A C O M P A R AT I V E A N A LY S I S ON T H E T H E M E O F G E O M E T RY
Altes Museum – Neue Nationalgalerie Karl Friedrich Schinkel – Mies van der Rohe
Heijkoop,V. (Vivianne)
Karl Friedrich Schinkel Altes Museum
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Mies van der Rohe Neue Nationalgalerie
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INDEX
INDEX E S S AY A N A LY S I S
7 9
3.1.1 Dimensions
12
3.1.2 Dimensions - proportions colonnade
16
3.1.3 Dimensions - position of columns
18
3.2 Columns - classical proportions
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3.3.1 Composition of the facade - repetition
20
3.3.2 Composition of the facade - variation
22
3.3.3 Composition of the facade - rhythm
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3.3.4 Composition of the facade - symmetry
26
3.3.5 Composition of the facade - hierarchy
30
3.3.6 Composition of the facade - similar proportions
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3.4.1 Order or spaces - repetition and variation
34
3.4.2 Order or spaces - rhythm
36
3.4.3 Order or spaces - symmetry
38
3.5 Geometry
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7
8
E S S AY
Rules as guidance, not as principle
“Architecture is composition”. (Ungers, 1964) This is
Schinkel’s Altes Museum”. (Durth & Roland, 2007) Yet, in
the message of the inaugural lecture of O. M. Un-
their appearance they are not convincingly similar.
gers. In architecture many disciplines and elements
At first sight they appear rather different in their
are brought together, that need to fit in one con-
expression and shape.
stituent whole. Bringing together these elements
The Altes Museum presents itself as a harmonious
and disciplines isn’t always an easy task. It demands
whole, as it finds through lineamenta “its inner rest
creativity and practice to come to a satisfying com-
in the worthy form and order” (Apelt, 2016) (Analysis 3.5).
position. A guidance to achieve this, as argued by
It is designed from a system of walls, consequent-
Ungers, is “to construct a framework of rules.”. (Un-
ly giving a repetition of floorplans at the different
gers, 1964) When a set of rules is taken as the design
levels. (Analysis 3.4.1) The dimensions of the volume
principle, relations are defined and repeated that
relate to each other, for the building is based on
will lead to harmony in the design. (Thiersch, 1883)
returning measures.The dimensions of the Rotun-
These rules could be taken as either an absolute
da are similar in height and width, and return in
criteria or taken by own interpretation. However,
the width and length of the floor plan. (Analysis 3.5)
Durand warns us for disposition: “Only when it is
The visible element of the Neue Nationalgallerie
fitting and it is economical, it will become the source
for the city is the volume that shapes the top floor,
of the pleasurable sensation that buildings convey to
placed on a large podium. The podium hides the
us.”. (Durand, 1802)
irregularity of the floor underneath. The design is based on a grid of columns that creates a free
Anyhow, who thinks that a strict set of rules is
floorplan to provide flexibility. The top volume
tedious and will lead to similar and reproducible architecture is wrong. Proof can be given by
presents itself firmly, though friendly as a floating
a comparison of the Altes Museum by Karl Frie-
slab on a transparent volume. It appears very clear
drich Schinkel and Neue Nationalgallerie by Mies
in all section, elevation and plan. (Analysis 3.5) The
van der Rohe.
roof slab is hierarchical and absorbs the attention from the volume. It is a geometry of clear bound-
These two buildings have been compared often
aries and rectangular shapes.
in architectural theory. The Neue Nationalgallerie
Both architects tackle the measures of their build-
by some is “interpreted as the modern equivalent of
ing from another perspective. Whereas
9
Schinkel describes the dimensions
van der Rohe”, 2016) Anyway, the Altes Mu-
from the visitor’s point of view1, Mies
seum and the Neue National Gallerie
describes the dimensions from a grid.
are both an analogy to the Greek Tem-
(Analysis 3.1.1) Nevertheless, in
ples of the Ionic order.
both sym-
metry structures the plan and hierarchy
Comparable to the Greek Temples, the
is given to the upper floor. (Analysis 3.4.3
buildings introduce themselves by a col-
) (Analysis 3.1.1)
onnade, an outside space that diverts from the buildings volume by an array
However, the careful eye will notice
of columns. This colonnade, though in
that these building are closer togeth-
the Neue National Gallerie present all
er than expected from its geometry.
around the building but by just two col-
When studying the dimensions, it is
umns and in Altes Museum only present
noticed that both buildings derive from
in the front façade but by 18 columns, in
the classical proportions of the ionic
plan appear in a ratio of 1 in 7. (Analysis
order. (Analysis 3.2) Schinkel treated this
3.1.2)
1 – “Eventuelly, I developed the following design for the building. It has a rectangular form of 276 feet 3 inches in length and 170 feet 4 inches in width.There are two interior courtyards, 57 feet long anf 52 feet 6 inches wide. Minus those two courtyards, there will be a floor area of 41,083 square feet.The height of the building up to the cornice is 61 feet. Of this dimension the lower story accounts for 5 feet 5 inches, the first story accounts for 20 feet 7 inches, and the second story accounts for 28 feet 3,5 inches. “ (Butterworth Architecture, 1989)
very strict in the composition, as every dimension relates to the Ionic order.
Now that this new knowledge is gained,
Though, not as prominent as in Altes
another look can be given to the ap-
Museum, similar proportions are to
pearance of the buildings, in a study of
be found in the Neue Nationalgallerie.
the façade. Both facades consist of a
Strongly abstracted the proportions of
repetition of elements. The repetition
2
the three main parts of the order – “a
of elements creates rhythm. (Analysis
pedestal, a column and an entablature”
3.3.1) (Analysis 3.3.3)
In the Altes muse-
– remain. Seen from the
um it is created through the elements
plinth on, the column height and the
themselves, as in the Neue Nationalgal-
thickness of the roof slab proportion-
lerie it is put forward through its de-
ally relate to the columns diameter ac-
tailing, by the strongly present lines in
cording to the Ionic order.
the building elements. Both facades are
These proportions are the ‘framework
clear and readable, through the repeti-
of rules’ for the Greek Temples of the
tion of recognizable elements. They de-
Ionic order. The Neoclassical architec-
scribe a meaningful pattern, and grant
ture has re-interpreted these propor-
hierarchy.
tions in their designs, and now Mies has
The facades solve a mystery in the plans
brought them back in what could be
of the Neue National gallery. From the
called modern classicism. (“Ludwig Mies
plan it appears that the dominant col-
(Durand, 1802)
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2 - “Just as, in general, an order comprises three parts, a pedestal, a column, and an entablature; and as we then distinguish within the pedestal a plinth, a dado, and a cornice; within the column a base, a shaft, and a capital; and within the entablature an architrave, a frieze, and a cornice: similarly, each one of these parts in its turn includes several others, which are themselves composed of other, even smaller parts” (Durand, 1802)
umns deviate from the strongly visible grid. (Analysis 3.1.3) As
Mies is often described as an architect of
- Apelt, H. (2016, 05 11). Lecture 3 Geometry.
the grid, this looks like a contradiction in his own design strategy. However, there’s good reason for
- Bohnstedt, L., Bühlmann, J., Durm, J., Thiersch, A.,
it. The study to the facade opens up a new dis-
& Wagner, H. (1883). Die architektonische Compo-si-
covery on the proportions. The facades of both
tion: Allgemeine Grundzüge die Proportionen in der
buildings can roughly be divided in three faces. To
Architektur die Anlage des Gebäudes; die Gestaltung
achieve harmony, Mies van der Rohe placed the
der äußeren und der inneren Architektur; Vorräume,
columns at such so that the outer faces of the
Treppen-, Hof- und Saal-Anlagen. Darmstadt: Diehl.
façade achieve similar proportions as the outer faces of the façade of the Altes Museum. (Analysis
- Butterworth Architecture (1989) K.F. Schinkel
3.3.7)
Sammlung Architektonischer Entwurfe, Princeton Ar-
According to Adolf Thiersch “The harmonious
chitectural Press.
emerges only through the repetition of the main figure in all the parts of the work.”. (Thiersch, 1883) When
- Durand, J. N. (1802). Précis of the Lectures on Archi-
reflecting this on the Neue Nationalgallerie, the
tecture. Section Three. Forms and Proportions.
repetition of elements, the rhythm and following rules of proportions result in a harmonious com-
- Durth, W., Roland, M. (2007); ‘Schinkel’s Order, ra-
position.
tionalist Tendencies in German Architecture’.
Ultimately it is evident that both buildings are
- Ludwig Mies van der Rohe. (2016, 06 27). Opge-
clear an readable buildings. The designs derive
haald van Kunstbus: http://www.kunstbus.nl/archi-
from the classical proportion, that in both func-
tectuur/ludwig+mies+van+der+rohe.html
tions as ‘the framework of rules’. However, in the design of the Neue Nationalgallerie the classical
- Ungers, O. M. (1964). What is architecture? In
order gives direction, yet no solution. Mies van
The rationalist reader: Architecture and rationalism in
der Rohe gives his own interpretation to these
Western Europe, 1920-1940/1960-1990 (pp. 318-
rules, and integrates them in a new structural sys-
322). London: Routledge.
tem. By the repetition of elements, the hierarchy given by the entablature and making right use of proportions, both buildings arrive at a harmonious composition. In the end two great pieces of architecture were found from a same set of rules, yet being very different in their expression and shape.
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8,8 m
16,0 m
27,7 m
16,0 m
9,1 m
9,1 m
4,9 m
4,9 m
17,4 m 37,6 m
17,4 m 37,6 m
9,1 m
9,1 m
6,4 m
6,4 m
8,8 m
8,8 m
84,2 m
16,0 m
27,7 m
16,0 m
8,8 m
84,2 m
Ground oor - 1:2000
3.1.1 Dimensions
The dimensions describe the key measurements of the building, as designed the architect. According to his own notes, Schinkel describes his design from what the eye sees, what the visitor receives as information when looking at the design. (Butterworth Architecture, 1989) Therefor, the measurements of Dimensions
the design are analysed from the visitors perspective/from within. Some dimensions are repeated due to the symmetrical layout of the plan. Butterworth Architecture (1989) K.F. Schinkel Sammlung Architektonischer Entwurfe, Princeton Architectural Press.
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64,8 m
64,8 m
A
64,8 m
B
64,8 m
A
64,8 m
64,8 m
Upper floor - 1:2000
A
64,8 m
B
Basement - 1:2000
3.1.1 Dimensions
The architecture of Mies van der Rohe is based on a grid. (Vandenberg, Dimensions outline Grid Reflection first floor
1998) In the Neue Nationalgalerie, the grid measures 7,2 m. All dimensions relate to this grid. The glass facade is set 7,2 m to the back compared to the roof., whereas the basement is a multiple of 14 by 15 times the basic grid measure. Vandenberg, M. (1998). New National Gallery, Berlin. London: Phaidon Press Ltd.
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6,7 m
6,7 m
8,6 m
8,6 m
6,3 m
6,3 m
1,65 m 8,8 m
27,7 m
16,0 m
16,0 m
1,65 m
8,8 m
8,8 m
16,0 m
84,2 m
27,7 m
16,0 m
8,8 m
84,2 m
Section A - 1:2000
6,4 m
9,1 m
23,3 m
8,6 m
8,6 m
6,3 m
6,3 m
1,65 m
1,65 m
9,1 m
6,4 m
9,1 m
23,3 m
9,1 m
Section B - 1:2000
6,7 m
6,7 m
12 m18,6 m
12 m 18,6 m
4,25 m 4,25 m 4,25 m 4,25 m 4,25 m 4,25 m 4,25 m 4,25 m 4,25 m 4,25 m 4,25 m 4,25 m 4,25 m 4,25 m 4,25 m 4,25 m 4,25 m
4,25 m 4,25 m 4,25 m 4,25 m 4,25 m 4,25 m 4,25 m 4,25 m 4,25 m 4,25 m 4,25 m 4,25 m 4,25 m 4,25 m 4,25 m 4,25 m 4,25 m
84,2 m
84,2 m
South elevation - 1:2000
3.1.1 Dimensions
In section the building can be divided into three floor,s each with a different ceiling height.The upper floor is the highest floor, making it hierarchical over the lower floor. Strongly present dimensions Other present dimensions
In elevation the building van be divided into three horizontal segments, a plinth, a base and an entablure. The columns of the front elevation are repeated every 4,25 m center to center distance. The measurements do not relate to each other according to a grid.
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7,2 m
28,8 m
2,0 m
2,0 m
8,0 m
8,0 m
7,2 m
18,0 m
28,8 m
18,0 m
64,8 m
64,8 m
Southeast elevation - 1:2000
Section A - 1:2000
Section B - 1:2000
3.1.1 Dimensions
In section the building can be divided in two floor, of which the upper floor has a high ceiling height “five times the height of a man” (Vandenberg, 1998) making it hierarchical over the lower floor. In both section and elevation the grid gives direction for the measures Dimensions outline Grid
of the building. All building elements are placed at a multiple of the basic grid size. Vandenberg, M. (1998). New National Gallery, Berlin. London: Phaidon Press Ltd.
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7
7
1
1
Ground oor - 1:2000
3.1.2 Dimensions - proportions colonnade
The measurements of the depth of the colonnade compared to the depth Dimensions
of the rest of the builin volume is according to a ratio of 1:7.
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A
7
7
1
1
B
Ground oor - 1:2000
3.1.2 Dimensions - proportions colonnade
The measurements of the depth of the colonnade compared to the depth of the rest of the building’s volume is according to a ratio of 1:7. Though, the colonnade in the design of the Neue Nationalgallerie is not determiDimensions Grid
nally present as it only consists of two columns along each facade. This is due to the economic and industrial system of the building.
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A
B
Ground oor - 1:2000
3.1.3 Dimensions - position of columns
The design of the Neue Nationalgallerie is based on a grid, yet one of the most dominant building elements deviate from the grid. The eight large Dimensions Grid
columns that carry the load of the roofslab are positioned in between gridline. Seen from the perspective of the grid, this seems dispositioned.
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2 1/4 d
2 1/4 d
5/6 d
9d
9d
9/10 d
d = 0,95 m
d = 1,3 m
Section of facade - 1:200
Section of facade - 1:200
3.2 Columns - classical proportions
The classical order deďŹ nes proportions and relationships of forms and dimensions of building elements in the design. With the diamter of the column taken as a base unit, it is analysed how the measurements of other building parts relate to the diameter. In both buildings the diameter proportionally returns in the design, according to the Ionic order.Though in the Neue Nationalgallerie its details Dimensions
are strongly abstracted, in the basic dimensions it is present.
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South facade - 1:2000
North facade - 1:2000
West facade - 1:2000
3.3.1 Composition of the facade - repetition
Repetition element 1 Repetition element 2 Repetition element 3 Repetition element 4 Repetition element 5
Repetition is the repeated use of elements that is not due to symmetry. The facade of the Altes Museum is composed from the repetition of elements. The front facade is treated differently as the composition exist sof columns. The side facades are treated equally and are composed by a repetition of windows.
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Southeast facade 1:2000
Northeast facade 1:2000
3.3.1 Composition of the facade - repetition
Repetition element 1 Repetition element 2 Repetition element 3
The facade of the Neue Nationalgallery is composed from the repetition. Each facade is equal in appearance, therefor the repeated elements are similar in all facades, excisting of a roof element, a column and a glass panel.
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South facade - 1:2000
North facade - 1:2000
West facade - 1:2000
3.3.2 Composition of the facade - variation
Variation are the deviating elemtents that appear only once, or twice when due to symmetry. The variation in the facades of the Altes Museum are at the edges. The Variation element 1 Variation element 2 Variation element 3 Variation element 4
columns at the edges appear in different shape than the other columns, or other parts of the facade. Furthermore, ornaments are placed at the edges to accentuate them. The variation gives the facade a startingpoint and an endpoint. In introduces as well as ďŹ nishes the facade.
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Southeast facade 1:2000
Northeast facade 1:2000
3.3.2 Composition of the facade - variation
The facades of the Neue Nationalgallery have no variation in them. The top volume and its facades appear the same on all sides. The variation is Variation element 1
found in the square and the basement, who are subject to the top volume.
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South facade - 1:2000
North facade - 1:2000
West facade - 1:2000
3.3.3 Composition of the facade - rhythm
Rhythm “is movement or procedure with uniform or patterned recurrence of a beat, accent, or the like.”. (Dictionary, 2016) In the Altes Museum the rhythm is caused by the interval of repeting elements. The variation sets a firm note at the beginning and end, introRhythm
ducing and finishing the equal rhythm in the middle. Rhythm. (2016, 06 27). Retrieved from Dictionary: http://www.dictionary.com/browse/ rhythm
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Southeast facade 1:2000
Northeast facade 1:2000
3.3.3 Composition of the facade - rhythm
In the Neue Nationalgallerie the rhythm is accentuated by the strong lines in the facades appearance, due to its detailing. The columns magnitude the rhythm and set a ďŹ rm note at the beginning and end, and in Rhythm
between. They proportionally interupt the equal rhythm in the middle.
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South facade - 1:2000
North facade - 1:2000
West facade - 1:2000
3.3.4 Composition of the facade - symmetry
Symmetry “is the correspondence in size, form, and arrangement of parts on opposite sides of a plane, line, or point; regularity of form or arrangement in terms of like, reciprocal, or corresponding parts.� (Dictionary, 2016) The front and back facade are absolute symmetrical. The side facades First symmetry Second symmetry
contain a shifted symmetry, as the dome is not centrally located in the building, but is set back due to the colonnade of the building. Symmetry. (2016, 06 27). Retrieved from Dictionary: http://www.dictionary.com/browse/ symmetry?s=t
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Southeast facade 1:2000
Northeast facade 1:2000
3.3.4 Composition of the facade - symmetry
Symmetry is the correspondence in size, form, and arrangement of parts on opposite sides of a plane, line, or point; regularity of form or arrangement in terms of like, reciprocal, or corresponding parts. First symmetry
The facades of the Neue Nationalgallerie are absolut symmetrical.
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South facade - 1:2000
North facade - 1:2000
West facade - 1:2000
3.3.4 Composition of the facade - symmetry
First symmetry Second symmetry Third symmetry Fourth symmetry Fifth symmetry
All building elements have symmetry in themselves..
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Southeast facade 1:2000
Northeast facade 1:2000
3.3.4 Composition of the facade - symmetry
First symmetry Second symmetry Third symmetry
All building elements have symmetry in themselves..
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South facade - 1:2000
North facade - 1:2000
West facade - 1:2000
3.3.5 Composition of the facade - hierarchy
Hierarchy are elements that appear more important due to their size, shape or position. The hierarchic element of the Altes Museum is the cornice of the entablure. The front facade has a differen hierarchical structure than the side First hierarchy Second hierarchy Third hierarchy
facades. In the front facade the hierarchy is constructed through the columns whereas in the side facades the hierarchy is constructed through the horizontal detailing.
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Southeast facade 1:2000
Northeast facade 1:2000
3.3.5 Composition of the facade - hierarchy
First hierarchy Second hierarchy
Similar to the Altes Museum, the hierarchic element of the Altes Museum is the a roof element. Subhierarchic to this are the columns.
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[WHY]
South facade - 1:2000
3.3.6 Composition of the facade - similar proportions
“Proportion is the relation of height to width.” (Durand, 1802) Similar proportions are found that occur in both buidings. Roughly speaking in both building the facades can be divided in three vertical faces.The proportion of the outer faces appears to be equal to each other. Each building has a striking element that rises above the structure. In Altes Museum this is the top of the dome, in Neue Nationalgallery this Proportions
is the upper floor. These volumes appear to have equal proportions in the facade. Durand, J. N. (1802). Précis of the Lectures on Architecture. Section Three. Forms and Proportions.
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Southeast facade 1:2000
Northeast facade 1:2000
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Ground floor - 1:2000
Repetition
Section A - 1:2000
Section B - 1:2000
3.4.1 Order or spaces - repetition and variation
The Altes Museum is designed from a system of walls, consequently resulting in a repetition of plan in all three floorplans. However, when anaVariation 1 Variation 2 Variation 3
lyzing the section, it appears that even though the rooms are repeated, they vary in ceiling height, creating different dimensions of rooms at each floor. It has repetition in plan but varies in section.
34
Section A - 1:2000
Section B - 1:2000
Repetition 1 Repetition 2
Section A - 1:2000
Section B - 1:2000
3.4.1 Order or spaces - repetition and variation
The Neue Nationalgallerie is designed from a grid to create a flexible space and a free floorplan. This creates the oppertunity for variation. The repetition in the Neue Nationalgallerie is found in its shape. The top volume of the gallery is repeated in both section and elevation, whereas Variation
the basement floor varies in dimension.
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Section A - 1:2000
Section B - 1:2000
3.4.2 Order or spaces - rhythm
Rhythm “is movement or procedure with uniform or patterned recurrence of a beat, accent, or the like.”. (Dictionary, 2016) The rhythm is given through the repetition of rooms, though not equal in Rhythm
size, they are equally placed at each side of a symmetry axis. Rhythm. (2016, 06 27). Retrieved from Dictionary: http://www.dictionary.com/browse/ rhythm
36
A
B
Basement - 1:2000
Section A - 1:2000
Section B - 1:2000
3.4.2 Order or spaces - rhythm
For the Neue Nationalgallerie it is more difficult to define a rhythm. The volume on top appears as a single tone, and due to the flexible plan, the tones are spread over the basement floor. Yet, similarities n the rhythm Rhythm
are found through the axis of symmetry.
37
Ground floor - 1:2000
3.4.3 Order or spaces - symmetry
Symmetry “is the correspondence in size, form, and arrangement of parts on opposite sides of a plane, line, or point; regularity of form or arrangement in terms of like, reciprocal, or corresponding parts.” (Dictionary, 2016) The plan shows one main axis of symmetry, giving absolute symmetry in the plan. In the other direction, two smaller segments are found to have Symmetry
symmetry in themself. Symmetry. (2016, 06 27). Retrieved from Dictionary: http://www.dictionary.com/browse/ symmetry?s=t
38
A
B
Ground floor - 1:2000
A
B
Basement - 1:2000
3.4.3 Order or spaces - symmetry
The upper floorplan shows two axis of symmetry, due to the cubic shape. Symmetry
In the lower floorplan a shifted symmetry is detected.
39
Section A - 1:2000
Section B - 1:2000
3.4.3 Order or spaces - symmetry
In section a similar story can be told. Due to the symmetry axis in the Symmetry
oor plan, the section appears to have an absolut symmetry as well. Again, the rotunda of the building has more symmetry axices.
40
Section A - 1:2000
Section B - 1:2000
3.4.3 Order or spaces - symmetry
Symmetry
In section symmetry appears only in the upper floor.
41
Ground oor - 1:2000
3.5 Geometry
By means of a geometry analysis it is tried to understand whether similar dimensions or hidden design principles are used to compose the building. In the plan of the Altes Museum, the dimension of the rotunda appears to relate to the width and length of the inner block. The width is twice Geometry 1 Geometry 2 Geometry 3
the size of the outer dimensions of the Rotunda (including wallthickness), whereas the length is four times the size of the inner dimensions of the Rotunde (excluding wallthickness).
42
A
B
Ground oor - 1:2000
A
B
Basement - 1:2000
3.5 Geometry
By means of a geometry analysis it is tried to understand whether similar dimensions or hidden design principles are used to compose the building. The design of the Neue Nationalgallery is based on a grid, bringing forGeometry
ward clear rectangular shapes in plan.
43
Section A - 1:2000
Section B - 1:2000
3.5 Geometry
By means of a geometry analysis it is tried to understand whether similar dimensions or hidden design principles are used to compose the building. Geometry 1 Geometry 2 Geometry 3
In the section of the Altes Museum it appears that the dimensions of the Rotunda as found in the plan, also exist in the section, as it is eqally high as it is in width.
44
Section A - 1:2000
Section B - 1:2000
3.5 Geometry
The Neue Nationalgallery knows a clear rectangular geometry. The Geometry 1 Geometry 2
topvolume is recognized in both sections, resting on a base, the basement oor.
45