Narrative Architecture Where Old Meets New Luke Kvasnicka
Table of Contents
Introduction
4
Neues Museum
8
Musee d’Orsay
18
Industrial Revitilization
26
Conclusion
34
Bibliography
36
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Introduction
The renovation or transformation of existing structures lends itself to the creation of narrative spaces that can relate the architecture to its urban and historical context. The high density of European cities and tumultuous history of the past century has combined to create ample opportunities for architectural dialog between abandoned or forgotten structures, and contemporary design. The dialogs address a diverse range of themes that attempt to contextualize and strengthen the architecture through a calculated narrative. The juxtaposition of old and new architecture implants in the head of the viewer a comparative system of analysis which can be manipulated through the arrangement of spaces, materials, social relationships and sensory experiences. Comparisons between old and new foreground particular built dialogs that range from memorialization, to the rejection of history, and attempt everything 4 | Narrative Architecture
from synthesis to complete contrast. The way in which architects join the old and new at both the macro and micro levels, sequences a narrative that is both intentional and interpretable. These allegorical spatial conditions are threaded through the urban fabric of Western Europe and serve a varied mix of narrative purposes.
Given the proliferation of such projects it seemed apt to structure a discussion of narrative architecture around the themes being expressed and the methods of storytelling. Looking at particular, detailed examples of material, transparency, and sequence with an understanding of both the historical and urban context of projects will offer a case study of narrative methods. These modes of design become the literary devices that, when assembled and grammatically structured into particular sequences, reveal
the intended thematic elements. This brand of temporally infused architecture operates in a particular contextual fashion in that it demands a certain understanding of historical context and contemporary style in order for the full wealth of allusions to be unveiled. The best examples of narrative architecture offer a focused understanding of space and how architecture defines it both physically and temporally. This study is interested in buildings which use both physical and sensory devices in a thematic sequence that slowly unveils larger goals and agencies inherent in the space. It is concerned with the way in which these themes contextualize and situate the building within its urban landscape.
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The particular brand of narration investigated here evolves in the gap between architectural renovation and conservation that offers a discreet range of projects for review. Architectural conservation as it is defined in its broadest sense by the The Venice Charter outlines means by which we can preserve and prolong the integrity and history of mankind’s built heritage through focused interventions. Conservation bookends one side of this papers spectrum of consideration, while purely aesthetic renovation on the opposite end of the spectrum either ignores or hides the historical narrative of the built environment. It is important to distinguish that in an age of industrial loft conversions and historical applique, that there is difference in significance between a mere renovation, even which exposes elements of the previous structure, and a carefully composed spatial narrative. This paper will only consider projects whose rich and multi-modal methods of integration between old and new unfold in a narrative sense that indicate a higher function of design. Luke Kvasnicka | 7
Neues Museum An historic building brings a personal awakening: the past lives on in us, neither forgotten, nor preserved in aspic -Katherine Angel The Neues Museum (‘New Museum’) on Museum Island, Berlin, was the second museum to be constructed on the central island on the Spree River and was initially conceived to hold the ever expanding collection of the neighboring Altes Museum. In 1842 Friedrich August Stüler, a student of the Altes Museum architect Karl Schinkel, was appointed to the position of royal architect to the King of Prussia, Frederick William IV. That same year the king decreed that the entire northern part of the island would be dedicated to art and culture and in 1850 the addition of the Neues Museum marked the first step in a cultural project that continues to present day. The similarity of these first two public museums in Prussia evidences the relationship between their designers as well as the limited number of precedents that existed for the program of a public museum(see fig.) Each museum macroscopically is conceived as a central circulation well that lies at the intersection of a 8 | Narrative Architecture
figure eight arrangement of exhibition spaces and galleries which encircle two interior courtyards. This spatial arrangement was the hybrid product of combining the forms of the stoa, rotunda and the roman domus. It was an arrangement that attempted to contextualize the contemporary ‘higher arts’ for the bourgeois through chronological groupings. These first public museums grappled with modernizing classical forms to cope with new programmatic requirements of the burgeoning industrial revolution.
Neues Museum - Friedrich St端ler
Altes Museum - Karl Schinkel
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The early history of the Neues Museum is critically marked by its pioneering role in utilizing modern construction techniques of the industrial revolution. The river island provided damp, unstable soil for the foundations of such a monumental building and required 2344 wooden piles to be driven up to fifteen meters deep to provide a stable footing. A steam engine driven pile driver was imported from America to expedite construction and iron fittings were used to suspend flattened ceiling vaults and create elegant and spacious interiors. Since its inauguration the museum has been in a state of nearly constant transformation as its collection is adjusted and relocated. The museums exhibitions have varied over time but tend to focus around pre-history, early human civilizations and Egyptian history. The historical importance of its displays only adds a further depth to the historicity of the building. The museum was heavily damaged during the war and was subsequently left vacant by the East German government due to financial constraints. Despite its central location and celebrity as a pioneering museum the shell of the building sat in ruin for over half a century until the reunification of Berlin.
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A master plan for the restoration and refurbishment of Museum Island was adopted in 1999, sparking the beginning of a major long term cultural project in the heart of Berlin that has since been listed as a UNESCO world heritage site. When David Chipperfield was awarded the commission to reconstruct this long abandoned testament to public education the importance of its tumultuous path was not lost on him. In 2003 work began to recover, organize and restore all existing elements of the broken building. In a jig-saw like manner Chipperfield worked with restoration architect Julian Harrap to exactly preserve the ruin he found. Working from this half destroyed ruin he aimed to refurbish the spaces in a way which acknowledges the beauty of the found ruin without celebrating the destruction. His somewhat paradoxical operation caught off guard parties that preferred typical designs for either an exact reconstruction of the original museum or a total departure from the buildings ruinous past. The building reads as a composition of the social and physical operations of its past. The light and unassuming additions add to the antiquity of the preserved portions. Chipperfield exquisitely merges the themes of modernity and rebirth with the state of arrested decomposition that manages to celebrate rather than mourn the volatile narrative of the museums past.
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Brick The unassuming delicacy of Chipperfield’s material palette fills in gaps in the preserved ruin like a conservationist might reassemble a fragmented piece of antique pottery. The off-white talc colored bricks are infill, which adds to the antiquity and character of the found remnants of the museum. Without allowing the building to become a monument to decadence, the materials help to create spaces which quietly recognize the dramatic narratives which produced the current museum. The main entry hall for instance rises monumentally in the center of the building and the clean lines of the white stairs and bannisters celebrate the functionality of the central space. The orderly rows of beige brickwork rise to a massive wooden basilica roof whose solidity is undercut by the scorched and bullet ridden columns which support its base. The physical record of the original design, the destruction of the war and the optimism of the renovation
are captured in sectional cut that feels vaguely geological. Each layer of material adds an element to a narrative of rebirth where a museum has emerged from the scorching conflagration of its past to become a rich historical artifact. Most importantly, Chipperfield conveys a deep attention to the found object, assembling the materials of each space individually as a mix of preserved structure and infill conditions which detail a historical process that can be read in the materiality of the spaces.
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Program The decision to preserve the original interior sequence of spaces reinforces an important narrative of the original museum design, that of a public cultural center that presented a semi-directional procession, which lent itself well to exhibitions of historical objects. The organization retains Stßler’s original, somewhat idiosyncratic plan, which groups thin gallery rooms around two bright, central courtyards which but for a glass ceiling pierce the entire building. This plan allows for the display and grouped organization of different historical narratives without forcing exhibitions into a linear chronological display. The organization of exhibits mirrors the overall narrative of the building itself tending towards being an accumulation of the found environment rather than a dictatorial manifesto of history. The building would be a collection of short stories lovingly preserved and compiled together to offer a descriptive snapshot into the history of a physical space. 14 | Narrative Architecture
Visitors can wander anachronistically amongst galleries taking in a rich and overlapping historical narrative that parallels both the building and in a larger context the city. In the same manner that the city arises from a patchwork of different time periods, styles and ideologies so does this museum seem to pay equal respect to both the preserved, the ruinous and the reinvented building features. Where spaces were completely destroyed by bombing Chipperfield has sculpted new spatial volumes that help to highlight the most famous of the collections pieces like the Bust of Nefertiti. The unordered sequence of spaces performs like the building to offer a simultaneous and overlapping understanding of the project. The preservation of spatial configurations combined with a more open plan circulation helps reinforce the theme of historical aggregation that contributed to the rich and layered understanding of the contemporary building.
Cultural Context The narrative of the Neues Museum is only reinforced by its relevance to the cultural context of Berlin which, like the museum, spent nearly half a century recovering from the ramifications of World Word II and the Berlin Wall. The ordeal of its construction was mired by a larger allegorical discussion regarding the nature of preservation in Berlin. Chipperfield’s design before completion was decried on many fronts by those who favored complete reconstruction of the original neo-classical building as it was originally designed, and those who wanted to ‘reinvent’ the cultural center of Berlin into a monument to the ‘new Berlin’. Either of these anachronistic solutions offers only an architectural snapshot and not the rich historical narrative that Chipperfield manages to embed in the project. The material dialog marks a new beginning while the preserved structure speaks to the nearly sixty years of arrested development that plagued the 20th
century story of the museum and city. In the same manner that most of Berlin reflects on its turbulent past with a mix of sorrow infused with pride; so too does Chipperfield celebrate the old with the new in a manner which subtly acknowledges forward progress even while paying homage to the damage done by the war. Despite opening completely empty of artifacts in the spring of 2009 the building was met with positive acclaim, likely because Berliners were able to relate on some level to the narrative of destruction and rebirth that the museum manifested spatially.
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The Neues Museum is an allegorical narrative that mirrors the history of its home city through the creation of spaces that are appreciative of the found object as the product of a historical process of creation. The material dialog between decadence and a contemporary minimalism creates a contrast which manages to appreciate the narrative of the museums history without lapsing into ‘ruin nostalgia.’ The space is emblematic of the German tradition of historical awareness in a manner which seems to embody the many timelines that intersect this museum into one spatial condition that encompasses the diverse narratives of the buildings past. It skirts the dangerous ground of an anachronistic snapshot and offers a storyline that above all exudes honesty in its materials, organization and sensory effect. The Neues Museum dons its prophetically apt title now with secondary layer of understanding that blends together a historical narrative of the museum and the city into a celebration of Berlin’s post-unification renaissance.
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Musée d’Orsay “We looked at the old station as a contemporary object, without history... We regarded the original architect, Victor Laloux, as a companion in the metamorphosis of the station into a museum.” - Gae Aulenti The Musée d’Orsay tells the story of a diamond in the rough, a lost treasure reinvigorated by historically conscious interior design in a Beaux Arts style. The fairy tale begins in the destructive fire of the 1871 Paris Commune which burned the Palais d’Orsay to the ground. In preparation for the 1900 Exposition Universelle the land was sold to the Paris-Orléans railway for the construction of a new terminus station in the center of town on the bank of the Seine. Victor Laloux was selected in a competition to design the world’s first electrified urban rail terminal. The modern beaux arts style construction of the main hall was hidden behind a neo classical façade of the Hotel Drouot so that the modern station would not clash with the architecture of the surrounding aristocratic neighborhood. By 1939 longer, more advanced trains had made the station’s platforms impractically short, and over the next forty years the grand hall of the station 18 | Narrative Architecture
would be repurposed and underutilized until in the 1970s it faced demolition to make way for a modern hotel complex. It was saved by a revived interest in turn of the century architecture and in 1977 a commission was formed to organize the conversion of the old station into an art museum that would bridge the artistic gap of late 19th century art that was underrepresented by the Louvre, National Gallery and Pompidou Center. The most notable interventions to the space were undertaken by the Italian industrial designer, turned architect, Gae Aulenti, who undertook the task of renovating and organizing the interior of the derelict train station. Aulenti describes her approach to the restoration by saying, “We looked at the old station as a contemporary object, without history.” It would seem to be the complete antithesis of Chipperfield’s approach in Berlin, one designer seeing a ruin inexorably linked
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to its past while the other sees a found object, mysteriously ahistorical and comprehensible even without external references or contextual clues. Aulenti’s restoration of the grand space was heavily influenced by her involvement in an Italian architecture group known as the ‘Neo Liberty’ movement. This group sought to fix problems they saw with the diffusion of an international style of modernism by reviving the Art Nouveau movement (called Stile Liberty in Italy) of the turn of the century. While the group as a whole failed to stem the development of a modern style, Gae Aulenti’s use of Art Nouveau techniques and her experience designing sublime environments through interior design and lighting led to an extremely rich and elegant composition of the new Musée d’Orsay. In many ways the museum interior itself could be seen as an original work of art, inspired by and filled with art from the turn of the century. It is a Cinderella story of a building, frozen in time, pining after a lost era, seeking to capture and preserve in its fiction a lost moment in history. Luke Kvasnicka | 21
Art Nouveau Knowing the historical context of the buildings past it is easy to see the holistic composition as a small slice of history taken from the end of the 19th century, an artifact that represents the transition underway throughout the western world from academic art of the previous century to the international modern style to come. Art Nouveau criticized the tacky application of classical forms onto the structures of modernity. It chided the denigration of skill and craftsmanship and sought the pervasion of a rich and organic style that was truly modern in conception and execution. The name Art Nouveau comes from a famed Paris gallery called Maison de ‘Art Nouveau, which during the 1900 Exposition Universelle presented a concise and organized installation of furniture, sculpture and ‘objects de l’art’ that offered an overview of Art Nouveau modernism in every medium and form. The architecture of the Gare d’Orsay was itself a medium of expression for this new art form and many of 22 | Narrative Architecture
the core tenants resonate across scales and modes of artistic production. The movement built on Wagner’s idea of Gesamtkunstwerk, a total work of art that spans across mediums, uniting interiors and exteriors under a single visual vocabulary. Paris during the 1900 exposition was one of the few times when Art Nouveau was apparent in all its diverse forms, arguing for a new idea of modernism that eschewed false ornamentation for a sinuous and organic understanding of function. The Gare d’Orsay is one of the principal Parisian examples of Art Nouveau architecture that captures perfectly the fusion of technology and ornament, the meeting of modernity and craftsmanship that can create such magnificent interior spaces. The adaptations made to the Gare d’Orsay during its renovation into a museum were subtle, carefully calculated interventions that were largely functional, leaving the ornamental characteristics of the main space intact. The grand hall acts as a central nave and the gallery spaces were built up on either side of this main volume. This organization of a grand primary space ringed by secondary spaces is a common sequencing in Art Nouveau buildings. The main hall is a statuary displaying works in marble, and the light colored, roughhewn stone walls that have been seemingly dropped individually to enclose the main hall, begin to look themselves like statues, clearly functional interventions in
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a space that is itself artistic. The main hall is filled with light from skylights and massive arched clerestories creating a lively, boisterous atmosphere of modernity. The cacophonous space is bright, loud and places at the center of this museum an active and social space for both meeting and viewing. A hallmark of Gae Aulenti’s interior design is that people make spaces and ornamentation should not detract from the social atmosphere which creates a sense of place. As guests meander through the various galleries representing western European art from 1848-1915, they must repeatedly reencounter this main volume giving it a dynamic, exterior feel. This interlocution between the small scale galleries and massive central volume, the differences in volume of sound and light draw attention to the atmosphere of the main hall and capture the social dynamic of the Gare d’Orsay’s heyday. The material finishes found in the museum give credence to this work of historical fiction where Gae Aulenti’s distrust of contemporary architectural style manifests itself in a faux conservation attempt that tries
to re-inspire the original reaction of Edouard Detaille who prophesized, “The station is superb and looks like a Palais des BeauxArts…” The insertion of modern industrial materials serve, through contrast, to highlight the organic and daring nature of the original Art Nouveaux style cast iron supports. The renovation was received critically by many in the architectural press who perceived it as a regression back towards excess and ornament that was inappropriate as a contemporary style. The effect of visiting though is not an experience of contemporary architecture but rather of stepping into a relic, an ambiguous time machine that seems to flicker between past and present. The juxtaposition of old and new that in Chipperfield’s building subtly tells a historical narrative, creates through focused ornament and a degree of stylistic imitation an object, removed from the stream of time. This found object was recreated into a fictional narrative of an Art Nouveau building that found itself dropped into contemporary culture. It is the story of a museum without a past, trying to recreate a lost moment in history. Luke Kvasnicka | 25
Industrial Revival
The final narrative that abounds in the European condition is the futuristically focused, internationally appreciated tale of industrial gentrification. Although this is a tale of old buildings and contemporary renovations, the thematic implications of this narrative really concern the future. It is a linear story, not a cyclical one, which marks in a spatial manner the modernization of the human condition in western society and the advancement of technology over the course of the last century. Modern architecture that arose in the early part of the 20th century was strongly related to a new lexicon of an industrialized society both in its conception and construction. This was an idealist architecture that sought to improve the human condition through spatial interventions that reflected the increasing speed and functionalism of the modern condition. The trend now towards repurposing these dilapidated industrial sites marks a further progression of modernization. 26 | Narrative Architecture
The degradation of these buildings that were less than a century ago the designs for the future indicates the rapid and unforeseeable acceleration of human development. These renovations are stories of succession, of eclipse and replacement. They are a linear narrative that use found objects to mark a point of origin, a comparison to the modern condition. It is less important to understand the transition between old and new as it is to define a vector of progress which our society is moving inexorably along. Due to the varied and often semi-private nature of these post-industrial projects this paper will analyze specific features from several projects that reflect a trend towards the narrative of continuing development.
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Kraanspoor “Kraanspoor” (‘craneway’) is a three story transparent office building that sits atop a concrete road that is 270 meters long and 13.5 meters high. It is a shimmering transparent proof of the advancement of building technology and seems to hover over the concrete crane tracks that it uses as a foundation. This homage to modernity oozes futurism at every turn, its steel frame seeming to float on thin pilotis three meters above the concrete base. The ultra-lightweight structure is designed to use the maximum load capacity of the craneway on which it rests, showing the massive increases in structural efficiency that have become possible. The architect argues in his brief, that this building represents a seamless joining of old and new in a way that captures the energy of the old wharf. In reality the built condition is anything but seamless; it is a separation, a schism between two alternate paradigms. The old, brutalism of the concrete base has 28 | Narrative Architecture
been superseded effortlessly by the lightly floating transparent box that hangs above it. What was once a site of industrial blue-collar labor is now a highly sought after white collar office building, with gated entrances next to a private marina. It is not only the epitome of gentrification; it condemns in its structure the obsolescence of the previous industrial wharf. It is the hallmark of a ‘New Amsterdam’ that no longer needs its industrial functions, that has moved into a new age of human achievement that means increased leisure and comfort. The transparent glass structure that mirrors exactly the plan of its foundation is less of a combinatorial addition and more of a new and improved version of the wharf. The narrative is one of succession, a tale of obsolescence and rehabilitation whose plot follows the found object of the concrete craneway which has been transformed through modernity into a futuristic office building.
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HafenCity, Hamburg HafenCity Hamburg epitomizes the narrative of modern development predicated on a superficial industrial nostalgia. Sited along the Elbe River, this old warehouse district has become the largest rebuilding project in Europe by area and will feature a planned community of residential, commercial and cultural opportunities. The development offers a contrived narrative that attempts to preserve the maritime atmosphere of a wharf, while censoring the unfavorable industrial connotations it implies. The wharfs offer views and waterfront access to residences, businesses, restaurants and bars but despite the hulking presence of the old industrial cranes, no actual port activity will be present. The industrial chic design style is here in full force with recycled or textured bricks being laid to construct brand new buildings. The development is not a true renovation or conservation project, it is a complete remodel that attempts to imitate the themes of industrialization. It is understandable given
Hamburgs position as a major German port city that it would attempt to memorialize its maritime past; however, the oblique references to the industrial revolution strewn haphazardly throughout the contemporary development create a disparity which emphasizes Hamburg’s departure from its past. Although its port remains the second largest in Europe, the relocation of the working port to the south bank of the Elbe River physically and metaphorically divides this working economy from the narrative of the city center. It separates the historical and the modern and as one looks out from their modern HafenCity condo across the waterway to the working deep water port the applied nature of the developments industrial themes becomes apparent. The industrial nostalgia allows residents to swap the noisy, dirty reality of maritime trade for a glimmering, transparent applique of industrial chic that is a story of modernization and progress. Luke Kvasnicka | 31
Natuurhistorisch The natural history museum of Rotterdam reads in the context of the Museumpark like the first novel in a long discombobulated series. The original museum is the Villa Dijkzigt, designed in 1850 by J.F. Metzelaar for the wealthy Van Hoboken family as their home outside the city. The city continued to develop around this haven of green space and upon his death Anthony Van Hoboken gave the land to the city of Rotterdam to where it would be laid out as a Museumpark for the public. The new pavilion, which houses the main portion of the exhibit was added to the villa in 1996, a sequel that continued the trend of cutting edge contemporary architecture being added like objects onto the canvas of Museumpark. The new pavilion is a transparent reflection of the opaque permanence of the original villa. Like the Kraanspoor this project benefits from juxtaposing the old and new in complete contrast as a means of highlighting the progression that has occurred. The narrative 32 | Narrative Architecture
here however is not one of rebirth and revitalization but of conglomeration. The Villa Dijksigt and surrounding land have for 150 years been collecting a variety of buildings from the stately Museum Boijmans Van Beuningen, the modern Villa Sonneveld and contemporary Kunsthal. These have been placed as objects in the field of Museumpark and much in the tradition of post-war Rotterdam they simply relate to the period in which they were built and make no attempt to replicate the past or predict the future. These designs are like segments in a larger narrative, distinct books telling a single tale, each unit only vaguely referencing its larger context. The way this transparent addition is placed as an object and then joined to the old building makes no apologies for its contemporary design by trying to relate itself to the existing building but rather, by mimicking the formal size and shape of the original, it marks itself as a new chapter in the story of the museum.
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Conclusion The architecture of narrative space is structured as the combination of a found object, an existing building, and the creation of an architectural narrative that helps to orient and contextualize a new renovation. It is the narrative of the building, told through a series of architectural devices, that offers a deeper understanding of the buildings past and purpose. Some spaces recount a chronicle, a long sequence of events that coalesce to bring the architecture to its present state. In the Neues Museum, Chipperfield’s subtle handling of material and program operate as an allegory for the transformative process of the entire city during the 20th century. The unconcealed scars of history become a narrative of remembrance that acknowledges the past without succumbing to war nostalgia. While the Neues Museum offers a holistic and unedited account of its past, Gae Aulenti’s renovation of the Musée d’Orsay is a highly contrived fiction that yearns for a return to styles of the artwork it houses. Aulenti’s interior offers an imaginative fairy tale 34 | Narrative Architecture
attached to a relic from the 1900s and reflects the stereotypical Parisian hankering for a bygone golden era. The Musée d’Orsay as a narrative design opposes the current trend of industrial revitalization that prophesizes a forward looking narrative of modernization and architectural optimism. Juxtaposing old and new structures in a high contrast, comparative manner can propose a number of narratives depending on the particular use of transparency, modern materials and the historical found object. Often historical relics are preserved to mark the start of an unwavering vector of progress or to chart the development of the narrative through history. In the case of both Kraanspoor and Haatorhistorisch the juxtaposition of old and new elements relate to each other only in disparity and contradiction. In every case the specific treatment of modern interventions into existing structures begins to define an intentional narrative that relates the building to its urban and historical context.
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Bibliography
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von Rauch, Friederike, David Chipperfield, and Andrew Lepik. Neues Museum. Hatje/Cantz, 2009. Print. Wang, Shaoquiang. Transformer: reuse, renewal, and renovation in contemporary architecture. 1. Berkeley: Gingko Press, 2010. Print. Weaver, Thomas. David Chipperfield: Architectural Works 1990-2002. 1st ed. New York: Princeton Architectural Press, 2003. Print.
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