

Joseph Krone Photographie

Melanie Halsband

Winery | Antinory San Casciano 16

The converted twin silos were raw concrete cylinders, standing 42 metres tall and 25 metres wide. The hollow cores of the silos are used for the infrastructure of the building, stairs, elevators and hallways. The two silos are connected on each floor, giving the building a basic layout resemblying the infinity symbol, â&#x2C6;&#x17E;. The two rotundas are capped with a Texlon roof for natural light, creating a lobby area as tall as the building itself, within which residents and visitors can move up and down.

Cantina Antinori SAN CASCIANO

More and more winemakers use architecture as a tool for branding their products. The studio Archea design for Antinori is one of many examples of this trend. Italy, and especially Italians, appears to be rediscovering the wine culture. Countless initiatives would seem to suggest this, like the annual opening of all wine cellars to the public, wine tastings, guided tours of the wineries and, last but not least, a recent tendency of companies and producers who, to promote their labels and increase their prestige, are turning to the large firms and the stars of the architectural firmament to build their plants, combining aesthetics with functionality.

The building by Mario Botta at Suvereto and the Mezzacorona winery by Alberto Cecchetto are just two examples of this trend. The relationship offers mutual benefits: for their part, the wine producers, some of them international leaders, become the champions and promoters of extraordinary architecture, while the architects use the famous wine brands to improve the quality and prestige of their architecture. This is the case with Marco Casamonti and his Florence-based studio, Archea, and their design for the Antinori winery in Bargino (Chianti). The headquarters of the Antinori company, which boasts branches all over the world, will move to one of the prettiest areas in Tuscany by the year 2008.

Winery | Antinory San Casciano 18

A plot of fourteen hectares has been allocated for the construction of a plant that will house almost 120 employees and accommodate hundreds of visitors, plus barrels and rooms for tasting, areas for fermentation and bottling, as well as a library and a kindergarten.

some of them international leaders, become the champions and promoters of extraordinary architecture, while the architects use the famous wine brands to improve the quality and prestige of their architecture.

The project presented by studio Archea is landscape building, an underground shell that merges with nature. Just two cuts in the land remain visible from the road, two discrete incisions that follow the slopes cut through the hills of one of the most beautiful regions of Italy. The internal structure is completely hidden; almost all of it is below ground, and its numerous vaults echo the surrounding hills with their rhythms and forms. The roof of the building is a grass mantle, covered by vineyards. The rural appearance of the exterior, the miracle of the nectar made from the fruit of the land is thus combined with the sacral appearance that has always been associated with the idea of wine, and that is also evoked by the vaults faced in terracotta.

Win

nery The project presented by studio Archea is landscape building, an underground shell that merges with nature. Just two cuts in the land remain visible from the road, two discrete incisions that follow the slopes cut through the hills of one of the most beautiful regions of Italy. The internal structure is completely hidden; almost all of it is below ground, and its numerous vaults echo the surrounding hills with their rhythms and forms. The roof of the building is a grass mantle, covered by vineyards. The rural appearance of the exterior, the miracle of the nectar made from the fruit of the land is thus combined with the sacral appearance that has always been associated with the idea of wine, and that is also evoked by the vaults faced in terracotta.

We wonder whether this landscape-building will be able to add allure to the name of a wine that already carries great prestige and, vice versa, hope that an enlightened client will, in true Tuscan tradition, allow the realization of a project that has all the makings of a â&#x20AC;&#x161;DOCâ&#x20AC;&#x2DC; building. The relationship offers mutual benefits: for their part, the wine producers, some of them international leaders, become the champions and promoters of extraordinary architecture, while the architects use the famous wine brands to improve the quality and prestige of their architecture.

Winery | Antinory San Casciano 20

This is the case with Marco Casamonti and his Florence-based studio, Archea, and their design for the Antinori winery in Bargino (Chianti). The headquarters of the Antinori company, which boasts branches all over the world, will move to one of the prettiest areas in Tuscany by the year 2008. A plot of fourteen hectares has been allocated for the construction of a plant that will house almost 120 employees and accommodate hundreds of visitors, plus barrels and rooms for tasting. The project presented by studio Archea is landscape building, an underground shell that merges with nature. Just two cuts in the land remain visible from the road, two discrete incisions that follow the slopes cut through the hills of one of the most beautiful regions of Italy. The internal structure is completely hidden; almost all of it is below ground, and its numerous vaults echo the surrounding hills with their rhythms and forms. The roof of the building is a grass mantle, covered by vineyards. The rural appearance of the exterior, the miracle of the nectar made from the fruit of the land is thus combined with the sacral appearance that has always been associated with the idea of wine, and that is also evoked by the vaults faced in terracotta. We wonder whether this landscape-building will be able to add allure to the name of a wine that already carries great prestige and, vice versa, hope that an enlightened client will, in true Tuscan tradition, allow the realization of a project that has all the makings of a ‚DOC‘ building. The relationship offers mutual benefits: for their part, the wine producers, some of them international leaders, become the champions and promoters of extraordinary architecture, while the architects use the famous wine brands to improve the quality and prestige of their architecture.

Architects Archea Associati Location Bargino, San Casciano in Val di Pesa, Firenze, Italy Project Team Laura Andreini, Marco Casamonti, Silvia Fabi, Giovanni Polazzi Year: 2012 Artistic Supervision Marco Casamonti Artistic Direction Assistant Francesco Giordani Engineering HYDEA Client Marchesi Antinori srl Budget € 85,052,831

www.rolf-benz.com

Das Re-design.

Lucky Strike. sonst nichts.

architecture design porsche

Museum | Porsche Stuttgard 24

Eigentlich ist das neue Porsche-Museum, das am 31. Januar eröffnet wird, kein Haus, sondern eine Brücke – zumindest, wenn man es aus der Perspektive der Ingenieure betrachtet. Denn die auf drei Stützen schwebende weiße Blase, für die 6000 Tonnen Stahl verbaut wurden (für den Eiffelturm waren es 7300 Tonnen), konnte nur dank modernster Konstruktionsmethoden aus dem Brückenbau real isiert werden. „Vor fünf Jahren“, so der Wiener Architekt Roman Delugan, „hätte dieses Gebäude so nicht entstehen können.“

The central draft concept was the translation of the versatile and vivid brand into the language of architecture. Das von den Wiener Architekten Delugan Meissl Associated Architects gestaltete Porsche-Museum fällt auf. Die faszinierende Ausstrahlung des monolithisch geformten, fast schwebenden Ausstellungskörpers zieht die Blicke auf sich. In der mutigen und dynamischen Architektur spiegelt sich die Philosophie des Unternehmens wider. Es soll ein Zeichen des Ankommens und der Annäherung setzen und die Besucher mit sanfter Geste willkommen heißen – so die Widmung der verantwortlichen Architekten

Autor

Photographie

Tyler Durden

Sasha Grey

Mit ihrem Entwurf haben es sich die Architekten von Delugan Meissl zum Ziel gesetzt, einen Ort des sinnlichen Erlebens zu schaffen, der die Authentizität der Produkte und das Leistungsspektrum sowie den Charakter von Porsche widerspiegelt. Zudem soll es dem Porscheplatz eine unverwechselbare Gestalt verleihen. Das Museumsgebäude aufgrund seines außergewöhnlichen Designs für Aufsehen: Ein dynamisch geformter, monolithischer Körper wird von nur drei Betonkernen getragen und scheint über dem Boden und dem Erdgeschossniveau zu schweben. Dieser Anblick wirkt auf den Betrachter ungewöhnlich, aber präsentiert sich gerade dadurch besonders reizvoll, da das Gebäude sichtbar die Dynamik der Marke Porsche in Architektur übersetzt. Mit dem neuen Museum ist ein Ort entstanden, an dem Beständigkeit, Traditionsbewusstsein, aber auch Innovationsfreude deutlich sichtbar und spürbar gemacht werden. Bei dem diesjährig erstmals ausgerufenem internationalen Markenund Designwettbewerb des Rats für Formgebung suchte eine Expertenjury in 12 Kategorien nach herausragenden Design- und Branding-Leistungen der Automobilindustrie. Das Porsche-Museum überzeugte die Fachkundigen in der Kategorie „Architecture & Events“ und gewann damit den begehrten Titel „Best of Best“. Prämiert wurden die Innenarchitektur und das Ausstellungskonzept des PorscheMuseums, welche in Zusammenarbeit mit den Spezialisten des Stuttgarter Architektenbüros „hg merz architekten museumsgestalter“ erdacht wurden. Wir bedanken uns für diese Auszeichnung, die einmal mehr die Einzigartigkeit des Gebäudes und die besondere Gestaltung des Ausstellungsrundgangs unterstreicht.

DMA Architects | Porsche Museum Stuttgard 26

DMA Architects | Porsche Museum Stuttgard 28

Architects Wenzel + Wenzel Architekten Location Germany Stuttgart Project Team Delugan Meissl Associated Architects Year: 2012 Artistic Supervision Martin Jossti Artistic Direction Assistant Delugan Meissl Associated Architects Engineering Drees & Sommer Client Dr. Ing. h.c. F. Porsche Aktiengesellschaft Budget â&#x201A;Ź 85,052,831

Dynamik und Geschwindigkeit, Statik und Stillstand In einer Art Nestbautechnik mit 12000 unterschiedlich geformten Stahlträgern wurde die große, vielfach geknickte Halle so konstruiert, dass die 80 historischen Porsche-Modelle in einem einzig en stützenfreien, hohen Saal auf mehreren Ebenen gezeigt werden können. Eine spiralförmige Straße, die im selben strahlenden Weiß gehalten ist wie der Inn enraum, führt in einer leichten, verwinkelten Steigung an der Außenwand auf die drei Ausstellungsebenen. Unterschiedl iche Treppen – steile, f lache, schmale, breite – überbrücken zusätzlich die Höhenunterschiede. Noch spektakulärer als die Innenwelt mit ihrer GletscherhölenSchönheit stellt sich das Äußere des auf geschätzte 100 Millionen Euro teuren und rund 24000 Quadratmeter großen Automuseums dar. Mit ihm leistet sich Porsche als Letzter der großen deutschen Autobauer (nach Volkswagen, Daimler und BMW) eine Erlebnisarchitektur als Visitenkarte. Auch hier setzen große Knicke und eigenwillige Kanten einen Geg enakzent zur Porsche-Schule der eleganten Kurven, entwickeln dabei aber ihre ganz eigene dynamische Linie. Da der Baukörper hochgestemmt ist, bis zu 60 Meter frei schwebend auskragt und eine abstrakt organische Form hat, erscheint er wie ein monströser Rochen, der im Wasser steht.

Zumal der Bauch des Ausstellungskörpers verspiegelt wurde, was die Meeresassoziation verstärkt. Um das dreibeinige Gebilde zu betreten, das die späte Erfüllung konstruktivistischer Architekturvisionen der zwanziger Jahre zu sein scheint, geht man unter ihm hindurch zu einem geduckten, natürlich weißen, zackigen Lobbygebäude mit Cafe, Shop und gläserner Oldtimerwerkstatt. Von hier sticht dann eine spitz zulaufende Rolltreppe direkt in den Bauch des schönen Ungetüms. Wie gewagt diese Architektur tatsächlich war, beschreibt Projektleiter Martin Josst mit einer Anekdote. Als er den Statiker einmal fragte, ob wirklich nichts schief gehen könnte, antwortete dieser: „Ich habe immer einen vollgetankten Porsche vor der Baustelle stehen.“ Porsche, eine Weltmarke, die Innovation und Tradition konsequent verbindet. Die über 100jährige Firmengeschichte ist geprägt von Leidenschaft und Vision. Mit dem neuen Porsche Museum wird ein Ort geschaffen, der der selbstbewussten Haltung und dem hohen Anspruch des Unternehmens architektonisch Ausdruck verleiht. Wissen, Glaubwürdigkeit und Entschlossenheit sind ebenso sehr Teil der Firmenphilosophie, wie Mut, Begeisterung, Kraft und Unabhängigkeit.

DMA Architects | Porsche Museum Stuttgard 30

»The new Porsche museum represents our conception of a rchitecture w hich is consta ntly mov ing in the field of interaction bet w een buildings a nd their users.« Rom a n Deluga n

Jede Idee wird als Chance verstanden, sich offensiv neuen Herausforderungen zu stellen, und Grenzbereiche auszuloten. Das Museum verkörpert genau jene Position, Exklusivität zu repräsentieren, ohne abzugrenzen, Tradition widerzuspiegeln, ohne auf den lebendigen Austausch zu verzichten, die Porsche so unverwechselbar machen. Die zentrale Entwurfsidee bestand darin, die vielseitige und lebendige Marke in eine architektonische Sprache zu übersetzen. Das Museum weist jene spezifischen Bedingungen auf, die dem Besucher die Marke Porsche räumlich und sinnlich vermittelt. Dynamik und Geschwindigkeit, Statik und Stillstand werden sowohl an der Konfiguration des Gebäudes als auch an der räumlichen Vermittlung erfahrbar. Mit dem Museum wurde ein offener, klar definierter Ort geschaffen, der sämtliche markenspezifischen Qualitäten in sich trägt. Tempo und Leidenschaft finden darin ihre räumliche Entsprechung und können im sinnlichen Erleben eindrücklich nachvollzogen werden.

„Erfahrung“ und „Erfahrbarkeit“ dienten durch jeweilige räumliche Zuweisungen im architektonischen Grundkonzept als primäre Entwurfsparameter. Die scheinbare Gegensätzlichkeit der architektonischen Form steht als adäquate Antwort bezogen auf die Funktion des Hauses und der Sonderstellung ihrer Exponate.

Dialog

Walt Ramilton © photo by Sasha Grey

guess is the other side, but who knows? And I think it’s a big question mark at the moment but clearly there are two schools and you are firmly situated in that second school … DSAI: We’re the first school. The other’s the second school.

And his argument was things like St. Peter’s, which was built at the

nadir of the Catholic Church and the Church was not an admirable

institution at that point. And there are many the AT&T building, which

was an important building when it was built, and soon after, AT&T sold

when we’ve got such a solid long tradition of how we actually conceive of buildings. DSAI: I think the strength of this practice is, that we are in both

camps, yet what you obser ve is the strength of the tradition. Architects have aspired to build ver y complex buildings for a long time. The stadium in Beijing and all those complex geometries that come with plastically molded buildings really are computer

not so much about an idea or an institution…

DSAI: It’s like the couturiers who do something outrageous in

order to get recognition. And it’s also a real estate drive: the instant address so that you can lease it. It’s easy to do an iconic building. It’s only solving one issue. It’s not resolving a complex set of issues.

kind of starting from scratch, which is a really dangerous thing to do

architecture for 2,000 years so the other side might be right but they’re

WR: The iconic building, is it a vehicle to meet the client’s needs,

DSAI: It’s interesting that when there’s an excessive building, it can be an indication of the decay of institution psychologically.

WR: The strength of your school is that this is how we’ve been doing

years, you guys may be obsolete or the other side may be obsolete. My

great building it meant it was putting energy in the wrong direction.

it.

your computers away, this office could still function I assume. In 50

couldn’t do it. And the other school doesn’t rely on them. If I took all

without computers and if you took the computer away the architect

two schools. I mean there are buildings which could not be produced

WR: It seems to me today I look at the work or at architects and I see

Interview of the Fourteen Principals of Diamond & Schmitt Architects

WR: Lawrence Peter pointed out that when an institution built a really

DSAI: The buildings and the scale of the buildings have changed, but our approach hasn’t. One of the issues that has always engaged us and interested us has been innovation. The energ y that innovation brings to a project is something that is invigorating for ourselves, for the clients, and for the success of the project. The green room at Humber Guelph was an important innovation. The University of Guelph was retained by NASA to find out if they could green Mars, if they could in fact grow things there. Guelph built a chamber that would replicate the conditions on Mars and then experimented to see what would grow in that circumstance. Out of that came this bio-filter wall of living plants to cleanse the air that we’ve applied now to four or five buildings. The air system is drawn through as it goes back to recirculate and it goes through the green wall. It’s purified by the natural process and the toxicity goes out through the roof. I think we may be the first ones to have done that.

WR: How has the architecture of the firm changed over the years?

DSAI: The practice was founded in 1975. It has gone from a sole practitioner to a group of associates to a partnership. Now it’s a corporation with 14 principals. You don’t get taught the business side in architecture school. It’s a point of pride not to know about money in architecture school. The size of the projects has changed geometrically, but we really wanted to keep this a boutique, a company that works like a studio.

WR: When was the firm founded?

dialog

in Dialog with A.J. Diamond

DSAI: During design, the computer is used to represent an idea or help to visualize an idea that has already been determined, or already exists, and you want to see what it looks like, to tr y and get a sense of it spatially. A design takes a while to evolve. It just requires time to cook. And sometimes you can tell somebody’s drawn something on a computer and it looks like they’re getting to an end point ver y quickly and it doesn’t look like it’s fully resolved, but it’s looking ver y finished. The computer will give a kind of an authority to a set of ideas which is out of sync with the level of resolution. It gives legitimacy to it at a much earlier stage. The issue here is about conceptualization and what is the best tool to conceptualize design. And drawing, it’s a bit like seeing faces in clouds. As you draw you see new things. The computer doesn’t allow that imprecision.

plays in your practice.

weeks and you lost something. And I wondered what role the computer

so instead of eight weeks for the baby to come out, it came out in two

problem with the computer was that it speeded up the process,

WR: I came across this quote by Renzo Piano where he said that the

architecture, not an end in itself.

DSAI: No. But graphics should be a means to an end in

WR: But does that mean they’re mutually exclusive?

I think quite often the reason we get beautiful looking and bad buildings is that they’re really not based upon the experiential aspect, the life of the building, or the resolution of the problems within it, they’re based upon a graphic. You can make buildings graphically gorgeous on paper but the graphic representation of the building isn’t a representation of a building that has been worked out for its life and its experience. So I think the graphic design that has great beauty can translate into a building that is pretty sterile. But graphically it was gorgeous.

DSAI: Accident.

WR: Because ultimately they’re designing a …

DSAI: Sure.

WR: Can we move on to the form of all those buildings?

whatever your brain or even an algorithm can think of. There’s the ability to produce realistic renderings that look like you’re standing in front of the real building, and in fact f ly-throughsthese promotional walks through buildings where you can see ever y bit of the building long before any of it exists. You can determine exactly what you like and don’t like. The computer is a powerful tool. But it’s got so many applications and each of them has their purpose and the right time to use them. It comes back to what you think architecture should be about. And let me take an analog y in the contemporar y art field. I went to an exhibition recently and it was bread that was gaining mold. It was slices of bread and the whole artwork was to watch this bread change and its forms of mold and the colour of its mold. That kind sensibility in art is where the effect is not determined by the artist. It’s an artifact that’s determined by the phenomenon of its existence and its change. And I think that the architectural equivalent of this is the algorithm. It’s got nothing to do with function, it’s got nothing to do with the rational aspects of the life of the building, it’s to do with the artistic aspect. And the sensibility about architecture now is that it’s architecture for art’s sake. Architecture by definition isn’t art in that sense. They’re using architecture to make a large assemblage of artifact as an art object. Whereas we see art as a way of enhancing the building with the judgments that we’ve been talking about, where it’s in ser vice of something. It has to provide a function such as a laborator y or a museum or a hospital or a house. There are ways in which you have to live in that. These people are doing it with the algorithm or the artist who’s putting a cow in formaldehyde, it’s got nothing to do with the man-made controls of that, it’s as an artifact in a ver y peculiar manner. And that is where the divide lies.

DSAI: There’s the ability to produce these crazy designs,

building. So you write an algorithm and then a shape comes out.

WR: For the young Turks, they want the computer to create the

driven. It would take eons to draw out if you had to do it.

in Dialog with A.J. Diamond

DSAI: We are interested in the way buildings are made and we are interested in making them durable. But the lightness in our buildings is in both senses; the lightness of the building as an object, but our concern for natural light. I think that that ver y much permeates the work. Really, it’s seeing that as an essential quality of space, of really tr ying to deal with light in the best manner in terms of the content and the context. How we handle light-if you bring it in from the side or the top, whether you bring it through big or small apertures - all of that I think really does feature ver y much in our work. And it has to do with a kind of an attitude actually to design in the first instance relative to program. Often architects make the mistake of bringing a preconception to a project, whether it’s a set of their preoccupations or a set of stylistic preoccupations or an …

DSAI: It’s form for form’s sake. It has nothing to do with

arch of today? Is it the gothic arch?

DSAI: It’s taken hold of the public consciousness. Is it the pointed

precedent.

nothing to do with clients or functions or anybody. So there is

of perspective and the renaissance that consumed architecture. It had

architecture, but there is an argument, for instance, with the discovery

WR: As I said, I’m skeptical of the computer and it’s impact on

DSAI: Sensibilities change. Fashion changes in a profound way. Ever ybody is famous now. Once upon a time there were masters of architecture and they were few and now ever ybody’s a master. And it’s a kind of celebrity idea: ever ybody can be great. And the problem is that what does that do in aggregate for a city if in fact there are not those who will make ever yday buildings. Ever ybody has to be a celebrity. Ever ybody has to be a master. There are no masters anymore because ever ybody’s one. When you use that extraordinar y technolog y as a means and not an end, then it’s in ser vice to something that you’ve thought through conceptually and used your judgment on. Whereas if it’s simply the demonstration of how exceptional and extraordinar y you can be, if that’s the point of it, it’s not a worthwhile point. I think that the computer is like giving a child an AK-47. It’s too powerful and they can do anything with it. And because you can do it, doesn’t mean you should do it.

on what we like.

architecture at one level. Not at all levels but I think it has a big impact

I think style is the kind of expression of taste but taste is what drives

architecture taste is enormously important, actually more than style.

anymore. It really comes out of this sort of visual taste and I think in

fashion; looking at those round arches and saying they’re no good

how he couldn’t explain it in any kind of rational way. It’s partly about

TK Somerson wrote a wonderful essay about gothic architecture and

WR: It’s going to affect the cultural production one way or the other.

DSAI: Amateurs and ideolog ues are the same. An amateur has a vision of a house they want to build in the Caribbean but that vision is a chateau. Before they had money they thought, “Wouldn’t it be lovely to live in a chateau?” Then they have money and they build it regardless. The amateur has a picture in his mind, a picture from a magazine. The idealog ue is the same thing. Regardless of the circumstances they bring their ideolog y to it. The instincts about shape and form that they bring— they tend to impose on the project. One of the things that we spend a lot of time doing is designing from the inside out, which is spending a lot of time listening and tr ying to understand both the functional demands of a particular project, but also the attitudes and goals and culture of the institution we’re designing, tr ying to find an architecture that is not imported from without but actually found through the necessities of program, the logic of the operation and the user’s needs. And then out of that derive a form and a set of design approaches.

WR: Ideological approach.

the character of the building.

It’s just another means of producing a design approach.

architecture. I think it’s just part of the landscape we’re in.

WR: I think the way the building is built is a big part of your work. The

architecture is made out of how it’s put together. So it becomes part of

WR: No, it’s not an accident because you’re getting a very consistent

set of forms. They’re organic forms.

DSAI: I think it also requires courage on the part of the client. Some have an extremely limited view about what’s possible and you can expose them to a much broader and more ambitious scheme in order to satisf y their requirements, but they may not have the courage to go there. The architect can bring a vision to it if in fact there’s a well-stated problem. And you can help them state the problem. Our clients are not always individuals with a sing ular view. They are stewards for public money and they have a different criteria for their performance. Largely it’s in the next two years: is this going to come in on time and on budget? And I think our challenge often is to say, “That’s important and that’s obviously where were going to get to but you’ve got to look 10 years out. You’ve got to look 20 years out. What is the legacy of this project? We’ve got to decide what constitutes success and the definition of what that success might be. There are some clients whose idea of success would be that they get major press coverage, twenty minutes of fame, but maybe that’s their objective. There are others who want longevity and want success in terms of the operation and there are others who want it to have low operating and maintenance costs. I think that that’s an interesting thing for us to discuss with clients: what do you think success is for this project. And there are lots of levels of success, the operational end, the design recognition end, the design prize end, the fundraising. We’ve had experiences where part of your client is not working toward the good of the building and the life of the building. We love librarians because they live in the building. They know the intimate life in its truest sense and the necessity of a building is the life of the building. It’s not simply a summar y of a washroom and a stack and a corridor. If you can get those things aligned, the vision, and the people who control the purse strings, I think that is the key.

ings. That a very engaged, even demanding client is important.

WR: I think we often acknowledge that good clients make good build-

situations?

DSAI: The beginnings of a good client is one whose values are similar. They may not understand architecture or what you do but they have a set of values that are simpatico. I think that that’s one aspect of it. The other aspect is that while they will be tough about what they want, they’ll also be respectful about the way in which you accomplish it. What’s lost in that circumstance is an opportunity for discover y and collaboration. DSAI: One thing that does run through our buildings, and not all of them, but our attempt is the opposite of what Venturi called “The Easy Unity.” His Easy Unity was a reg ular grid or a reg ular window pattern that tried to narrate the program. We use our buildings to tr y and describe or narrate or exhibit the content. That’s one aspect, and it’s fairly consistent. Another key characteristic is the preoccupation with the architectural promenade - the stairs and routes through buildings. Within complex programs, finding clarity for the design of the public realm in a building - stairs, corridors, halls, courts - is ver y much a preoccupation. In terms of the envelope, its expression, there is an increasing preoccupation with solidity in substantial contrast to transparency. A kind of ethereal minimalism. Tr ying to dematerialize the screens between indoor and out in contrast to the heav y substantial masonr y which is captured in shape and shadow and punched windows. Stockhausen talked about the contrast between the individual and the “dividual”, a word he invented. His theor y is that the apex of art has to do with the artist resolving two conf licting and opposing ideas. And what are the two polar opposites in architecture? It’s the defined volume, because we’re dealing in space, that’s our medium, and it’s the deliberately destructive volume. The Barcelona pavilion versus a Rome or the cellar of the temple.[I suspect this transcription is inaccurate – it‘s Jack’s quote, if you look at it] Those are the polar opposites. It’s not done for it’s own sake but done as a way to appropriately enclose the functions. It’s the play of the solid and void, not just as a material thing but as a volumetric thing. So that you get transparent voids and transparent volumes and you get opaque volumes, and we play with them depending upon the levels of privacy required. If we were to be perfect in our resolution between those two polar opposites, we’d be really resolving architecture at its highest and best.

WR: What is it that makes your buildings look the way they do and

do they just look one way or do they look different ways for different

WR: What makes a good client? Because architects always talk about

the importance of the client.

»It’s a n a rtifact th at’s determined by the phenomenon of its ex istence a nd its ch a nge.« A.J. Di a mond

in Dialog with A.J. Diamond

DSAI: There’s a practical question to that on how buildings

weather, given the extremes here of that climate, you have to address them. So the envelope and how one handles that envelope and how one deals with the harshness of the weather is also characteristic of our work. The social dimension is also something that we’ve beg un to understand we have to deal with as architects. Because the world is more and more isolated, I mean it’s encapsulated. Children are becoming socially inept because they spend their time in front of the computer and don’t deal with people. Understanding those issues, the social dimension, that also characterizes the work that we do. I think one of the things we intuitively understand about architecture is its power to transform the institution. A great building will absolutely transform the institution and facilitate its institutional life. It will change it and it will change it in dramatic ways, powerful ways, it’ll strengthen it. But it’s ver y hard to define that dimension. And how can you measure that transformative capability of the buildings that we do? We understand it and I think where we succeed is when clients understand that, whether it’s intuitively or in a more rational way and engage in allowing that to happen. But how you measure that, I’m not quite sure.

approach in that sense than from one to another?

DSAI: There are certain themes that we all share common beliefs in. Things such as the integrity of the materials that we use. You won’t find a building of ours where we’ve painted wood. Wood is left in its natural state. So there is an authenticity. A calming vocabular y if you like. Our buildings var y hugely in their expression but the principles are consistent. There’s an excitement to that, but it’s not looking to express that excitement in a ver y busy way. There is still that simplification happening at the same time.

to solve the problem. And not the opinion that there is only a single orthodoxy or approach. And whether it’s in terms of selection of materials, config uration of spaces, the way in which entrances are dealt with, there’s not a single way to do it. The contextual issues for us has always been about how things fit, politically, socially, physically, climatically. I do believe in a kind of regionalism. The thing that I take exception to in Mies is the apocr yphal stor y about him, about how he was explaining how to design a building in the Arctic and how he would design a building in the Sahara. For both, he said, “With glass and steel.” I think that there really are contextual questions. And those contextual question are ver y Canadian and ver y Toronto. And I think we’re part of that school.

DSAI: It comes from responding to different points of view of how

In terms of the appearance of the building.

WR: And how would that express itself chiefly would you say?

opposition to the iconic building which clearly doesn’t pay attention to its context. Contextualism, whether it’s the immediate one of shaping outdoor spaces in relationship to the city, or the larger political and social context, really does characterize our work.

DSAI: It’s obvious to us that the context is important in

in his work than it does in yours.

a little bit flexible but I think the context plays less of an important role

in terms of a kind of modernism which isn’t absolutely minimal and it’s

looking at them, there’s a lot of parallels with someone like Renzo Piano

WR: I think the contextualism is important because as superficially

WR: The issue of weather. You would think that is a Canadian trait

somehow. I’ve always thought that.

WR: Is the sense of coherence of buildings pretty consistent across

projects? Or is there any sense that a project demands a different

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Interior | Furniture 40

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Interior | Furniture 42

Bei der Designerlampe Aplomb wirkt der Beton mal ganz puristisch und geometrisch . Deckenleuchte mit Edelstahlhalterung und Diffusor aus geblasenem Glas in den neuen Farbkombinationen mit glänzender Fertigung, außen farbig und innen weiß. down.

Strukturelle Betonung Alles aus Beton Zu Beton als Baumaterial muss wohl nichts Zusätzliches mehr gesagt werden. Auch Sichtbeton und Betonmöbel haben längst einen festen Platz in den eigenen vier Wänden gefunden. Wie aber sieht es bei den kleinen Details, den dekorativen Wohnaccessoires aus? Auch hier hat das Material Beton sein raues und kühles Image abgelegt und ist – sozusagen – salonfähig geworden. Was genau macht Beton so überzeugend? Die Liste der Vorzüge des Materials ist lang: vielfältig, strapazierfähig und individuell formbar - Beton kann in nahezu jede beliebige Form gegossen werden.

Nicht zuletzt ist Beton auch ein sehr ökologisches Material. Es besteht ausschließlich aus den natürlichen Materialien, Zement, Sand oder Kies und Wasser und lässt sich somit leicht recyceln und verarbeiten. Auch einige Designer haben sich von dem spannenden Material verführen lassen und widmen sich dem Beton Design. Darunter findet sich auch der Designer Jochen Korn mit seinen massiven und zugleich eleganten Schreibtischutensilien Block. Ein ganz besonderer Blickfang ist außerdem die Lampe aus Beton Aplomb von Foscarini. Die Designer Paolo Lucidi und Luca Pevere verbinden hier gekonnt puristisches Design mit dem außergewöhnlichen Material.

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Interior | Furniture | Product Culture 46

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Interior | Furniture | Promotion 48

»A w ell thought-out construction ca n be its ow n decoration.« Hans J. Wegner

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schwerpunkt Einerseits stigmatisiert - andererseits zelebriert

beton

Kaum ein Material vereint so gegensätzliche Assoziationen in sich. Einerseits stigmatisiert, andererseits zelebriert, erregt er die unterschiedlichsten Empfindungen. Die ersten Eisenbeton-Bauten entstanden um 1900 – heute ist Stahlbeton über 100 Millionen verbauten Kubikmetern im Jahr der wichtigste Baustoff Deutschlands.Sein Potenzial scheint fast unerschöpf lich und immer neue innovative Anwendungsweisen machen ihn zu einem wertvollen Material für neue Architekturkonzepte. Im Folgenden wirft Architonic einen Blick auf das Material an sich, neue Technologien und eine Auswahl an interessanten Projekten, an welchen diese zum Einsatz kamen.

Don‘t let anyone else use it. It doesen‘t like it.