El Croquis 120 - David Chipperfield 1998-2004 [PDF]

Zitiervorschau

ELcroquis 120 [45.00 euros in Spain ] iva incluido MADRID 2004

minimalismo denso dense minimalism

DAVID CHIPPERFIELD

1998 2004

d i s t r i b u c i ó n i n t e r n a c i o n a l / international distribution

editores y directores / publishers and editors Fernando Márquez Cecilia y Richard Levene arquitectos

diseño gráfico y maqueta / layout Richard Levene

redacción editorial / editorial staff Paloma Poveda producción gráfica Cristina Poveda documentación Mayte Sánchez fotografía Hisao Suzuki traducción Jamie Benyei

galería de arquitectura / architecture gallery Mayte Sánchez

a d m i n i s t r a c i ó n / administration Mariano de la Cruz y Marta García suscripciones Yolanda Muela y María de Pablo distribución y departamento comercial Ana Pérez Castellanos secretaría Fabiola Muela y Francisco Alfaro

d i s e ñ o y p r o d u c c i ó n / design and production EL CROQUIS EDITORIAL

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d i s t r i b u c i ó n n a c i o n a l / national distribution EL CROQUIS EDITORIAL Avda. de los Reyes Católicos, 9. E-28280 El Escorial. Madrid. España tel: 34-918969413. fax: 34-918969412 e-mail: [email protected] A ASPPAN, S.L. c/ de la Fundición, 15. Pol. Ind. Sta. Ana. 28529 Rivas Vaciamadrid. Madrid. España tel: 34-916665001. fax: 34-913012683 e-mail: [email protected]

copyright © 2004 ELcroquisSL ninguna parte de esta publicación, incluido el diseño de la cubierta, puede reproducirse, almacenarse o transmitirse de ninguna forma, sin la previa autorización escrita por parte de la editorial all rights reserved la editorial no se hace responsable de la devolución de cualquier documentación enviada a la redacción sin haber sido expresamente solicitado por ésta the editors do not make themselves responsible for the return of material sent without having been expressly requested ISSN: 0212-5683 depósito legal: m-115-1982 impreso y encuadernado en Madrid ELcroquis es una publicación miembro de ARCE y de la Asociación de Editores de Madrid Premio COAM Publicaciones 1985 Premio a la EXPORTACION 1992 de la Cámara de Comercio e Industria de Madrid Medalla FAD 2004 Publicación controlada por OJD

INDICE CONTENTS

E s t u d i o G o r m l e y 148 Gormley Studio C a s a e n M a n h a t t a n 160 House in Manhattan A p a r t a m e n t o s P a r k s i d e e n B e r l í n 174 Parkside Apartments, Berlin

1998/2004

DAVID CHIPPERFIELD

V i v i e n d a s S o c i a l e s e n M a d r i d 182 Social Housing, Madrid A c c e s o a l Pa s e o d e l Ó v a l o e n Te r u e l 190 Access to the Paseo del Ovalo, Teruel

Biografía Biography

5

N u e v a S e d e d e l a B B C S c o t l a n d e n P a c i f i c Q u a y 202 New BBC Scotland Headquarters in Pacific Quay

U n a C o nv e r s a c i ó n c o n D a v i d C h i p p e r f i e l d A Conversation with David Chipperfield

10

C i u d a d d e l a J u s t i c i a d e B a r c e l o n a 212 City of Justice, Barcelona

ALEJANDRO ZAERA

Minimalismo Denso Dense Minimalism

24

H o t e l e n H a m b u r g o 222 Hotel in Hamburg M u s e o d e l a L i t e r a t u r a M o d e r n a e n M a r b a c h 228 Museum of Modern Literature, Marbach

AARON BETSKY

C a s a e n M i a m i 234 Miami House Casa en Corrubedo House in Corrubedo

36

C o n j u n t o R e s i d e n c i a l e n A t h l o n e H o u s e 240 Residential Complex, Athlone House

Centro de Ser v i c i o s d e E r n s t i n g Ernsting Service Center

50

B a r r i o R e s i d e n c i a l e n B a i l u j u n 244 Bailujun Residential District

C e m e n t e r i o d e S a n M i c h e l e e n Ve n e c i a San Michele Cemetery, Venice

64

M u s e o d e l a C u l t u r a d e L i a n g z h u 248 Liangzhu Culture Museum

Neues Museum en Berlín Neues Museum, Berlin

74

C l u b S o c i a l e n B a m b o o F o r e s t V i l l a g e 252 Bamboo Forest Village Clubhouse

Nuev o E d i f i c i o d e A c c e s o a l a I s l a d e l o s M u s e o s New Entrance Building, Museum Island

94

To r r e s R e s i d e n c i a l e s e n C e n t r a l H u a i h a i R o a d 258 Residential Towers, Central Huaihai Road

G a l e r í a H i n t e r d e m G i e s s h a u s 1 106 Hinter dem Giesshaus 1 Gallery

B i b l i o t e c a J o s é Va s c o n c e l o s e n M é x i c o 264 José Vasconcelos Library, Mexico

S p r e e d r e i e c k [PP r o y e c t o d e u n R a s c a c i e l o s j u n t o a l R í o S p r e e ] 114 Spreedreieck [Project for a Skyscraper near the River Spree]

C e n t r o d e A r t e s V i s u a l e s d e C o l c h e s t e r 272 Colchester Visual Arts Building

C i u d a d d e l a s C u l t u r a s d e A n s a l d o 118 Ansaldo City of Cultures

C e n t r o M u l t i m e d i a d e l a U n i v e r s i d a d d e H o n g K o n g 276 City University of Hong Kong Multi Media Building

M u s e o d e A r t e F i g g e e n D a v e n p o r t 128 Figge Art Museum, Davenport

M u s e o H e p w o r t h e n Wa k e f i e l d 280 The Hepworth Gallery, Wakefield

B i b l i o t e c a P ú b l i c a e n D e s M o i n e s 136 Des Moines Public Library

V i v i e n d a s e n V i l a n o v a 286 Vilanova Apartments

A m p l i a c i ó n d e l a C a s a K n i g h t 142 Knight House Addition

A p a r t a m e n t o e n P o r t l a n d P l a c e 290 Apartment on Portland Place

Photo: Nick Knight

DAVID CHIPPERFIELD Nace en Londres, 1953

Born in London, 1953

TÍTULOS

QUALIFICATIONS

1977

D i p l o m a d e A rq u i t e c t u r a , A rc h i t e c t u r a l A s s o c i a t i o n , L o n d r e s

1977

Diploma in Architecture, Architectural Association, London

1982

M i e m b r o c o r p o r a t i vo d e l R I BA

1982

Corporate Member of the RIBA PROFESSIONAL EXPERIENCE

EXPERIENCIA PROFESIONAL 1978-84

Trabaja en los estudios de Douglas Stephen, R i ch a rd Rog ers y Norman Foster

1978-84

Worked for Douglas Stephen, Richard Rogers and Norman Foster

1985

Establece Dav i d C h i p p e r f i e l d A rc h i t e c t s

1985

Established David Chipperfield Architects

M i e m b ro fundador de 9H Galler y, L o n d r e s , R e i n o U n i d o 1992-97

C o n s e j e ro de la A rc h i t e c t u r e F o u n d a t i o n , L o n d r e s , R e i n o U n i d o

Founder member of 9H Gallery, London, UK 1992-97

Trustee of the Architecture Foundation, London, UK T E A CHING

ACTIVIDAD ACADÉMICA 1979-82

Pro fesor de Diseño, N o r t h L o n d o n Po ly t e ch n i c, R e i n o U n i d o

1979-82

Design tutor, North London Polytechnic, UK

1981

Pro f e s o r d e D i s e ñ o , E s c u e l a d e A rq u i t e c t u r a d e C a rd i f f , R e i n o U n i d o

1981

Design tutor, Cardiff School of Architecture UK

1982

Pro fesor de Diseño, South Bank Po ly t e ch n i c, R e i n o U n i d o

1982

Design tutor, South Bank Polytechnic, UK

1984-85

Pro fesor de Diseño, B i r m i n g h a m Po ly t e ch n i c , R e i n o U n i d o

1984-85

Design tutor, Birmingham Polytechnic, UK

1985-86

Pro f e s o r d e D i s e ñ o , U n i v e rs i t y C o l l e g e L o n d o n , R e i n o U n i d o

1985-86

Design tutor, University College London, UK

1987-88

Pro fe s o r i nv i t a d o , U n i v e rsidad de Har v ard, C a m b r i d g e, Massach u s e t t s , EEUU

1987-88

Visiting Professor, Harvard University, Cambridge, Massachusetts, USA

1988-90

Pro f e s o r d e D i s e ñ o , Roya l C o l l e g e o f A r t , L o n d r e s , R e i n o U n i d o

1988-90

Design tutor, Royal College of Art, London, UK

1992

P r o f e s o r i nv i t a d o , U n i v e r s i d a d d e G r a z , A u s t r i a

1992

Visiting Professor, University of Graz, Austria

P r o f e s o r i nv i t a d o , U n i v e r s i d a d d e N á p o l e s , I t a l i a

Visiting Professor, University of Naples, Italy

1993-94

Pro fe s o r i nv i t a d o , Ecole Po ly t e ch n i q u e, Lausana, Suiza

1993-94

1995-01

Pro f e s o r d e A rq u i t e c t u r a , S t a a t l i ch e A k a d e m i e d e r B i l d e n d e n K ü n s t , S t u t t g a r t

1995-01

Professor of Architecture, Staatliche Akademie der Bildenden Künst, Stuttgart, Germany

1997--

P r o f e s o r i nv i t a d o , L o n d o n I n s t i t u t e , R e i n o U n i d o

1997-

Visiting Professor, London Institute, UK

2001

Cátedra Mies van der Rohe , E s c u e l a d e A rq u i t e c t u r a d e B a rc e l o n a , España

2001

Mies van der Rohe Chair, Barcelona School of Architecture, Spain

2003

P r o f e s o r d e A r q u i t e c t u r a , U n i v e r s i d a d d e A l g h e r o , Cer d e ñ a , I t a l i a

2003

Professor of Architecture, Alghero University, Italy

Visiting Professor, Ecole Polytechnique, Lausanne, Switzerland

P r o f e s o r i nv i t a d o , A r t I n s t i t u t e , C h i c a g o

Visiting Professor, Art Institute, Chicago

P r o f e s o r i nv i t a d o , E s c u e l a d e A r q u i t e c t u r a d e N á p o l e s , I t a l i a

Visiting Professor, Naples School of Architecture, Italy AWARDS

PREMIOS Y DISTINCIONES 1991

Premio Financial Times, Mención Especial

1993

Premio Andrea Palladio por el E d i f i c i o To yota Au t o Kyo t o , J a p ó n

1993

Andrea Palladio Prize for the Toyota Auto Kyoto Building, Japan

1996

P r e m i o R e g i o n a l R I BA p o r l a P r i m e r a I g l e s i a d e l a C i e n c i o l o g í a d e C r i s t o , R i ch m o n d , Surrey, R e i n o U n i d o

1996

RIBA Regional Award for the First Church of Christ Scientist, Richmond, Surrey

1998

AIA Award (UK Chapter) for the River & Rowing Museum

1991

P r e m i o I t a l s t a t E u ro p , M e n c i ó n H o n o r í f i c a

1998

Italstat Europ Award: Honorary Mention

Premio de la AIA (Sección del Reino Unido) por el Museo Fluvial y de Remo

RIBA Award for Kaistrasse Office Building, Düsseldorf, Germany

P r e m i o R I BA e l E d i f i c i o d e O f i c i n a s e n l a K a i s t r a s s e , D ü s s e l d o r f , A l e m a n i a P r e m i o R e g i o n a l R I BA p o r e l M u s e o F l u v i a l y d e R e m o 1999

Financial Times Award: Special Mention

RIBA Regional Award for the River & Rowing Museum 1999

P r e m i o R I BA - C a t e g o r í a A r q u i t e c t u r a p a r a e l O c i o y l a s A r t e s p o r e l M u s e o F l u v i a l y d e R e m o , Henley-on-Thames, L o n d r e s , R e i n o U n i d o

RIBA Category Award - Architecture in Arts and Leisure Award for the River and Rowing Museum, Henley-on-Thames, London, UK Royal Fine Art Commission Trust/British Sky Broadcasting Best Building Award (England) for River & Rowing Museum

Royal Fine Ar t C o m m i s s i o n Tr u s t / B r i t i s h S k y B ro a d c a s t i n g Premio al Mejor Edificio por el Museo Fluvial y de Remo

The Tessenow Gold Medal Award

Medalla de Oro Te s s e n ow

Civic Trust Award for the River & Rowing Museum

Premio Civic Tr u s t p o r e l Museo Fluvial y de Remo

2003

2003

P r e m i o R e g i o n a l R I BA p o r l a C a s a e n C o r r u b e d o , G a l i c i a , E s p a ñ a

2004

2004

CCCB ( C e n t r e d e C u l t u r a C o n t e m p o r à n i a d e B a r c e l o n a )

European Award for Public Urban Space for Teruel Urban Redevelopment, Spain

P r e m i o E u ro p e o a l E s p a c i o U r b a n o P ú b l i c o por el Acceso al Paseo del Óva l o , Teruel, España

RIBA Award for Gormley Studio, London, UK

P r e m i o R I BA p o r e l E s t u d i o G o r m l e y , L o n d r e s , R e i n o U n i d o C o m e n d a d o r d e l a O rd e n d e l I m p e r i o B r i t á n i c o ( C B E ) p o r l o s s e r v i c i o s p r e s t a d o s a la arq u i t e c t u r a

RIBA Regional Award for the House in Corrubedo, Galicia, Spain CCCB (Centre de Cultura Contemporània de Barcelona)

Commander of the Order of the British Empire (CBE) for services to architecture

C R E D I T OS CREDITS

NEUES MUSEUM, B E R L I N Location Client

HOUSE IN CORR UBEDO Location Client Te a m

A s s o c i a t e A rc h i t e c t Structural Engineer General Contractor Models Photographs

Galicia, Spain Dr. Evelyn Stern Louise Brooker, David Chipperfield, Luca Donadoni, Pablo Gallego Picard, Victoria Jessen-Pike, Daniel Lopez-Perez, Carlos Martínez de Albornoz, Tina Sophie Müller, Anat Talmor, Oliver Ulmer, Giuseppe Zampieri Carlos Fontenla, Carlos Seoane Jane Wernick Associates: Jane Wernick, Javier Estevez Cimadevila Serinfra David Chipperfield Architects, Matthew Marchbank, The Network Hisao Suzuki, Hélène Binet

ERNSTING SERVICE CENTER Location Client Te a m

A s s o c i a t e A rc h i t e c t Landscape Arc h i t e c t Structural Engineer Ser v i c e s E n g i n e e r General Contractor Models Photographs

Coesfeld-Lette, Germany Kurt Ernsting Eric Ajemian, Jennifer Beningfield, David Chipperfield, Martin Ebert, Mansour El-Khawad, Jochen Glemser, Johannes tho Pesch, Heidrun Schuhmann, Henning Stummel, Peter Westermann Schilling Architekten: Johannes Schilling, Jochem Vieren Wirtz International: Peter Wirtz Arup GmbH: Joachim Güsgen, Jane Wernick Associates: Steve Haskins, Jane Wernick Planungsgemeinschaft Haustechnik PGH: Hilmar Göhre, Albert Hoffmann, Thomas Scislowski E. Heitkamp GmbH A-Models, David Chipperfield Architects Christian Richters, Edmund Sumner

S A N M I C H E L E C E M E T E RY, VENICE Location Client Te a m

Venice, Italy Comune di Venezia Erik Ajemian, Tomomi Araki, Cristiano Billia, Giuseppe Boezi, Franz Borho, Ada Yvars Bravo, Judith Brown, David Chipperfield, Mario Cottone, Luca Donadoni, Mansour El-Khawad, Petra Elm, An Fonteyne, Takeshi Hayatsu, Mette Heide, Joseph Huber, Serena Jaff, Harvey Langston-Jones, Genevieve Lilley, Holger Lohrmann, Daniel López-Pérez, Alessandra Maiolino, Carlos Martínez de Albornoz, Steven McKay, Ian McKnight, Sabrina Melera-Morettini, Nina Nysten, Luca Parmeggiani, Gundula Prosc, Donna Riley, Peter Andreas Sattrup, Silvana Schulze, Alexander Schwarz, Sara Tempesta, Hau Ming Tse, Abigail Turin, Patrick Überbacher, Oliver Ulmer, Jonathan Wong, Toni Yli-Suvanto, Giuseppe Zampieri Pro d u c t i o n D i r e c t o r Franco Gazzarri A s s o c i a t e A rc h i t e c t SSSR: Romeo Scarpa, Silvia Serafini Landscape Arc h i t e c t Wirtz International: Peter Wirtz Structural Engineer Jane Wernick Associates: James Packer, Jane Wernick, Forcellini Breda Scarpa: Gianni Breda, Francesco Marson, Romeo Scarpa Ser v i c e s E n g i n e e r Arup: Heather Carter, Andrew Sedgwick Studio Associato Vio: Alessandra Vio, Michele Vio, Diego Danieli Quantity Sur veyo r Tim Gatehouse Associates: Malcolm Atwill, Andrea Faggion Geologist Cesare Rizzetto G e o t e c h n i c a l C o n s u l t a n t Studio Geotechnic Italiano: Paolo Ascari, Claudio Mascardi Digital Imag i n g David Chipperfield Architects Models David Chipperfield Architects, Mathew Marchbank, Millennium Models, The Network, Richard Threadgill Associates Model Photographs Richard Davies, Alessandra Chemollo, Hisao Suzuki

6

Berlin, Germany Stiftung Preußischer Kulturbesitz represented by Bundesamt für Bauwesen und Raumordnung Te a m Competition: Philipp Auer, Franz Borho, Nathalie Bredalla, David Chipperfield, An Fonteyne, Robin Foster, Mario Hohmann, Martin Kley, Harvey Langston-Jones, Patrick McInerney, Ian McKnight, Claudia Marx, Guy Morgan-Harris, Rik Nys, Mark Randel, Eva Schad, Alexander Schwarz, Haewon Shin, Graham Smith, Henning Stummel, Giuseppe Zampieri, Mark Zogrotzski Preliminary design: David Chipperfield, Isabel Karig, Harald Müller, Mark Randel, David Saik, Eva Schad, Alexander Schwarz, Florian Steinbächer Final design: Janna Bunje, David Chipperfield, Adrian Dunham, Harald Eggers, Annette Flohrschütz, Michael Freytag, Anke Fritzsch, Isabelle Heide, Christiane Melzer, Harald Müller, Martin Reichert, Franziska Rusch, Eva Schad, Alexander Schwarz Working drawings: Thomas Benk, Katja Buchholz, David Chipperfield, Maryla Duleba, Matthias Fiegl, Annette Flohrschütz, Michael Freytag, Anke Fritzsch, Katja Gursch, Anne Hengst, Michael Kaune, Regine Krause, Marcus Mathias, Virginie Mommens, Harald Müller, Peter Pfeiffer, Martina Pongratz, Martin Reichert, Mariska Rohde, Franziska Rusch, Elke Saleina, Eva Schad, Antonia Schlegel, Alexander Schwarz, Barbara Witt R e s t o r a t i o n A rc h i t e c t Julian Harrap Architects: Julian Harrap, Caroline Wilson L a n d s c a p e A r c h i t e c t s Levin Monsigny: Martina Levin, Nikolai Levin Structural Engineer Ingenieurgruppe Bauen: Gerhard Eisele, Markus Filian, Sylvia Glomb, Stefanie Rosenberg, Kerstin Schmidt, Josef Seiler Ser v i c e s E n g i n e e r Jaeger, Mornhinweg+Partner: Xavier Calvo, Ernst Göppel, Volkmar Grossmann Kunst und Museumsschutz: Wolfgang Fuchs, Jörg-Dieter Haack, Lutz Henske, Thorsten Schöne, Wolfgang Liebert R e s t o r a t i o n S u p e r v i s i o n Pro Denkmal: Uwe Bennke, Janna Bunje, Wolfgang Frey, Heiner Sommer Lighting Design Kardorff Ingenieure: Volker von Kardorff Exhibition Design Michele de Lucchi, Heinz Jirout Quantity Sur veyo r Nanna Fütterer Site Superv i s i o n Lubic & Woehrlin Architekten: Alexander Lubic, Stefan Woehrlin, Models architektur-modelle-berlin: Günter Schwob David Chipperfield Architects, Rüdiger Hammerschmidt Model Photographs Jörg von Bruchhausen, David Chipperfield Architects, Hisao Suzuki

NEW ENTRANCE B UILDING, MUSEUM ISLAND Location Client Te a m

Landscape Arc h i t e c t s Structural Engineer Ser v i c e s E n g i n e e r Quantity Sur veyo r Models P h o t o m o n t ag es Model Photographs

Berlin, Germany Stiftung Preußischer Kulturbesitz represented by Bundesamt für Bauwesen und Raumordnung Scheme Design: Franz Borho, David Chipperfield, Adrian Dunham, Christoph Felger, Mansour El-Khawad, Carsten Gerhards, Mette Heide, Gustav Langenskiöld, Christof Piaskowski, Mark Randel, Hau Ming Tse, Oliver Ulmer, Tony Yli-Suvanto Preliminary Design: Wolfgang Baumeister, Mirjam von Busch, David Chipperfield, Christoph Felger, Dirk Gschwind, Klaus Heldwein Final Design: Wolfgang Baumeister, Mirjam von Busch, David Chipperfield, Christoph Felger, Klaus Heldwein, Dirk Gschwind, Mark Randel, Alexander Schwarz, Martin Reichert Levin Monsigny: Martina Levin, Nikolai Levin Ingenieurgruppe Bauen: Frank Arnold, Alexander Rausch Jaeger, Mornhinweg+Partner: Xavier Calvo, Ernst Göppel Kunst und Museumsschutz: Wolfgang Fuchs, Wolfgang Liebert, Dirk Pankau, Lutz Henske Nanna Fütterer architektur-modelle-berlin: Günter Schwob, Rüdiger Hammerschmidt 3D Works: Markus Groeteke Hisao Suzuki

H I N T E R D E M G I E S S H AU S 1 G A L L E RY Location Client Te a m Models P h o t o m o n t ag es Model Photographs

Berlin, Germany Céline, Aeneas and Heiner Bastian Martina Betzold, David Chipperfield, Laura Fogarasi, Andrea Hartmann, Hannah Jonas, Harald Müller, Alexander Schwarz architektur-modelle-berlin: Günter Schwob Studio Toni Yli-Suvanto Hisao Suzuki

SPREEDREIECK Location Client Te a m Structural Engineer Models Model Photographs

Berlin, Germany Müller-Spreer & Co. Spreedreieck KG David Chipperfield, Martin Ebert, Jochen Glemser, Christoph Hesse, Mark Randel, Franziska Rusch, Toni Yli-Suvanto Dewhurst MacFarlane: Tim MacFarlane, Marc Simmons, Ian Stephenson architektur-modelle-berlin: Günter Schwob Hisao Suzuki

KNIGHT HOUSE ADDITION Location Client Te a m

A N S A L D O C I T Y O F C U LTURES Location Client Te a m

A s s o c i a t e A rc h i t e c t Structural Engineer Ser v i c e s E n g i n e e r

Quantity Sur veyo r Digital Imag i n g Models Moo d e l P h o t o g r a p h s

Milan, Italy Comune di Milano, Direzione Centrale Tecnica, Settore Musei e Mostre Ram Ahronov, Tomomi Araki, Renata Bailey, Judith Brown, Roberta Buccheri, Patrick Campbell, Kevin Carmody, David Chipperfield, Christian Clemares, Mario Cottone, Luca Donadoni, Amos Goldreich, Jason Good, Manuel Gujber, Takeshi Hayatsu, Ferruccio Izzo, Serena Jaff, Wolf Kipper, Akira Koyama, Amy Yee Ping Lam, Gustav Langenkiöld, Claudia Lucchini, Alessandra Maiolino, Carlos Martínez de Albornoz, Emanuele Mattutini, Sabrina Melera-Morettini, Rentaro Nishimura, Luca Parmeggiani, Sashwin Pillai, Sergio Pirrone, John Puttick, Oscar Rodriguez, Silvia Scarpat, Melanie Schubert, Jonathan Slaughter, Tina Sophie Müller, Henning Stummel, Anat Talmor, Sara Tempesta, Hau Ming Tse, Patrick Überbacher, Oliver Ulmer, Laura Vega, Nicole Woodman, Toni Yli-Suvanto, Giuseppe Zampieri Competition in association with P+ARCH: Francesco Fresa, Germán Fuenmayor, Gino Garbellini, Monica Tricario F&P Architetti: Emanuele Bottigella, Barbara Camocini, Leopoldo Freyrie, Luca Lenardon, Davide Panzeri, Marco Pestalozza Sajni e Zambetti: Alfio Sajni, Angelo Zambetti Arup: Ned Crowe, Emmanuelle Danisi, Emily Emerson, Tim Hanson, Martin Hockey, Ian Knowles, Richard Kuehn, Florence Lam, Andrew Sedgwick Manens Intertecnica: Dino Boni, Giorgio Marchioretti, Ugo Piubello, Gaetano Viero Tim Gatehouse Associates: Malcolm Atwill, Tim Gatehouse F&P Cantieri: Antonella Flores, Barbara Minoia, Angela Todisco David Chipperfield Architects A-Models, David Chipperfield Architects, Matthew Marchbank, Vista models Hisao Suzuki, Richard Davies, Tom Miller

F I G G E A R T M U S E U M , DA V E N P O R T Location Client Te a m

A s s o c i a t e A rc h i t e c t Structural Engineer Structural Engineer of Record Ser v i c e s E n g i n e e r

General Contractor Digital Imag i n g Models

Davenport, Iowa, USA Davenport Museum of Art Johannes Baumstark, Franz Borho, David Chipperfield, Jochen Glemser, Isabelle Heide, Victoria Jessen-Pike, Reto Liechti, Laurent Masmonteil, Viola Simoncioni, Jennifer Singer, Hau Ming Tse, Patrick Überbacher, Reiko Yamasaki Herbert Lewis Kruse Blunck Architecture: Jill Anderson, Doug Frey, Zach Heitzman, Cal Lewis, Carey Nagle, J.Mark Schmidt, Greg Smith, Tom Trapp, Jeff Wagner Jane Wernick Associates: James Packer, Jane Wernick Charles A. Saul Engineering: John Paul Goedken, Charles Saul Arup: Archie Campbell, Hilary Caton, Ned Crowe, Matthew David, Tim Hanson, Rachel Hughes, Lidia Johnson, Florence Lam, Chris McHale, Raj Pajel, David Prichard, Andrew Sedgwick, Mike Summer, Mark Thomas, Nigel Tonks, Mary Voutsina, Cress Wakefield Russell/Pepper Joint Venture Studio Toni Yli-Suvanto David Chipperfield Architects, Matthew Marchbank

D E S M O I N E S P U B L I C L I B R A RY Location Client Te a m

A s s o c i a t e A rc h i t e c t Structural Engineer Structural Engineer of Record Ser v i c e s E n g i n e e r Ser v i c e s E n g i n e e r of Record General Contractor Digital Imag i n g Models Model Photographs

7

Des Moines, Iowa, USA Public Library of Des Moines Doreen Bernath, Franz Borho, David Chipperfield, Martin Ebert, Chris Hardie, Victoria Jessen-Pike, Ilona Klockenbusch, Hartmut Kortner, Michael Kruse, Kaori Ohsugi, Kim Wang, Reiko Yamazaki, Herbert Lewis Kruse Blunck Architecture: Mindy Aust, Cal Lewis, Brian Lindgren, Paul Mankins, Brett Mendenhall, Evan Shaw, Jon Sloan, Jeff Wagner Jane Wernick Associates: James Packer, Kate Purver, Jane Wernick Shuck-Britson: Bob Britson, Matt Sherwood Arup: Martin Hockey, Lidia Johnson, Adam Jowarski, Florence Lam, Andrew Sedgwick, Nigel Tonks KJWW: Scott Bowman, Jeff Carpenter, Mike Dotson, Mike Lipp, Vincent Mendez, Scott Scholle, Andy Thielen, Jenny Ziegler The Weitz Company David Chipperfield Architects, Studio Toni Yli-Suvanto David Chipperfield Architects, Matthew Marchbank Richard Davies

Landscape Arc h i t e c t Structural Engineer Ser v i c e s E n g i n e e r Quantity Sur veyo r General Contractor Models Model Photographs Photographs

Richmond, UK Nick and Charlotte Knight David Chipperfield, Paul Crosby, Russ Hamilton, Harvey Langston-Jones, Ian McKnight, Claire Meller, Henning Stummel, Anat Talmor, Ada Yvars Bravo Miranda Brooks, Alan Hart Michael Hadi Associates: Michael Hadi BDSP Partnership: Alan Farnfield, Anjum Osman Tim Gatehouse Associates: Tim Gatehouse Chisholm and Winch David Chipperfield Architects, Matthew Marchbank Richard Davies Hisao Suzuki

GORMLEY STUDIO Location Client Te a m Structural Engineer Ser v i c e s E n g i n e e r Quantity Sur veyo r General Contractor Models Photographs

London, UK Antony Gormley Kevin Carmody, David Chipperfield, Paul Crosby, Andy Groarke, Kaori Ohsugi Jane Wernick Associates: Timothy George, Jane Wernick Environmental Engineering Partnership: Nigel Bowater, Ian Wilson Capita Property Services: Brendan Henessey, Toyin James, Joe Lehane Leonard Field Group David Chipperfield Architects Hisao Suzuki

H O U S E I N M A N H ATTA N Location Client Te a m

A s s o c i a t e A rc h i t e c t Landscape Arc h i t e c t Structural Engineer Ser v i c e s E n g i n e e r General Contractor Staircase Models Model Photographs Photographs

New York, New York, USA Hon. Nathaniel Rothschild Louise Brooker, Kevin Carmody, Natalie Cheng, David Chipperfield, Andy Groarke, Regina Gruber, Takeshi Hayatsu, Victoria Jessen-Pike, Kaori Ohsugi, Andrew Phillips, Ada Yvars-Bravo Richard Lewis Architects: Jason Gold, Richard Lewis Miranda Brooks Dewhurst Macfarlane and Partners: Russell Davies, Tim Macfarlane, David Shea Laszlo Bodak: Laszlo Bodak Townhouse Construction Kirchoff David Chipperfield Architects Hisao Suzuki Christian Richters

PA R K S I D E A PA R TMENTS, B E R L I N Location Client Te a m

Wo r k i n g D r a w i n g s Structural Engineer Ser v i c e s E n g i n e e r Landscape Arc h i t e c t s Photographs

Potsdamer Platz, Berlin, Germany IMMAGO Real AG represented by C+T Development GmbH + Co. KG Francesco Apuzzo, Christoph Bartscherer, David Chipperfield, Annette Flohrschütz, Michael Freytag, Dirk Gschwind, Amelie Haacke, Andrea Hartmann, Klaus Heldwein, Daniel Keppel, Karolina Markus, Marcus Mathias, Lisa Obertautsch, Christof Piaskowski, Antonia Schlegel, Mark Randel, Franziska Rusch, Tatiana von Preussen, Thomas Wiedmann David Chipperfield Architects Suter & Suter: Kai Althoff, Thomas Schöpf Ingenieurgesellschaft für Bauwesen Theodor Klein mbH: Mario Vogelsang Ingenieurgesellschaft Ridder & Meyn mbH: Carsten Thomas, Falk Melzer Thomanek & Duquesnoy: Ralf Meißner Christian Richters, Hisao Suzuki

SOCIAL HOUSING, MADRID Location Client Te a m A s s o c i a t e A rc h i t e c t Structural Engineer Ser v i c e s E n g i n e e r Quantity Sur veyo r Models Model Photographs Photographs

Madrid, Spain Empressa Municipal de la Vivienda Kevin Carmody, David Chipperfield, Andy Groarke, Takeshi Hayatsu, Kaori Ohsugi, Bernard Tulkens, Jonathan Wong, Mark Zogrotzski José Maria Fernández-Isla Arquitectos: Matias Manuel Santolaya Heredero, José Maria Fernández-Isla Manuel Linares Santiago Sanz, Emilio Fernández Román Juan F. Serrano Quismondo David Chipperfield Architects, Matthew Marchbank Hisao Suzuki Hisao Suzuki

CITY OF JUSTICE, B A R C E L O N A Location Client Te a m

A s s o c i a t e A rc h i t e c t

V I L A N OVA A PA R TMENTS Location Client Te a m

A s s o c i a t e A rc h i t e c t

Structural Engineer Ser v i c e s E n g i n e e r Quantity Sur veyo r Models Model Photographs

Vilanova, Spain Garraf Mediterrania Cristiano Billia, David Chipperfield, Christian Clemares, Mario Cottone, Victoria Jessen-Pike, Luca Parmeggiani, Dean Pike, John Puttick, Oliver Ulmer, Giuseppe Zampieri b720 Arquitectura: Marc Albiol, Katrin Baumgarten, Anaïs Blanc, Carlos Fragoso, Iker Gil, Jorge Jover, Gaelle Lauxerrois, Javier López, Fernando Luna, Laura Marticorena, Eduardo Miralles, Gemma Ojea, Magdalena Ostornol, Pietro Peyron, Ricardo Schulz, Doris Sewczyk, Marco Suárez, Fermín Vázquez Jorge Blasco Estructures: Jorge Blasco, Pedro Molina Innova Eines de Gestió ambiental: Magali Paramio, Ignasi Prat Saga Ingenieria: Sergio Arcos Ardevol: Joan Ardevol David Chipperfield Architects Hisao Suzuki

A CCESS TO THE PA S E O D E L OVA L O, TER U E L Location Client Te a m A s s o c i a t e A rc h i t e c t

Teruel, Spain Diputación General de Aragón David Chipperfield b720 Arquitectura: Marc Albiol, Crisitina Algas, Albert Arraut, Katrin Baumgarten, Sonia Cruz, Ema Dunner, Elisabeth Farres, Urtzi Grau, Itziar Imaz, Javier Lopez, Eduard Miralles, Agustin Miranda, Takayuki Nakajima, Laura Pulido, Magdalena Ostornol, Doris Sewczyk, Ricardo Schulz, Ana Stackic, Fermin Vázquez, Marcos Velasco, Cristian Zanoni Structural Engineer Obiol Moya Asociados: Agustín Obiol, Josep Ramon Solé Ser v i c e s E n g i n e e r Perfil 7: José Felipe Martínez / GTII: César Esparza Quantity Sur veyo r Tirwal Técnica: Rafael Calvo, Jose Fanlos R e s t o r a t i o n C o n s u l t a n t José Mª Sanz, Antonio Pérez General Contractor NECSO Models Miquel Lluch Photographs Hisao Suzuki

Landscape Arc h i t e c t Structural Engineer Ser v i c e s E n g i n e e r Lighting Engineer Quantity Sur veyo r Fa ç a d e C o n s u l t a n t P l a n n i n g A rc h i t e c t Acoustic Consultant Digital Imag i n g Models Model Photographs

Barcelona, Spain GISA, Departament de Justícia (Generalitat de Catalunya) Gabrielle Allam, Motohisa Arai, Tomomi Araki, Albert Arraut, Alex Bauer, Johannes Baumstark, Doreen Bernath, Roberta Buccheri, David Chipperfield, Christian Clemares, Mario Cottone, Luca Donadoni, Martin Eglin, Massimo Fenati, David Finlay, Pablo Gil, Jochen Glemser, Regina Gruber, Chris Hardie, Isabelle Heide, Serena Jaff, Victoria Jessen-Pike, Melissa Johnston, Michael Krusse, Reto Liechti, Claudia Lucchini, Alessandra Maiolino, Emanuele Mattutini, Sabrina Melera-Morettini, Takayuki Nakajima, Rentaro Nishimura, Cecilia Obiol, Luca Parmeggiani, Ignacio Peydro, Andrew Phillips, Sashwin Pillai, Simon Pole, John Puttick, Oscar Rodriguez, Anika Scholin, Melanie Schubert, Jordi Sinfreu Alay, Jennifer Singer, Giuseppe Sirica, Cordula Stach, Hau Ming Tse, Patrick Überbacher, Laura Vega, Philippe Volpe, Giuseppe Zampieri b720 Arquitectura: Albert Arraut, Pep Avilés, Ana Bassat, Sarah Bateman, Nils Becker, Antonio Buendía, James Bushell, Ana Caffaro, Eduardo Calcerrada, Amparo Casaní, Mª Eugenia Codeglia, Sonia Cruz, Elisabeth Farrés, Albert Freixes, Francesc de Fuentes, Ileana García, Pablo Gonzalez, Laia Isern, Georg Kayser, Mª Asp Lorentzen, Jaime Luaces, Fernando Luna, Lucía Menéndez, Eduard Miralles, Peco Mulet, Julia Nestor, Cecilia Obiol, Gemma Ojea, Belen Oliver, Magdalena Ostornol, Pietro Peyron, Adriana Plasencia, Aurora Rebollo, Yolanda Roma, Niki Ross, Gustavo Sapiña, Maximiliano Spadoni, Marco Suárez, Rebeca Tristán, Fermín Vázquez, Rafael Vieira, Guillermo Weiskal, Nuria Widman Manuel Colominas, Wirtz International: Nico Mortier, Juan Remon, Peter Wirtz Jane Wernick Associates: Jane Wernick, Brufau, Obiol, Moya i Associats: Agustí Obiol Arup: Andrew Sedgwick, Grupo JG Ingenieros Consultores: Joan Gallostra Arup: Florence Lam, Bob Venning; Artecluminotecnia: Maurici Ginés Tim Gatehouse Associate: Tim Gatehouse; Tècnics G3: Pilar Estrada Estudio Marshall: Guillermo Marshall; Biosca & Botey: Xavier Farrés Estanislau Roca Arquitecte & Associats: Estanislau Roca Estudi Acústic H. Arau: Higini Arau Arquimedia: Carlos Pascual; David Chipperfield Architects, Javier Piedra, Studio Toni Yli-Suvanto b720 Arquitectura, David Chipperfield Architects, Miquel Lluch, Matthew Marchbank, Vista Models Richard Davies, Hisao Suzuki

HO T E L I N H A M B U R G Location Client Structural Engineer Ser v i c e s E n g i n e e r Te a m

Model P h o t o m o n t ag es Model Photographs

Bavaria-Gelände in Hamburg, Germany Familie Bartels + Fraatz Planungsgruppe Dröge Baade Nagaraj: N.C.P. Nagaraj Ingenieurbüro Tremmel & Partner: Herbert Tremmel Wolfgang Baumeister, David Chipperfield, Christoph Felger, Annette Flohrschütz, Dirk Gschwind, Amelie Haacke, Klaus Heldwein, Christian Helfrich, Birge Kahl, Daniel Keppel, Hartmut Kortner, Marcus Mathias, Harald Müller, Mark Randel, Frankziska Rusch, Antonia Schlegel, Lutz Schütter, Thomas Spranger, Tobias Stiller, Peter von Matuschka, Christoph Wiedemeyer architektur-modelle-berlin: Günter Schwob Studio Toni Yli-Suvanto Hisao Suzuki

M U S E U M O F M O D E R N L I T E R ATURE, M A R B A CH N E W B B C S C OT L A N D H E A D Q UA R TERS IN PA CIFIC Q UAY Location Client Te a m

A s s o c i a t e A rc h i t e c t

Structural Engineer Ser v i c e s E n g i n e e r

Acoustics Consultant Quantity Sur veyo r Models Model Photographs

8

Glasgow, UK BBC Property Vesna Aksentijevic, Gabrielle Allam, Johannes Baumstark, Doreen Bernath, Kevin Carmody, David Chipperfield, Mario Cottone, Paul Crosby, Jesús Donaire, Martin Ebert, Martin Eglin, David Finlay, Robin Foster, Annabel Fraser, Jochen Glemser, Jason Good, Andy Groarke, Manuel Gujber, Victoria Jessen-Pike, Ilona Klockenbusch, Daniel Koo, Merethe Kristensen, Laurent Masmonteil, Takayuki Nakajima, Kaori Ohsugi, Simon Pole, Billy Prendergast, Jennifer Singer, Hau Ming Tse, Oliver Ulmer, Jonathan Wong, Toni Yli-Suvanto, Giuseppe Zampieri Keppie Design: Les Adams, Neil Buchan, Norrie Davidson, Christian van Dee, Jim Faichney, Alan Hamilton, Hamish Ingram, Richard Kuppusamy, John MacColl, Jim Mckechnie, John Miller Jane Wernick Associates: James Packer, Jane Wernick Faber Maunsell: Scobie Alvis, Steven Ferguson, Jeremy Grant, David Irving Arup: Stephen Barty, Graham Beadle, Gordan Brown, Gil van Buuren, Nigel Clift, Darren Connolly, Graeme Gidney, Kevin Grant, Fred Robinson, Alan Rowell, Andrew Sedgwick, Paul Sloman, Martin Surridge, Tim Thornton Arup Acoustics: Ian Knowles, Ian Thompson Gardiner & Theobald: John Meechan, Sandy Park, Roy Weller David Chipperfield Architects, Matthew Marchbank, Vista Models Hisao Suzuki

Location Client Te a m

Structural engineer Ser v i c e s e n g i n e e r Model Model Photographs

Marbach am Neckar, Germany Deutsche Schillergesellschaft – Schiller-Nationalmuseum Deutsches Literaturarchiv Martina Betzold, David Chipperfield, Laura Fogarasi, Andrea Hartmann, Christian Helfrich, Barbara Koller, Hannah Jonas, Franziska Rusch, Alexander Schwarz, Tobias Stiller, Vincent Taupitz, Mirjam von Busch Ingenieurgruppe Bauen: Gerhard Eisele, Markus Filian Jaeger, Mornhinweg + Partner Ingenieurgesellschaft: Ernst Göppel Rüdiger Hammerschmidt Hisao Suzuki

MIAMI HOUSE Location Client Te a m A s s o c i a t e A rc h i t e c t Landscape Arc h i t e c t Structural Engineer Ser v i c e s E n g i n e e r Digital Imag i n g Models Model Photographs

Miami, Florida, USA Hon. Nathaniel Rothschild Kevin Carmody, David Chipperfield, Dirk Felz-Sussenbach, Laurent Masmonteil, Andrew Phillips, Billy Prendergast, Caterina Polidoro, Martin Tomzcyk Fullerton Diaz Architects: Julio Diaz Miranda Brooks De Los Reyes Engineering: Hector de los Reyes TLC Engineering: Jorge Reyes David Chipperfield Architects David Chipperfield Architects, Matthew Marchbank Hisao Suzuki

J O S É VA S C O N C E L O S L I B R A RY, MEXICO Location Client Te a m

Landscape Arc h i t e c t Structural Engineer Ser v i c e s & Fa ç a d e E n g i n e e r Quantity Sur veyo r Digital Imag i n g Models Model Photographs

Mexico City, Mexico Conaculta Cristiano Billia, David Chipperfield, Mario Cottone, Jesús Donaire, Jochen Glemser, Regina Gruber, Felix Hobson, Claudia Lucchini, Takayuki Nakajima, Luca Parmeggiani, Dean Pike, Simon Pole, John Puttick, Oscar Rodriguez, Roque Viejo, Philippe Volpe, Kim Wang, Giuseppe Zampieri Wirtz International: Peter Wirtz Jane Wernick Associates: Jane Wernick Arup: Martin Hockey, Andy Sedgwick, Nigel Tonks Tim Gatehouse Associates: Tim Gatehouse David Chipperfield Architects, Studio Toni Yli-Suvanto Matthew Marchbank Richard Davies, Hisao Suzuki

C O L C H E S T E R VISUA L A R T S B U I L D I N G

R E S I D E N T I A L C O M P L E X , AT H L O N E H O U S E Location Client Te a m Landscape Arc h i t e c t Structural & Ser v i c e s E n g i n e e r Digital Imag i n g Models Model Photographs

London, UK Dwyer PLC Kevin Carmody, David Chipperfield, Jason Good, Geraldine Fourmon, Laurent Masmonteil, Stephen Molloy, Billy Prendergast Wirtz International: Nico Mortimer, Martin Wirtz, Peter Wirtz Whitby Bird and Partners: Anton Sawicki David Chipperfield Architects David Chipperfield Architects Hisao Suzuki

B AILUJUN RESIDENTIAL DISTRICT Location Client Te a m

Structural Engineer Ser v i c e s E n g i n e e r Model P h o t o m o n t ag es Model Photographs

Liangzhu Cultural Village, China Narada Real Estate Libin Chen, David Chipperfield, Annette Flohrschütz, Klaus Heldwein, Christian Helfrich, Birge Kahl, Hans Krause, Antje Otto, Andreas Pfisterer, Mark Randel, Lydia Roßiger, Jing Zhao Zheijiang Industry Design and Research Institute Zheijiang Industry Design and Research Institute architektur-modelle-berlin: Günter Schwob; David Chipperfield Architects Studio Toni Yli-Suvanto Hisao Suzuki

L I A N G Z H U C U LTURE MUSEUM Location Client Te a m

Model P h o t o m o n t ag es Model Photographs

Liangzhu Cultural Village, China Narada Real Estate David Chipperfield, Annette Flohrschütz, Marcus Mathias, Andreas Pfisterer, Elke Saleina, Mark Randel, Alexander Schwarz, Johanna-Sophie Spichalsky David Chipperfield Architects Studio Toni Yli-Suvanto Hisao Suzuki

B A M B O O F O R E S T V I L L AG E C L U B H O U S E Location Client Te a m Structural Engineer Ser v i c e s E n g i n e e r Model P h o t o m o n t ag es Model Photographs

Liangzhu Cultural Village, China Narada Real Estate David Chipperfield, Klaus Heldwein, Christian Helfrich, Christof Piaskowski, Andreas Pfisterer, Mark Randel, Johanna-Sophie Spichalsky Zheijiang Industry Design and Research Institute Zheijiang Industry Design and Research Institute David Chipperfield Architects Studio Toni Yli-Suvanto Hisao Suzuki

R E S I D E N T I A L TOWERS, C E N T R A L H UA I H A I R OA D Location Client Te a m Structural Engineer Ser v i c e s E n g i n e e r Digital Imag i n g Models Model Photographs

9

Shanghai, China Lawton Group Johannes Baumstark, Franz Borho, David Chipperfield, Martin Eglin, Chris Hardie, Reto Liechti, Kim Wang Jane Wernick Associates: Jane Wernick Arup: Ann Dalzell, Andrew Sedgwick David Chipperfield Architects David Chipperfield Architects, Matthew Marchbank Hisao Suzuki

Location Client Te a m Structural & Ser v i c e s E n g i n e e r Quantity Sur veyo r Digital Imag i n g Models Model Photographs

Colchester, UK Colchester Borough Council David Chipperfield, Luca Donadoni, Victoria Jessen-Pike, Yuki Namba, Billy Prendergast, Takau Shimizu, Phillippe Volpe Arup: James McLean, Alan Rowell David Langdon & Everest: Richard Hopper Studio Toni Yil Suvanto Richard Threadgill Associates Richard Davies

CITY UNIVERSITY OF HONG K O N G M U LT I M E D I A B U I L D I N G Location Client Te a m

A s s o c i a t e A rc h i t e c t Landscape Arc h i t e c t Structural & Ser v i c e s E n g i n e e r Digital Imag i n g Models Model Photographs

Hong Kong, China City University of Hong Kong David Chipperfield, Dirk Felz-Suessenbach, Regina Gruber, Isabelle Heide, Victoria Jessen-Pike, Melissa Johnson, Laurent Masmonteil, Kaori Ohsugi, Billy Prendergast Aedas LPT: Catherine Chan, Paul Chu, Keith Griffiths, David Roberts Urbis: Alan Macdonald Arup: Joe Corenza, Andy Sedgwick, Nigel Tonks Neutral David Chipperfield Architects, Matthew Marchbank David Chipperfield Architects

T H E H E P W OR T H G A L L E R Y Location Client Te a m

Wakefield, UK Wakefield Metropolitan District Council Cristiano Billia, David Chipperfield, Jesús Donaire, Jason Good, David Gutman, Victoria Jessen-Pike, Daniel Koo, Claudia Lucchini, Laurent Masmonteil, Stephen Molloy, Luca Parmeggiani, Dean Pike, Billy Prendergast, John Puttick, Hau Ming Tse, Oliver Ulmer, Giuseppe Zampieri

Structural & Ser v i c e s E n g i n e e rs Quantity Sur veyo r Lighting Consultant Digital Imag i n g Models Model Photographs Photographs

Whitby Bird & Partners: Andrew Keelin, Anton Sawicki, Mark Whitby Davis Langdon & Everest: Paul Davis, Richard Hopper Arup: Florence Lam, Andy Sedgwick David Chipperfield Architects David Chipperfield Architects David Chipperfield Architects, Hisao Suzuki Richard Davies

Location Client Te a m Structural Engineer Ser v i c e s E n g i n e e r Acoustic Engineer Quantity Sur veyo r General Contractor K i t chen Photographs

London, UK Private Judith Brown, Kevin Carmody, David Chipperfield, Victoria Jessen-Pike, Kaori Ohsugi Jane Wernick Associates: Steve Haskins, Jane Wernick Environmental Engineering Partnership: Nigel Bowater, Ian Wilson Arup Acoustics: Ian Knowles Capita Property Services: Graham Davies, Brendan Hennessy, Toyin James Afco Services Rosskopf + Partner AG Hisao Suzuki

A PA R TMENT ON POR T L A N D P L ACE

Special Thanks to: Cassius Taylor-Smith and Olwen Fowler for their help and support, and Ryk Nys for his collaboration

DAVID CHIPPERFIELD 1A Cobham News, London, NW1 95B, United Kingdom Rosenthaler Strasse 38, 10178 Berlin, Germany

UNA CONVERSACIÓN CON DAVID CHIPPERFIELD ALEJANDRO ZAERA

[Londres, Primavera 2004]

VENICE

Me gustaría empezar dando un repaso a su historia personal, a su

I would like to start by reviewing your personal history, your edu-

formación, y finalmente a su relación con la cultura arquitectónica

cation and eventually your relationship with the architectural cul-

en Gran Bretaña.

ture in Britain.

Estudié en la Architectural Association (AA) durante la época

I was a student at the AA during the time when Robin Middleton organ-

en que Robin Middleton organizó un congreso sobre las Beaux

ised a conference about the Beaux-Arts. The Smithsons gave a lecture

Arts. Los Smithson dieron una conferencia sobre Labrouste; 1

on Labrouste, 1 someone else came and talked about Henry Hobson

alguien más vino y habló de Henry Hobson Richardson; y real-

Richardson and everyone was really into it. The conference had a line-

mente todo el mundo estaba metido en ello. El congreso tenía

up which included Henry-Russell Hitchcock, Leon Krier, Joseph Rykwert,

un reparto que incluía a Henry-Russell Hitchcock. Leon Krier,

James Stirling, Anthony Vidler, Alan Colquhoun and many more…It was

Joseph Rykwert, James Stirling, Anthony Vidler, Alan Colquhoun

the sharp end of Post-modernism. It was a response to a general pop-

y muchos más: era la primera línea del movimiento postmoderno.

ular criticism, which was that people hated modern architecture and if

Este congreso era una respuesta a la extendida crítica popular;

you tried to make a defence of modern architecture, there wasn’t much

la gente odiaba la arquitectura moderna, y si alguien intentaba

evidence on the ground for the general public to believe you.

defenderla, no encontraba muchas pruebas sobre el terreno para lograr que el público en general le creyese. ¿Qué hubo en su formación que le llevase a defender o intentar recu-

What was it in your education that led you into the defence or attempt

perar la arquitectura moderna como legítimo ámbito de investigación?

to recover modern architecture as a legitimate domain of research?

Recibí las enseñanzas y la influencia de personas como Ed Jones,

I was taught and influenced by people like Ed Jones, David Dunster,

David Dunster, David Shalev y Patrick Hodgkinson. Este último tuvo

David Shalev and Patrick Hodgkinson. Patrick had a profound influence

una profunda influencia en mí; era un moderno acérrimo.

on me. He was a die-hard modernist…

Así pues, estaba usted en una especie de célula que era fruto de una

So, you were in a kind of spin-off cell from an age where Modernism

época en la que el Movimiento Moderno se aplicaba exhaustivamente

was extensively practiced in Britain through social housing and

en Gran Bretaña en proyectos de viviendas sociales y escuelas.

school projects...

Sí, era la época en que el grupo London Borough of Camdem

Yes, it was the period when the London Borough of Camden Architects

Architects estaba construyendo sus grandes proyectos resi-

was building large housing projects. Neave Brown was building Fleet Road

denciales. Neave Brown estaba levantando las viviendas de Fleet

Housing in Camden and Benson and Forsyth were constructing Mansfield

Road, en Camdem, y Benson & Forsyth estaban haciendo Mansfiel

Road in Hampstead at the time I was a student at Kingston Polytechnic,

Road, en Hampstead; en ese momento yo estaba estudiando en

where I was questioning everything. During these early years, David

el Kingston Polytechnic, y me estaba cuestionando todo. Durante

Dunster advised me to go to the AA, as there were lots more investiga-

esos primeros años, David Dunster me aconsejó ir a la AA, donde

tion and invention happening, so I went to the AA, which offered more

había mucha más investigación y creación; así que me fui a la AA,

opportunities.

que me ofrecía más oportunidades.

1 Conferencia de Peter Smithson, titulada 'Once a Jolly Swagman: Some Thoughts after Labrouste’s Drawings of Paestum' ('Érase una vez un alegre vagabundo: algunas reflexiones sobre los dibujos de Paestum hechos por Labrouste').

10

1 Lecture by Peter Smithson entitled: 'Once a Jolly Swagman, Some Thoughts after Labrouste’s Drawings of Paestum'.

A CONVERSATION WITH DAVID CHIPPERFIELD ALEJANDRO ZAERA

[London, Spring 2004]

NEUES MUSEUM

De modo que, mientras usted estudiaba en los círculos modernos,

So, as you were studying within the Modernist circles, the prestige

el prestigio del proyecto moderno en Gran Bretaña decayó hasta el

of the Modern project in Britain was decaying to the point that you

punto que usted llegó a formar parte de los conservadores.

became part of the conservative…

Así es. Estuve en una institución muy conservadora inten-

Yes. I was in a very conservative institution while trying to be pro-

tando ser progresista; y luego me fui a una institución progre-

gressive, then I went to a progressive institution and I became more

sista y me volví más conservador. En Kingston se trabajaba de

conservative. Kingston was still working in a very conventional way.

un modo muy convencional. Había clases de fontanería y estruc-

There were lectures on plumbing and structure. It was a good course,

turas; era un buen plan de estudios, pero uno se sentía un poco

but you felt a bit on the outside, you were looking at magazines and you

fuera: mirábamos las revistas y veíamos que en otros sitios

saw that there were other things going on elsewhere. Post-Modernism

pasaban otras cosas. La arquitectura posmoderna estaba empe-

was beginning to happen and Leon Krier was a prominent figure. It was

zando a andar y Leon Krier era una figura destacada. Fue una

a period when there was enormous questioning about architectural sym-

época en la que se plantearon muchas cuestiones acerca del sim-

bolism, and the idea of memory. You could not avoid an overbearing

bolismo arquitectónico y la idea de la memoria. No se podía elu-

atmosphere that was questioning Modernism, not only from the popu-

dir esa atmósfera dominante que estaba poniendo en tela de

lar angle, but also from an institutional point of view. There was an enor-

juicio el Movimiento Moderno no sólo desde la óptica popular,

mous energy surrounding the Beaux-Arts exhibition and conferences

sino también desde un punto de vista institucional. Se produjo

that took place, which in turn became very influential.

un gran despliegue de energía en torno a la exposición de las Beaux Arts y a las conferencias pronunciadas, que a su vez llegaron a ser muy influyentes. Es curioso que el modelo que se estaba proponiendo en el Reino

It is curious that the model that was being promoted in the UK as

Unido como alternativa al Movimiento Moderno fuese el Beaux Arts,

an alternative to Modernism was the Beaux-Arts, which is also a uni-

que es también un modelo universal. En cierto modo, el Movimiento

versal model. In a way, one could ground Modernism in the

Moderno podría tener su fundamento en el proyecto de la Ilustración.

Enlightenment project. The Beaux Arts model is not necessarily

El modelo Beaux Arts no es necesariamente opuesto a esos valo-

opposed to those universal values of modernism. One of the most

res universales del Movimiento Moderno. Una de las críticas más habi-

common critiques to Modernism in other countries was about its

tuales a la arquitectura moderna en otros países tenía que ver con

lack of engagement with local issues, while it seems that in Britain

su falta de compromiso con los problemas locales, pero parece ser

the alternative to Modernism was equally universal…

que en Gran Bretaña la alternativa al Movimiento Moderno era igualmente universal. Recuerdo a Neil Levine haciendo una descripción de la

I remember Neil Levine giving an account of the Bibliothèque Sainte-

Biblioteca de Sainte-Geneviève y explicando lo que significaba

Geneviève and explaining what every detail meant. There was a great

cada detalle. Había una gran fascinación acerca de ese asunto:

fascination at that point, about whether Modern architecture had lost

sobre si la arquitectura moderna había perdido el significado y

meaning and memory to become completely neutral. The ambition to

la memoria hasta convertirse en algo completamente neutro. La

become universal while changing the world just ended up as bland

ambición por llegar a ser universal al tiempo que se cambiaba

Modern architecture that didn’t mean much, and everybody was look-

el mundo acabó produciendo justamente una arquitectura

ing at the Beaux-Arts, again.

moderna insulsa que no significaba mucho, así que todo el mundo miraba a las Beaux Arts, de nuevo.

11

ENTRANCE BUILDING

Lo que resultaba fascinante de este estilo decimonónico era el

What was fascinating about it was the fact that it was concerned with

hecho de que se ocupaba del lenguaje, y esto era precisamente lo

language and this was precisely what was identified as being lost in the

que se consideraba perdido en el Movimiento Moderno. Y termi-

Modern Movement. One was left, not talking about the better versions

nábamos hablando no de las mejores versiones del lenguaje

of it, but rather the general shift that had happened. We should not for-

moderno, sino del cambio general que se había producido. No

get that simultaneously people like Manfredo Tafuri or Aldo Rossi were

debería olvidarse que, por la misma época, personas como Manfredo

questioning similar issues in a different manner in a different place. In

Tafuri o Aldo Rossi estaban cuestionando temas similares de un

England, however, in a typically English sort of way, everybody was just

modo diferente y en un lugar diferente. Sin embargo, en Inglaterra,

looking at Lutyens, Labrouste or MackIntosh. People were looking back…

de un modo típicamente inglés, todo el mundo miraba simplemente

It did not have an intellectual dimension, it was just a general move to

a Lutyens, Labrouste o Mackintosh. La gente miraba hacia atrás;

say, "Look how interesting Lutyens was". Lutyens was a big hero who

no era algo de dimensión intelectual, era sólo una tendencia gene-

produced buildings that were invented with qualities that the Modern

ral a decir: "Mira qué interesante era Lutyens". Lutyens era un gran

Movement didn’t seem to have any longer; a beautiful wooden floor; a

héroe que había creado edificios dotados de atributos que el

very nice chimney; or an interesting silhouette.

Movimiento Moderno ya no parecía tener: un hermoso suelo de madera, una preciosa chimenea o una interesante silueta. Así que usted aterrizó inconscientemente en una especie de oposi-

So, you landed unconsciously in a sort of conservative opposition

ción conservadora que se enfrentaba a lo que llegó a ser la arquitectura

to what became Post-Modernism.

postmoderna. Sí, supongo que sí. Además de los ya citados Ed Jones, David

I suppose so; I was influenced by Ed Jones, David Dunster, David

Dunster, David Shalev y Patrick Hodgkinson, también Su Rogers

Shalev, Patrick Hodgkinson, Su Rogers, John Miller, people who held

y John Miller influyeron en mí. Como ya he dicho, Patrick me

on to the modernist tradition. Patrick took me under his wing. I used to

puso bajo su tutela; yo solía ir a su casa de Bayswater a ver

go to his house in Bayswater and look at Aalto, Asplund and Kahn. This

cosas de Aalto, Asplund y Kahn. Esto era muy estimulante, por-

was very invigorating, as he was showing me what modern architecture

que Patrick me enseñaba lo que podía ser la arquitectura moderna

could be and what it ended up being at the same time. This period at

y, al mismo tiempo, lo que había acabado siendo. El periodo

the AA was very exiting and it was full of interesting and diverse figures,

pasado en la AA fue muy emocionante y estuvo plagado de figu-

Rem Koolhaas, Leon Krier, Bernard Tschumi, Nigel Coates, Zaha Hadid…

ras interesantes y diversas: Rem Koolhaas, Leon Krier, Bernard Tschumi, Nigel Coates, Zaha Hadid, etcétera. Luego estuvo usted trabajando una temporada para Richard Rogers. Sí, después de dejar la AA, trabajé para Richard.

You then went to work for Richard Rogers for a while…

Yes, when I left the AA, I worked for Richard.

De modo que, entre las opciones disponibles, decidió trabajar para

So out of the choices you had available, you decided to work for a

un tipo más moderno, aunque su posición era ligeramente crítica

more modernist type, even if you were slightly critical about the

con la arquitectura high-tech.

High-Tech

Sí. Estuve trabajando para Douglas Stevens, fue mi primer

Yes. I worked for Douglas Stevens, which was my first job and while

empleo; y mientras trabajaba allí recibí una llamada de Richard

I was working with Douglas, I got a call from Richard to see if I could help

para ver si le podía ayudar en un concurso, que era el del Lloyd's.

on a competition, which was the Lloyds. So I worked on the Lloyds

Así que trabajé en el concurso del Lloyd's y me quedé allí des-

competition and stayed on after we won. After I left to work on my own,

pués de ganarlo. Cuando me marché para trabajar por mi cuenta,

the same thing happened; I got an invitation to work at Foster’s to see

volvió a ocurrir lo mismo: recibí una invitación del estudio de

if I wanted to work on a competition with them, so I worked at Foster’s

Foster para ver si quería trabajar con ellos en un concurso; así

for a year and the last competition I got involved with, was the BBC

que trabajé allí durante un año y el último concurso en que par-

Radio Centre at Langham Place.

ticipé fue el del centro de radio de la BBC en Langham Place. Eso fue a finales de la década de 1970. ¿Qué estaba ocurriendo en

This was in the late 70’s… What was happening generally in the pro-

términos generales, dentro del ámbito profesional, tras el desman-

fessional field after the dismantling of the welfare state by Thatcher?

telamiento del estado del bienestar por parte de Margaret Thatcher?

It seems that these were the years when the 60’s utopian dreams

Según parece, fue en esos años cuando se vinieron abajo los sue-

had crashed…

ños utópicos de la década de 1960.

12

SPREEDREIECK

Otra cosa que hemos de comprender es que en esa época

The other thing you must realise is that at the time, there was a reces-

había una recesión económica y también un alto grado de pesi-

sion, and there was a general level of pessimism. When we came out

mismo. Cuando salimos de la universidad, nuestras ambiciones

of college, our ambitions had been reduced, because we were being

habían quedado limitadas, porque las personas que nos habían

taught by people who had closed their offices, as they had no work. One

dado clase habían cerrado el estudio por falta de trabajo. Yo

was having enormous respect for people who I would be very grateful

sentía enorme respeto por ciertas personas; me habría consi-

if I was as good as they were, and they had nothing to do. If these peo-

derado afortunado si hubiese sido tan bueno como ellas... y no

ple had no work, what chance did we have? Therefore, it was a very

tenían nada que hacer. Si esa gente no tenía trabajo, ¿qué opor-

strange climate to come out into. There were barely any competitions.

tunidades teníamos nosotros? Por tanto, era un clima muy extraño

When I left the AA there was one competition, the Kew Botanical Gardens

para salir de la carrera e incorporarse a la profesión. Apenas

and the year before, there was the Irish Prime Minister’s house, and

había concursos: cuando dejé la AA hubo uno (el Jardín Botánico

everybody participated as there was only one competition a year. It con-

de Kew); el año anterior hubo otro, el de la casa del primer minis-

ditioned the way you came out of school and the way you hit the pro-

tro irlandés; así que todo el mundo participaba en cada con-

fession, with very low expectations of what was going to happen. So I

curso, porque sólo se convocaba uno al año. Esto condicionaba

don’t think you ever knew which way you were going to go.

el modo en que salíamos de la escuela y nos enfrentábamos a la profesión: con muy pocas expectativas sobre lo que iba a suceder. Por eso no creo que supiésemos nunca qué camino íbamos a tomar. Es muy interesante que piense que su generación retornó al Movimiento

It’s quite interesting that you think that your generation got back to

Moderno pero casi buscando más la estética que la prolongación del

Modernism, but almost looking more for aesthetics rather than for

programa moderno. Suena a desideologización del Movimiento

the continuation of the Modernist program. It sounds like a de-ide-

Moderno, a su exploración como lenguaje, liberado del contenido

ologisation of Modernism, the exploration of modernism as a lan-

ideológico o programático.

guage, freed from ideological or programmatic content…

Sí, eso es exactamente lo que ocurrió en las décadas de 1980

Yes, that’s exactly what happened in the 80’s and 90’s. There was a

y 1990. Hubo una generación que intentó demostrar que se podían

generation trying to prove that you could build buildings that had inher-

construir edificios que tuviesen cualidades físicas propias, que

ent physical qualities, that weren’t only understood because they were

no se comprendiesen sólo como parte de una idea más amplia.

part of a larger idea. Therefore, whether it was the early buildings of

Así pues, en los primeros edificios de Herzog & de Meuron,

Herzog and De Meuron, Eduardo Souto de Moura, Alvaro Siza, Luigi

Eduardo Souto de Moura, Álvaro Siza, Luigi Snozzi o Tadao Ando,

Snozzi or Tadao Ando, you were seeing beautiful modern architecture,

lo que veíamos era una hermosa arquitectura moderna, y no

and there didn’t seem to be anything wrong with that. On the contrary,

parecía que hubiese nada malo en ello; por el contrario, era casi

it was nearly a relief to see that Modern architecture could be invested

un alivio ver que la arquitectura moderna podía estar dotada de

with some of the qualities that people were arguing were only the terri-

esas cualidades que la gente sostenía que eran sólo el territo-

tory of historical architecture— good materials, consideration of light, beau-

rio de la arquitectura histórica: buenos materiales, importancia

tiful spaces.

de la luz, bellos espacios, etcétera. Así que en ese punto uno se

So at that point you joined-in and said, "Well, look, here’s an argu-

apuntaba y decía: "Bueno, mira, aquí tenemos un argumento en

ment against the generalised critique of modern architecture. Why can’t

contra de esa crítica generalizada de la arquitectura moderna.

new things be beautiful?"

¿Por qué no pueden ser bellas las cosas nuevas?" Era la época

This was the period of the small project. Souto de Moura was doing

de los proyectos pequeños. Souto de Moura estaba haciendo

houses, Siza was doing a small bank-building, Herzog & De Meuron

casas, Siza una pequeña sucursal bancaria, Herzog & de Meuron

were doing a private gallery… and Modern architecture went sensuous

una galería de arte privada, etcétera; y la arquitectura moderna

for a while, in order to gain back some territory. There wasn’t a strong

se volvió sensual por un momento, con el fin de recuperar algo

ideological position, and you had Lampugnani’s Domus, which was col-

de terreno. No existía una postura ideológica fuerte, y teníamos

lecting all those projects and putting them together. There was a whole

el Domus de Vittorio Magnago Lampugnani, que estaba recopi-

series of people which included; Enric Miralles, Josep Lluis Mateo,

lando y agrupando todos esos proyectos. Había toda una serie

Eduard Bru, Herzog and De Meuron, Souto de Moura, Hans Kollhoff

de personas implicadas, entre ellas Enric Miralles, Josep Lluís

and so on… you could not see them as ideologically-minded people,

Mateo, Eduard Bru, Herzog & de Meuron, Souto de Moura, Hans

except that they were all trying to put value back into the project. The

Kollhoff, etcétera; no podía decirse que fuese gente con menta-

small project showed the way forward.

lidad ideológica, salvo en el sentido de que todos estaban intentando volver a conceder valor a los proyectos. Los proyectos pequeños indicaban el camino hacia delante.

13

ANSALDO

Pero yo diría que dentro de ese grupo habría que hacer una distinción

But within that group I would say there is a distinction between the

con respecto a las ideas de otras personas de su generación que esta-

ideas of other people from your generation who were more interested

ban más interesadas en, por ejemplo, el expresionismo, el regionalismo

in, let’s say, expressionism, regionalism, or construction… I think

o la construcción. Creo que la generación en la que usted se incluye

the generation of people that you include yourself in, is interested

se interesa por el Movimiento Moderno como lenguaje, pero también

in Modernism as a language, but it also inherited a certain aesthe-

heredó cierta estética de la contención, más que del exceso. Además,

tic of constraint, rather than of excess… In addition, I would say that

yo diría que entre usted y algunas de las personas a las que se ha

between you and some of the people you refer to, there is a diffe-

referido hay una diferencia en el sentido de que en la obra de David

rence in the way your work is not bound to any regionalist traits.

Chipperfield no se aprecia ningún rasgo regionalista. Cada cual hacía su propia versión, pero en cierto modo había una

Everybody was doing their own version, yet somehow there was a

extraña coherencia —no sé si debería llamarse así—, una conso-

strange— I don’t know if it should be called coherence - but a consol-

lidación de esa generación, porque creo que admitíamos que todos

idation of that generation, as I think we recognised that we are all doing

estábamos haciendo lo mismo, aunque con algunas diferencias

the same thing, although regionally different. Miralles was doing an exotic

regionales. Miralles estaba haciendo una versión exótica, jugando

version playing much more with language than let’s say Hans Kollhoff,

mucho más con el lenguaje que, digamos, Kollhoff; y después del

and after the heroic modernist period where you had to change the

periodo heroico moderno —en el que había que cambiar el mundo

world on the big scale, people were doing little things again. Besides V.M.

a gran escala— la gente estaba volviendo a hacer cosas pequeñas.

Lampugnani, there was also Kenneth Frampton who said: Modernism

Además de Lampugnani, también estaba Kenneth Frampton que

is alive and healthy, and there are proponents that are showing that it is

decía: "El Movimiento Moderno está sano y salvo, y algunos de

not universal and anonymous, as you only have to look at Barragan,

sus defensores están demostrando que no es universal y anónimo,

Siza or Ando, they were all regional versions of Modernism. Frampton

para lo cual basta con observar la obra de Barragán, Siza o Ando";

was pushing the idea that this was a richer version of Modernism because

todos ellos hacían versiones regionales del Movimiento Moderno.

it accepted regional conditions. What held this together were not style,

Frampton estaba impulsando la idea de que ésta era una versión

but intention and a certain faith in precision.

más enriquecedora del Movimiento Moderno porque aceptaba las condiciones regionales. Lo que mantenía todo esto unido no era el estilo, sino la intención y cierta fe en la precisión. ¿Cree usted que estar radicada en Gran Bretaña es lo que hace que

Do you think that the location in Britain is what makes your work

su obra sea particularmente genérica en comparación con la de sus

particularly generic in comparison to your other European collea-

colegas europeos? Me da la impresión de que, de todas ellas, su

gues? It strikes me that from all of them; your work is probably the

obra es probablemente la más extrema en cuanto a la pura manipu-

most extreme in terms of pure manipulation of the modernist lan-

lación del lenguaje moderno, carente de programa, de referencias cul-

guage, devoid of programme, cultural references, and even expres-

turales e incluso de rasgos expresionistas.

sionist traits.

Lo extraño es que, para mí, en ese contexto, no había regio-

The strange thing is that for me, in that context, there was no region-

nalismo alguno, en el sentido de que yo no trabajaba a escala

alism, in the sense that I wasn’t working locally. I had little work in England.

local. Tenía pocas obras en Inglaterra; mi carrera se había cre-

My career has been invented through small projects, which were all over

ado a partir de pequeños proyectos repartidos por ahí. Tuve que

the place. I have had to assemble them as a body of work when it was

reunirlos como una obra de conjunto cuando en realidad eran frag-

really lots of fragments. It was a little apartment or extension here, a

mentos: es decir, un apartamento o una ampliación por aquí, una

shop there, a small building in Japan…

tienda por allá, un pequeño edificio en Japón... ese tipo de cosas. Y por eso diría usted que ésa es la razón de que su obra esté menos

So would you say that this is the reason your work was less regio-

orientada hacia lo regional, que sea menos expresionista que la de otros.

nally oriented, less expressionistic than other people are.

Sí, no me interesaba tratar de expresar el carácter inglés en

Yes, I wasn’t interested in trying to express an Englishness in Japan,

Japón, porque lo que realmente estaba intentando ver era qué

as I was really trying to see what I could do within a Japanese context.

podía hacer dentro de un contexto japonés. Creo que otra diferencia con la gente de su generación, en los pri-

I think another difference between the people of your generation,

meros años, es que sus encargos eran principalmente comerciales,

in the early years, is that your commissions were mainly commer-

mientras que los de sus colegas eran más bien de carácter público.

cial, while theirs were more of a public nature. You were not wor-

Usted no trabajaba en el sector público como Siza o Souto de Moura.

king in the public realm like Siza or Souto de Moura,

14

KNIGHT HOUSE

Sin duda. Había que salir y encontrar trabajo donde fuese, y

Absolutely. You had to go out and find work wherever it was, and

luego intentar darle cierto significado. Me tuve que hacer un

then try to give it some meaning. I had to invent a position out of bits

hueco a base de cosas sueltas. Por entonces también hacíamos

and pieces… We also did a lot of non-commissioned work at the time.

muchos trabajos sin encargo. Cuando alguien nos preguntaba si

When someone asked if we were interested in designing a house we

nos interesaría proyectar una casa, lo hacíamos inmediatamente,

designed it straight away, instead of waiting for a contract. We knew it

en lugar de esperar a tener un contrato. Sabíamos que nunca se

would never be built, but we would have a project… The generation

construiría, pero así tendríamos un proyecto. La generación ante-

before me would not have been interested in making a career out of

rior a la mía no habría tenido interés en basar su profesión en el

designing a shop or a wooden model of a house as they would have

diseño de una tienda o en la maqueta de madera de una casa,

wanted to do universities and town halls… The only thing that was use-

porque lo que querían era hacer universidades y ayuntamientos.

ful at that point was to remain self-conscious about it and to keep say-

Lo único útil en aquel momento era ser consciente de ello y

ing, "Well, a frock shop doesn’t mean anything, it can’t mean anything,

seguir diciendo: "Bueno, una tienda de ropa no significa nada,

it’s just an opportunity to design a wooden floor and a metal staircase

no puede significar nada, es tan sólo una oportunidad para dise-

and make a hole in the wall and get light in. You’re not actually doing

ñar un pavimento de madera y una escalera metálica, y para

anything very interesting; you’re just assuming a craft, a tactile craft

hacer un agujero en un muro por donde entre la luz; en realidad,

rather than an intellectual one". It made me very self-conscious about

no estás haciendo nada demasiado interesante, estás adqui-

going to teach, entering competitions and doing theoretical work, or

riendo oficio, un oficio táctil más que intelectual". Esto me hizo

work that wasn’t necessarily commissioned.

sentirme muy cohibido con respecto a la idea de dar clase, presentarme a concursos y dedicarme a obras teóricas, o trabajos que no fuesen necesariamente encargos. Pero en Gran Bretaña existía un enfoque alternativo. En esa época, en

But there was an alternative approach in Britain. There were other

la AA había otras personas que se movían en una dirección completa-

people at the AA at your time moving in an entirely different direc-

mente distinta, tal vez más comprometidas ideológicamente, o senci-

tion, perhaps more ideologically engaged or simply more idios-

llamente más idiosincrásicas. Su obra nunca ha sido tan idiosincrásica.

yncratic. Your work has never been so idiosyncratic…

Cierto, y hay que ser increíblemente fuerte para hacerlo así;

Yes, and you have to be unbelievably strong to do that and it takes

y hace falta mucho valor, pero lo que a mí me interesaba era

a lot of courage, but I was interested in building, and I was interested in

construir, y me interesaba hacerlo en un clima que en realidad

building in a climate that didn’t actually want you to. So you felt much

no precisaba de mí. Por eso uno se sentía derrotado, se sentía

subverted, you felt like a doctor in a hospital that didn’t do operations

como un cirujano en un hospital en elque ya no se hacían ope-

any more and therefore you weren’t sure how you should best go about

raciones; y por tanto, uno no estaba seguro de cuál era el mejor

your business. On the other hand, I think there is a desire amongst us

modo de afrontar las cosas. Por otro lado, creo que entre nos-

all to make things that mean something. I think that you do want to com-

otros existe el deseo de hacer cosas que signifiquen algo; creo

municate, because when you build something, draw something or write

que sí queremos comunicarnos, porque cuando construimos

something, you do want it to mean something to somebody. The ques-

algo, dibujamos algo o escribimos algo, queremos que signifi-

tion is whom is it going to mean something to. Perhaps the Modern

que algo para alguien. La cuestión es para quién va a significar

Movement was only interested in meaning something to other profes-

algo. Tal vez el Movimiento Moderno sólo tenía interés en sig-

sionals. When I did the Rowing Museum, I realised pragmatically that the

nificar algo para otros profesionales. Cuando hice el Museo del

environment in which one is building is so local and generally against

Remo, comprendí, de un modo pragmático, que el entorno en

Modern architecture. I had to make the decision whether I was really going

el que construimos es muy local y generalmente contrario a la

to build something there, and if I was, it had to be accepted. I couldn’t

arquitectura moderna. Tuve que tomar la decisión de si real-

be protected and wasn’t going to be given any protection by anything.

mente iba a construir algo allí; y que si lo hacía, tendría que ser

In fact, the Council was against the building. I’m just using that as an

aceptado. No podría protegerme y no iba a recibir protección

example, but it amazed me that in Japan, there were no planning con-

alguna. De hecho, el ayuntamiento estaba en contra del edifi-

straints, but what we did in Japan, we couldn’t do in England and you

cio. Estoy diciendo esto sólo como un ejemplo, pero me sor-

couldn’t follow those sorts of abstracts. However, there was something

prendió que en Japón no hubiese restricciones urbanísticas; sin

about the Rowing Museum that forced us to say, "Well, what’s wrong with

embargo, lo que hacíamos en Japón no lo podíamos hacer en

designing a building that might be popular?" It might appeal to them and

Inglaterra, y no se podían seguir esa especie de ideas abstrac-

it might recall something that is familiar to them.

tas. No obstante, había algo en el Museo del Remo que nos llevó a decir: "Bueno, ¿qué hay de malo en proyectar un edificio que pueda ser popular?" Podría ser atractivo para los lugareños y podría recordarles algo que les resultase familiar.

15

MIAMI

Le he oído decir en otra ocasión que estaba tratando de desapren-

I have heard you saying before that you were trying in some way

der lo que significaba ser un arquitecto inglés, porque se estaba

to un-learn what it meant to be an English architect, as you were

dando cuenta de que cuando trabajaba en Alemania o España las

finding that when working in Germany or Spain, the expectations

expectativas eran totalmente distintas. En lugar de esperar una

were entirely different. Instead of expecting total submission to the

sumisión total a las instrucciones del cliente, la gente le pregun-

client’s brief, people would ask you how you expected the brief to

taba cómo suponía que iba a funcionar el programa, e incluso se cre-

work, and they would believe what you told them. So now you are

ían lo que les decía. Así que ahora que está haciendo proyectos

doing very large public projects with a new scale, a new type of

públicos muy grandes, de una nueva escala y con un nuevo tipo de

client, what are the opportunities that this is providing? Are you

cliente, ¿cuáles son las oportunidades que esto le está brindando?

able to theorise?

¿Es capaz de teorizar? ¿Que si soy capaz de derribar la valla que había construido

Am I able to break out of the fence that I built around me? That’s like

a mi alrededor? Eso es como dejar la puerta abierta a un perro

leaving the gate open for a dog that’s been in a cage for too long. The

que lleva demasiado tiempo en una jaula: la puerta se abre,

door’s open but the dog stays inside. I suppose I am interested in

pero el perro se queda dentro. Supongo que me interesa des-

describing projects, which are not wholly dependent on formal solutions

cribir proyectos que no dependan totalmente de su solución

and I remain suspicious of architectural invention. I still drive down the

formal y sigo desconfiando de la invención en arquitectura.

street in different cities and see architects’ attempts, which probably

Todavía circulo por la calle en distintas ciudades y veo algunas

looked all right at the time but conspicuous a few years later. I have an

intervenciones de arquitectos que probablemente quedaban

intellectual as well as a pragmatic desire, and it is difficult to know how

bien en su época, pero que resultan llamativas unos cuantos

honest to be with oneself. I don’t know whether I stay with the things I

años después. Tengo un deseo intelectual y a la vez pragmá-

know because I can’t do anything beyond, but I remain captured by the

tico, y resulta difícil saber cuán honrado ser con uno mismo. No

idea of constraints. I am still interested in where one draws a constraint

sé si sigo con las cosas que conozco sólo porque no puedo

and how one controls the things. This is a current, which runs through

avanzar más, pero todavía estoy cautivado por la idea de las res-

all the projects.

tricciones. Me sigue interesando dónde se pone una restricción y cómo se controlan las cosas. Ésta es una corriente que atraviesa todos los proyectos.

Hay una arquitectura que se preocupa por explorar las cosas, que

There is an architecture that is concerned about exploring things,

intenta constantemente tirar la pelota fuera del campo, mientras que

trying to constantly throw the ball out of the court, while there is

hay otro tipo de investigación que se ocupa de destacar realmente

another type of research that is about actually enhancing the cons-

las restricciones hasta que se convierten en algo.

traints until they become something.

Así es; mi impresión es que los rituales de la vida cotidiana son

Yes, my feeling is that the rituals of daily life are what you want to

los que necesitan que construyamos una arquitectura alrededor.

build architecture around. I don’t see architecture in itself as the centre

No entiendo la arquitectura en sí misma como un foco de atención.

of attention. I always think about the frame in which you should be able

Siempre pienso en ese marco en el que deberíamos ser capaces

to live your life, whether it’s reading a book in the library, cooking a meal

de vivir la vida, ya sea leer un libro en una biblioteca, hacer la

in a house, or working at your desk in an office. This view of the world

comida en una casa o trabajar en la mesa de una oficina. Esta

is intrinsically conservative, not because it refuses change but that it

visión del mundo es intrínsecamente conservadora no porque

builds upon that which is understood. The problem is, if it is about mak-

rechace el cambio, sino porque se apoya en lo que se comprende.

ing a framework, you might end-up with very little and I think you need

El problema es que, si se trata de hacer un marco, podríamos ter-

to find a balance. It’s a bit like going into a restaurant. There was a period

minar poniendo muy pocas cosas, y creo que es preciso encon-

in the 80’s and early 90’s when you’d go into a restaurant and sit down

trar un equilibrio. Es un poco como ir a un restaurante. Hubo un

and you’d get a stiff neck because you’d have to look at everything.

momento, en la década de 1980 y principios de la de 1990, en que

And everything was about design and everything was about thinking

cuando íbamos a un restaurante y nos sentábamos, acabábamos

"Hmm, how interesting, how on earth did they do that?" and you think,

con tortícolis porque había que mirarlo todo. Y todo era de diseño

"Hang on, what’s all this about, do we really need all that stuff?" On the

y todo era decir "vaya, qué interesante; ¿cómo demonios habrán

other hand, we don’t go to restaurants to get nutrition. It is about con-

hecho eso?"; pero luego piensas "un momento; ¿a qué viene todo

versation and enjoying your food, which is actually enhanced by a rather

esto?; ¿de verdad necesitamos todos estos chismes?" Por otro

beautiful condition.

lado, no vamos a los restaurantes a alimentarnos; vamos por la conversación y a disfrutar de la comida, algo que mejora sustancialmente en un ambiente más bien hermoso.

16

ATHLONE

Es como cuando vamos a comer al campo: encontramos un

It’s like when you go for a picnic, you find a very beautiful place, next

lugar bonito, junto a un árbol, y miramos el mar y decimos

to a tree and you’re looking at the sea and say "well, this is a great place

"bueno, éste es un sitio estupendo para merendar", y entonces

to go for a picnic", and then get the hamper out… it’s absolutely fabu-

sacamos las cestas; es absolutamente fabuloso, pero a partir de

lous, but from then on, you just get on with having a picnic. You don’t

ese momento sólo nos ocupamos de la merienda; no estamos

constantly look up although it does affect the quality of the picnic. The

todo el rato mirando hacia arriba, salvo que eso afecte a la cali-

fact that you are subconsciously in a special place is very important. I

dad de la merienda. El hecho de que nuestro subconsciente

think that you can enhance and sensitise. That’s what I like about Japan.

sepa que estamos en un sitio especial es muy importante. A mi

Just having a bath is a treat. I do like the way they give extra significance

entender, nosotros podemos aportar mejoras y sensibilización.

and meaning to things that one does on a normal day. And I would say

Eso es lo que me gusta de Japón. Simplemente darse un baño

that that is the motto of our work, or my work and my interest, which is

es un gusto. Me encanta el modo en que los japoneses conce-

that it seems to be that I’m not interested in making a house somewhere

den importancia y significado adicionales a las cosas que hace-

where it subjects you to its intentions, but where it allows you more to

mos en un día normal. Y yo diría que ése es el lema de nuestro

conduct your rituals, and it’s like special, in a sensitised way. The ques-

trabajo, o de mi obra y mi interés: que parece que no me inte-

tion is how much architecture do you need in order to do that.

resa hacer una casa en un sitio que nos someta a su voluntad,

(Or at what point does the architecture become too absent…)

sino que nos permita desarrollar mejor nuestros rituales, como algo especial, de un modo sensible. La cuestión es cuánta arquitectura se necesita para lograr eso. (O en qué punto la arquitectura se torna demasiado ausente.) Una casa es lo más fácil, porque una casa puede construirse

A house is the easiest thing because a house can be built around

alrededor de los rituales. Hay otros proyectos que hemos hecho

rituals. There are other projects that we have done, let’s say the Cemetery

(por ejemplo el cementerio de Venecia), en los que la idea salió

in Venice, where the idea came from saying well, if you’re going to have

de decir "bueno, si vamos a poner paredes para enterrar a las

walls to bury people in, instead of organising it like a library, why not

personas, en lugar de organizarlo como una biblioteca, ¿por qué

turn the walls into courtyards? Therefore, the process of going and put-

no transformar los muros en patios?" De ese modo, el proceso

ting flowers on the grave of your grandmother is ritualised in a stronger

de ir a poner flores en la tumba de la abuela adquiere un mayor

way. It actually doesn’t matter what the walls are made of. I did a first

carácter ritual. En realidad no importa de qué están hechos los

sketch and it is still like that. The architectural development has been

muros. Hice un croquis inicial y todo sigue siendo igual; ha habido

very little. We have obviously worked on all the details and tried to get

muy poco desarrollo arquitectónico. Evidentemente, hemos ela-

all the concrete columns as small as possible, but we haven’t done

borado todos los detalles y hemos intentado que las columnas

anything radically different from that sketch. For the Law Courts in

de hormigón sean lo más pequeñas posible, pero no hemos hecho

Salerno, instead of having a single building, we decided to make many

nada radicalmente distinto de aquel croquis. En el Palacio de

smaller buildings and connect them through courtyards, so we got rid

Justicia de Salerno, en lugar de tener un solo edificio, decidi-

of corridors. However, there are other projects where the architecture

mos hacer muchos edificios más pequeños y conectarlos

becomes a public relations exercise, it is as the promotion of the city.

mediante patios, con lo que nos libramos de los pasillos. Sin

A new requirement for architecture is that it becomes destinational. If

embargo, hay otros proyectos en los que la arquitectura se con-

the Modern Movement wanted to change the way the world operates,

vierte en un ejercicio de relaciones públicas: es como la pro-

and industrialises itself, I think now it’s ended up in a very different way,

moción de la ciudad. Una nueva exigencia para la arquitectura

it’s another type of vision, which is how do we create monuments to

es que llega a asumir un destino. Si el Movimiento Moderno que-

our transient culture. Some architects try to mumentalise our new life

ría cambiar el modo en que el mundo funciona y se industrializa,

with railway stations, airports, museums…

creo que ahora la cosa ha acabado de manera muy distinta: hay

In the past every museum competition would have been dominated

otra clase de visión, que consiste en cómo creamos los monu-

by curators, with concerns about how the collections would be dis-

mentos de nuestra cultura efímera. Algunos arquitectos intentan

played and how the light was brought-in… Whereas now, there’s another

monumentalizar nuestra nueva vida con estaciones ferroviarias,

bigger question like: "Is this going to be sexy enough to put us on the

aeropuertos, museos, etcétera.

map?" It has brought a new dimension to architecture.

En el pasado, todos los concursos de museos estaban controlados por los responsables de su conservación, con sus preocupaciones acerca de cómo se dispondrían las colecciones o cómo entraría la luz. En cambio, ahora hay otra cuestión más importante, algo así como "¿va a ser esto lo bastante atractivo como para situarnos en el mapa?". Esto ha aportado una nueva dimensión a la arquitectura.

17

LIANGZHU

BAMBOO FOREST VILLAGE

Me interesa su descripción de la arquitectura japonesa como una

I am interested in your characterisation of Japanese architecture

serie de pequeñas decisiones que conceden valor a ciertos momen-

as a series of small decisions that give value to certain moments

tos o ciertos rasgos en lugar de tener una postura ideológica que lo

or certain features rather than having an all-pervading ideologi-

impregne todo.

cal position.

Me he vuelto muy cínico con respecto al arte de justificarlo

I’ve become very cynical about the art of justifying everything, while

todo, cuando lo único que hemos hecho ha sido enlazar una

all we have really done was to join the dots. Once we have set up a very

serie de puntos. Una vez que hemos establecido un proceso

rational and intelligent process there is an assumption that it could be

muy racional e inteligente, se da por supuesto que podría

followed accurately. It is as if we do not design a form but decide on a

seguirse con toda precisión. Es como si no se tratase de dise-

series of processes that produce it for us. In the end, we’re all making

ñar una forma, sino de decidir cuál es la serie de procesos que

forms and we are all uncomfortable about making forms, so we are all

la producen para nosotros. Al final, todos estamos haciendo

trying to give reasons why we’re doing something superficial, which is

formas y nos sentimos inseguros y a disgusto haciéndolas; por

to decide the shape and colour of things.

eso todos tenemos la necesidad de justificar por qué estamos haciendo algo superficial como es el decidir la figura y el color de las cosas.

¿No sería entonces eso volver a ese pragmatismo inglés con el que

Would that not be a return to English pragmatism that in your early

al principio de su carrera se encontraba usted tan incómodo? Vale,

career you felt uncomfortable with? Like, you don’t try to theorise,

no intenta teorizar ni trata de encontrar una justificación ideológica:

or try to find an ideological justification. A pragmatic operation sup-

es una operación pragmática apoyada en la dialéctica, aunque sin

ported by dialectics without reducing it to simple individual or func-

dejarla reducida a una sencillas intervenciones individuales o fun-

tional interventions in different parts of the project.

cionales en diferentes partes del proyecto. Estoy de acuerdo. Creo que es el mismo problema que el de

I agree. I think it is the same problem as with faith. It is one thing to

la fe. Una cosa es decir que no se cree y otra, realmente espan-

say you don’t believe but it is actually terrifying not to believe in anything.

tosa, no creer en nada. No se trata de que no creamos en algo,

It is not that you don’t believe in something but that you might have

sino de que podemos haber cuestionado el proceso que esa cre-

questioned the process that that belief gives you. The vacuum and dan-

encia nos proporciona. El vacío y el peligro de no tener creen-

ger of not having any beliefs or values is untenable. I agree that we are

cias o valores en absoluto es algo insostenible. Coincido en que

always making shapes, that we are always choosing materials and play-

siempre estamos trazando figuras, en que siempre estamos eli-

ing with forms, but I don’t buy the text that we give to ourselves. Without

giendo materiales y jugando con formas, pero no me trago la

any beliefs we have another problem, but one questions how universal

importancia que nos damos a nosotros mismos. Si no tenemos

those beliefs are. During my career there has been the collapse of the

creencia alguna nos enfrentamos a otro problema; y en cual-

larger faith system of the modern movement. There was a withdrawal of

quier caso uno tiene que cuestionarse hasta qué punto son uni-

the grand ambitions in architecture and as we were not changing the world

versales esas creencias.

we accepted to create a nice little building. You would go along and

Durante mi carrera profesional se ha producido el hundimiento

say, "It’s fabulous, it’s really beautiful", and you felt invigorated by it. It is

de ese gran sistema de fe que era el Movimiento Moderno; se

not revolutionary, but it is amazing just how much it does achieve, and

abandonaron las grandes ambiciones en la arquitectura y, como

that’s what I’ve always said; I think that architects have always overes-

no estábamos cambiando el mundo, aceptamos crear unos edi-

timated our role, but I do not believe that in the end we are capable of

ficios pequeños y bonitos. Y uno iba y decía "es estupendo, es

doing that much. I think that there was in some sense a withdrawal in

realmente hermoso", y se sentía fortalecido por ello. No es algo

the 80’s and 90’s, commercially and intellectually, as we adopted a more

revolucionario, pero es sorprendente lo que consigue. Y es lo que

modest approach. Right now I feel that that modesty is being aban-

he dicho siempre: creo que los arquitectos hemos sobrevalorado

doned again, we are all changing the world all over, and not necessar-

nuestro papel, y es que no creo que al final seamos capaces de

ily for ideological reasons. We have all become part of the visualisation

hacer tanto. A mi entender, en las décadas de 1980 y 1990 hubo

project, which is to do with giving identity to things…

en cierto sentido una sensación de retirada, comercial e intelectualmente, cuando adoptamos un enfoque más modesto. Ahora mismo considero que esa modestia se está abandonando de nuevo: todos estamos cambiando el mundo, y no necesariamente por razones ideológicas; todos hemos llegado a formar parte de ese proyecto de visualización que tiene que ver con dar identidad a las cosas.

18

MEXICO

Cambiar el mundo probablemente está pasado de moda, pero hay

Changing the world is probably outdated, but there is a genuine need

una auténtica necesidad de explicar lo que usted está haciendo,

to explain what you are doing, especially now that you are invol-

especialmente ahora que está ocupado en un proyecto muy grande

ved in a very large project like the City of Justice in Barcelona.

como es el de la Ciudad de la Justicia de Barcelona. Por tanto, el

Therefore, the fact that you have to become accountable for these

hecho es que tiene que hacerse responsable de estas cosas, y no

things and not only accountable in terms of producing a new image

sólo responsable en cuanto a producir una nueva imagen para la

for the city but also organising a kind of critical system for the citi-

ciudad, sino también en cuanto a organizar una especie de sistema

zens to use.

crítico para los ciudadanos que la usen. En mi opinión, ése es un problema que tenemos todos: cómo

I think that it’s a problem for all of us, how to operate at the larger scale.

actuar a gran escala. Y esto no tiene que ver necesariamente

And larger scale isn’t necessarily to do with the scale of the building, it’s

con la escala del edificio, sino con la de nuestro campo de actua-

to do with the scale of our field of operation. I do think we ought to be

ción. Estoy convencido de que deberíamos ser responsables, y

accountable and describe what we’re doing and why we are doing it.

describir lo que estamos haciendo y por qué lo estamos haciendo.

I believe that for some projects it is easier then it is for others, and

Esto resulta más fácil con unos proyectos que con otros, y

probably this is where the ultimate success of a project resides. You are

probablemente ahí es donde reside el éxito definitivo de un pro-

interested in seeing how a project will perform as a public building or how

yecto. Nos interesa ver cómo se comportará un proyecto como

you see the role of the museum in a community. This discourse is very

edificio público, o cómo se entenderá el papel de un museo en

interesting in the same way as I find the discourse about how a ceme-

una comunidad. Este discurso es interesante, como también lo

tery, or how a Law Courts building should operate. The idea of doing a

es el discurso sobre cómo debería funcionar un cementerio o

museum in towns like Anchorage or Davenport where it cannot just be

un palacio de justicia. La idea de hacer un museo en ciudades

a place where visitors go once or twice, as it will have to act as a pub-

como Anchorage o Davenport —donde no puede ser sólo un

lic building for the community on a permanent bases, forces you to think

lugar al que los visitantes vayan una o dos veces, sino que ten-

about how you might achieve that. In the case of the Davenport Museum

drá que funcionar como edificio público de modo permanente para

you might not want to go to the museum, but you might have a guest

toda la comunidad— nos obliga a pensar en cómo conseguirlo.

who you ’d like to see the river, you could go to the museum, as it is the

En el caso del Museo de Davenport, puede que alguien no quiera

only place offering a view of the Mississippi. Subsequently, we mixed up

ir al museo, pero puede que tenga algún invitado al que sí quiera

‘back’ and ‘front’ of house and it therefore allows for a different pro-

enseñar el río, de modo que podría ir al museo, ya que es el único

gression route through the building. So, one can tell a story. I think that

sitio que ofrece una vista del Misisipí. Por consiguiente, mez-

you’re right, there should be a purpose in the story that can explain why

clamos las partes 'trasera' y 'delantera' de la casa, lo que per-

you’ve done whatever you have done, but I don’t know whether the story

mite hacer un recorrido distinto a través del edificio. Y así pode-

has to be bigger than the project itself.

mos contar una historia. Creo que tiene razón, debería haber en esa historia una intención que pueda explicar por qué hemos hecho cualquier cosa que hayamos hecho; pero no sé si la historia tiene que ser más grande que el propio proyecto.

Sí, yo diría que sí.

Yes, I would agree…

No creo que la historia del cementerio esté diciendo "éste es

I don’t think that the story of the cemetery is saying, "That’s what all

el aspecto que deberían tener todos los cementerios", ni que sea

cemeteries should be like", or that it is "the universal solution", but in

"la solución universal", pero en ese contexto creo que es una

that context I think that is an interpretation that is comprehensible.

interpretación que resulta comprensible. Eso es precisamente lo

This is precisely what I’m interested in. Similarly, in Berlin I had to

que me interesa. De igual modo, en Berlín tuve que explicar el

explain the museum project to the whole nation. I just could not get

proyecto del museo a toda la nación. No podía escaparme sin

away without having to explain it. So again, they’re not interested in

tener que explicarlo. Y de nuevo, a ellos no les interesan los

small details. What they’re interested in is the bigger issue, which is

pequeños detalles; les interesa la cuestión más importante que

the attitude towards history. All the relevant authorities make you explain

es la actitud con respecto a la historia. Todas las autoridades

the fundamental concepts, and then after that they leave you alone with

importantes nos hacen explicar los conceptos fundamentales y

the specifics. I see this as fundamentally different from the Anglo-

después de eso nos dejan solos con los detalles. Creo que esto

Saxon approach.

es fundamentalmente distinto del enfoque anglosajón.

Algo que mencionó antes, esa idea de recurrir a la tipología o recu-

Something that you mentioned earlier, this idea of resorting to typo-

rrir a la historia o a los ejemplos, ya sabe...

logy or resorting to history or cases, you already know…

19

COLCHESTER

Creo que ahí hay algo que tiene que ver con la consolida-

I think that there’s something about consolidating. In a sense, I like to

ción. En cierto sentido, me gusta reforzar las cosas que ya

reinforce things that are already in place. In certain contextual settings

están en su sitio. En emplazamientos con cierto contexto, yo

I would tend to do the obvious thing. The Neues Museum project in

tendía a hacer lo obvio. El proyecto para el Neues Museum de

Berlin has forced us to take an attitude towards history. At the outset I

Berlín nos ha obligado a tomar cierta postura con respecto a

was very worried, I thought that we were just going to be lumbered with

la historia. Al principio estaba muy preocupado, pensaba que

conservation and restoration issues, and actually it has become one of

únicamente me iban a endilgar problemas de conservación y res-

the most fascinating projects of my career. We have been involved with

tauración; pero en realidad se ha convertido en uno de los pro-

a number of projects in very sensitive areas since, and therefore you can

yectos más fascinantes de mi carrera. Desde entonces nos

start seeing the work itself as part of some sort of continuity.

hemos enfrentado a una serie proyectos ubicados en áreas muy

I am not so impressed by the current representations of change, which

delicadas, y ahora podemos empezar a ver esta obra como

only succeeded the fascination of disconnection held by the Moderns.

parte de una especie de continuidad.

I am more interested in the question of typology not as a status quo

No me impresionan mucho las actuales representaciones del

but as a modus operandi. Even if we opt for typological solutions we

cambio, que sólo prolongan esa fascinación que sentían los

are still moving them around. It is more to do with looking for ideas

modernos por la desconexión. Me interesa más la cuestión de

embedded in previous ideas whilst accepting that you are not starting

la tipología, pero no como un statu quo, sino como un modus

with a clean sheet of paper. If you are writing a musical score or a

operandi. Incluso si optamos por soluciones tipológicas, tam-

book you are obviously going to write something that hasn’t been writ-

bién las estamos trasladando. Se trata más bien de buscar ideas

ten before, but at the same time you’re not the first person who’s writ-

arraigadas en otras anteriores, al tiempo que aceptamos que

ing a book or a score. You’re not writing without a whole tradition

no estamos empezando con una hoja de papel en blanco. Si vas

behind you.

a escribir una partitura musical o un libro, evidentemente pro-

However, sometimes there are no immediate clues. The Des Moines

curas escribir algo que no se haya escrito antes, pero al mismo

Library project had to be situated in a harbour city organised accord-

tiempo eres consciente de que no eres la primera persona que

ing to a grid pattern. The plot offered little information and we were left

escribe un libro o una partitura. No escribes sin tener toda una

with the question of how to organise a library in a park. How can you

tradición a tus espaldas.

make a library more attractive? How do you get people into the library?

Sin embargo, a veces no hay claves intermedias. El proyecto

Or, how do you change the nature of the institution, described with a

para la Biblioteca de Des Moines tenía que situarse en una ciu-

typical image of grand staircases and tall columns at the front? Finding

dad portuaria organizada según un trazado en retícula. El solar

architectural methods to achieve a more comfortable threshold becomes

aportaba poca información y se nos planteó el problema de

quite important. We made a scheme where people can walk through

cómo organizar una biblioteca en un parque. ¿Cómo se puede

the museum to reach the park and we made the building completely

hacer más atractiva una biblioteca? ¿Cómo se atrae a la gente

transparent allowing all readers to feel part of the park. The most attrac-

a la biblioteca? ¿O cómo se cambia la naturaleza de esta insti-

tive architectural projects are when you play with the programme, or

tución, descrita con esa imagen típica de unas grandes escali-

at least the purpose. Just wrapping a skin around an office building

natas y altas columnas en el frente? Encontrar métodos arqui-

with no chance to question what happens inside remain by far the

tectónicos para lograr un umbral más cómodo se convierte en

least challenging.

algo muy importante. Hicimos un esquema en el que la gente podía atravesar el museo caminando hasta llegar al parque, e hicimos el edificio completamente transparente, permitiendo así que todos los lectores se sintiesen parte del parque. Los proyectos arquitectónicos más atractivos son esos en los que se juega con el programa, o al menos con la intención. Envolver simplemente con una piel un edificio de oficinas, sin oportunidad alguna de cuestionar lo que ocurre dentro, sigue siendo, con mucho, lo menos estimulante.

Para poder hacer ese discurso se necesita tener la experiencia de lo

In order to be able to make that discourse you need to have the expe-

que son las cualidades de una típica biblioteca pública, así que la

rience of what a typical public library condition is, so typology is

tipología es algo que también implica un programa; implica unas rela-

something that also involves programme. It involves a relationship

ciones entre la forma y el programa. Así pues, si queremos ser capa-

between form and programme. And therefore, if you want to be

ces de hacer un discurso sobre cómo implicar a la arquitectura, mi

able to make a discourse about how to involve architecture my

impresión es que también necesitamos resolver esa tipología, aunque

impression is that you also need to resolve that typology, even if it

sólo sea para verificar si realmente estamos haciendo algo o no.

is to verify whether you are actually doing something or not.

20

HONG KONG

También soy un poco escéptico con respecto al debate programá-

I am also a little sceptical about the programmatic discussion, about

tico, sobre la legitimación de nuestra intervención con la idea de

legitimising your intervention with the idea of improving the envi-

mejorar el entorno. Pero, volviendo al primer punto, otra cosa que

ronment. But another thing you mentioned, going back to the very

ha mencionado es que intentó situarse en una determinada genera-

first point, you tried to locate yourself within a certain generation.

ción; ¿cuál es su impresión, por ejemplo, de mi generación?

What is your impression, for example, about my generation?

Bueno, creo que cada generación es capaz de concebir cosas

Well, I think that each generation is able to conceive of things in a way

de un modo que las generaciones anteriores no pudieron hacer,

that the previous generation could not, and I don’t think there’s anything

y no creo que haya nada malo en ello. Al mismo tiempo, cada cual

wrong with that. Simultaneously you are part of progress, and I think

es parte del proceso, y me parece incorrecto imaginar que alguien

that it is incorrect to imagine that someone is frozen in a particular time.

está detenido en un momento concreto. Sin duda estamos mol-

You are certainly moulded and strongly influenced by your background,

deados y profundamente influidos por nuestra formación, pero

but at the same time I think that it is incumbent to continuously ques-

al mismo tiempo creo que es obligatorio cuestionarse conti-

tion what strategies and methods you use to work with.

nuamente con qué estrategias y métodos solemos trabajar. Entonces admite que necesita una referencia ideológica.

You acknowledge that you need an ideological reference.

Creo que hemos de tener intención, hemos de saber qué esta-

I think that you have to have purpose, you have to know what you’re

mos tratando de hacer y hemos de ocuparnos de ideas que están

trying to do, and you have to engage with ideas beyond the normal

más allá del proceso normal. Al mismo tiempo, paradójicamente,

process. At the same time, paradoxically, you have to be content with

hemos de contentarnos con la propia cosa, y creo que es muy

the thing itself, and I think that it is a very difficult conundrum to set your

difícil resolver esa incógnita de cómo situar nuestras ambicio-

ambitions in the right place. If you have none you may sink, and if you

nes en el lugar adecuado. Si no tenemos ninguna, podemos hun-

have too many you are probably misaligned. However, there are times

dirnos; y si tenemos demasiadas, probablemente estemos mal

when there are certain contexts where you feel as though you have to

colocados. Sin embargo, hay veces que en ciertos contextos

have more ambition than you can think of. In the Chinese context, you

sentimos que deberíamos tener más ambición de la que pode-

have to start looking for ideas from further a field, whilst on the other hand,

mos imaginar. En el contexto chino, hay que empezar por bus-

I still feel obliged to make something that means something. That is per-

car ideas precedentes de otros campos; mientras que, por otro

haps the way I would use the word meaning. I don’t necessarily need

lado, me sigo sintiendo obligado a hacer cosas que signifiquen

to have ideology, but a thing has to mean something, and I think that dif-

algo. Ése es tal vez el modo en que yo usaría la palabra signifi-

ferent scales of architecture allow you to engage with different levels of

cado. No necesito obligatoriamente tener una ideología, pero

ambition. If you’re doing a clothes shop you can only engage with phys-

una cosa tiene que significar algo, y creo que las distintas esca-

ical and sensual experiences. I suppose that my career has been built

las de la arquitectura nos permiten ocuparnos de distintos gra-

out of that experiential sense, and perhaps I am limited by that, as I am

dos de ambición. Si estamos haciendo una tienda de ropa, sólo

used to making smaller things and trying to see them in a bigger pic-

podemos ocuparnos de experiencias físicas y sensuales. Supongo

ture. It is somehow easier to put smaller things in a bigger frame than

que mi carrera se ha construido a partir de ese sentido de la

to put big things into a bigger frame.

experiencia, y tal vez estoy limitado por él, pues estoy acostumbrado a hacer cosas pequeñas y tratar de verlas en una imagen mayor. Es algo más fácil poner cosas pequeñas en un marco más grande que poner cosas grandes en un marco más grande. Esto tal vez nos lleva de vuelta a esa idea de las restricciones. Su

So this maybe goes back to this idea of constraints. Your opera-

modo de actuación se alimenta constantemente de restricciones,

ting mode is being constantly fed by constraints, in addition to the

además de esa noción de que cada proyecto está intrínsecamente

discourse that every project is intrinsically related to other people

relacionado con otras personas que le aportan retroalimención. Tal

giving you feedback. Perhaps, in Spain the conditions are diffe-

vez en España las condiciones sean distintas: se supone que usted

rent, you are supposed to be the expert and the clients will respect

es el experto y los clientes respetarán su decisión incluso aunque pos-

your decision even if you may commit a crime later on…

teriormente cometa un crimen. Lo que en cierto modo me fascina del Neues Museum es que he

What fascinates me about the Neues Museum in a way is that I have

sido capaz de mediar entre una serie de facciones distintas. Es un

been able to mediate between a number of different factions. It is a proj-

proyecto que tuve que hacer a la vista de todos; tuve que negociarlo

ect that I had to do in the open air. I had to broker this project with the

con la Oficina Federal de Edificación y Urbanismo, con el

Federal Office for Construction and Urban Planning, the Senate

Departamento de Desarrollo Urbano del Senado berlinés, con los

Department of Urban Development, the conservation authorities of Berlin,

21

WAKEFIELD

responsables de la protección de la ciudad, con los conservado-

the curators of the museum and a number of others… Given this polit-

res de los museos y con toda otra serie de personas. Dada la situa-

ical situation one can understand the sensitive nature of the project and

ción política, puede comprenderse la naturaleza sensible del pro-

perhaps it is a bit of a joke that an Englishman could get such harmony

yecto; y tal vez es casi un chiste que un inglés haya podido lograr

in Berlin around a project that is so symbolic. It is true that I enjoy

tal armonía en Berlín en torno a un proyecto tan simbólico. Es cierto

response and dialogue. Referring to the point you made about the City

que disfruto con la respuesta y el diálogo. Y con respecto a la

of Justice, Barcelona, I am faced by a large project where I feel I am talk-

Ciudad de la Justicia de Barcelona, me enfrento a un gran pro-

ing to myself in the mirror. You can’t find many people to talk to or have

yecto en el que siento que estoy hablando conmigo mismo frente

a dialogue with. As you say, in Spain you’re expected to be an expert,

al espejo. No es fácil encontrar mucha gente con la que hablar o

whereas I’m used to brokering.

mantener un diálogo. Como usted dice, en España se supone que

However, in Berlin we were confronted with an extraordinary ruin that

uno es el experto, mientras que yo estoy acostumbrado a negociar.

is not only a ruin but also forms part of the rubble of history. The origi-

Sin embargo, en Berlín nos enfrentamos a una extraordinaria

nal building of 1841-55 had undergone some modifications in the twen-

ruina que no es únicamente eso, sino que también forma parte de

ties to allow the Amarna collection to be housed. It was bombed in 1944

los escombros de la historia. El edificio original, de 1841-1855,

and some consolidation works had been undertaken by the GDR in the

había sufrido algunas modificaciones en la década de 1920 para

eighties. Although it has suffered for some fifty odd years it has become

poder albergar la colección de Amarna; en 1944 fue bombarde-

a most beautiful ruin, time has matured it and it has become a recog-

ado, y en la década de 1980 la República Democrática Alemana

nised architectural monument in its own right. The main staircase itself

(RDA) realizó algunas obras de consolidación. Aunque ha sufrido

is one of the most beautiful spaces in Berlin. I had to work out how this

durante unos cincuenta años, se ha convertido en una ruina bellí-

project could be fitted in with the rest of the work, while not succumb-

sima: el tiempo ha hecho que madurase y ha llegado a ser un

ing to classic restoration strategies. You did not want to celebrate the

reconocido monumento arquitectónico por sí mismo. La propia

ruin for it’s own sake either. There are some crass examples like the

escalera principal es uno de los espacios más hermosos de Berlín.

Kaiser-Wilhelm Gedächtnis Kirche in the middle of Berlin, but in most cases

Tuve que resolver el problema de cómo encajar este proyecto

destroyed buildings were either torn down or rebuilt. It is perhaps the last

con el resto de la obra, sin sucumbir a los clásicos planteamien-

of its kind and the generation that will restore or rebuilt it is not in the

tos de la restauración. Tampoco había que exaltar la ruina en sí.

shadow of the Wall any longer. I do not see the ruin as the result of

De esto hay algunos ejemplos muy torpes, como la Kaiser-Wilhelm

American and British bombing, and I do not see it as a symbol of war. I

Gedächtnis Kirche ('Iglesia votiva del emperador Guillermo') en

like to see it in a very secular manner. We are just left with an incredi-

el centro de Berlín, pero en la mayoría de los casos los edificios

ble building that got bombed, and now what do we do with it? There is

destruidos fueron demolidos del todo o bien reconstruidos. El

the Frauenkirche in Dresden, which is being built-up exactly as it was.

nuestro es el último de su clase y la generación que lo restaurará

We did not want to resort to this ‘classic’ restoration strategy. I would

o reconstruirá ya no está a la sombra del Muro. Yo no entiendo

like to make the case that it had been a ruin for over fifty years and to

la ruina como fruto de los bombardeos norteamericanos y britá-

erase history is a daunting responsibility. You have to bear in mind that

nicos, y tampoco la entiendo como un símbolo de la guerra. Me

people had been living in the rubble for four or five years after the war.

gusta verla de una manera muy secular. Nos ha quedado un incre-

They were living in the most unbelievable conditions. This period does

íble edificio que fue bombardeado, y ahora ¿qué hacemos con

not figure in German Literature, as no one wrote about it. Who would want

él? La Frauenkirche ('Iglesia de la Virgen') de Dresde, por ejem-

to write about that? It is the same with the ruins… It has been a fasci-

plo, se está reconstruyendo exactamente como era. Nosotros no

nating experience in which you resist the notion of reclarifying history of

queríamos recurrir a ese planteamiento 'clásico' de la restaura-

the mid nineteenth century. It is as much about the time of its modifi-

ción. Me gustaría alegar que había sido una ruina durante más de

cation, destruction, and stabilisation as it is about today… I believe that

cincuenta años y que borrar la historia es una enorme respon-

history can be seen as context just as continuity can be seen as the core

sabilidad. Hay que ser consciente de que algunas personas estu-

of many a project I did.

vieron viviendo entre los escombros durante cuatro o cinco años después de la guerra; y vivían en unas condiciones increíbles. Este periodo no figura en la literatura alemana porque nadie escribió sobre él. ¿Quién querría escribir sobre eso? Y lo mismo ocurre con las ruinas. Ha sido una experiencia fascinante en la que uno se resiste a esa idea, formulada a mediados del siglo XIX, de volver a esclarecer la historia. Es algo que tiene que ver tanto con la época de su modificación, destrucción y estabilización como con nuestros días. Creo que la historia puede entenderse como contexto, al igual que la continuidad puede entenderse como el núcleo de muchos de los proyectos que he hecho.

22

PORTLAND PLACE

Me gustaría distinguir entre su obra inicial y su obra reciente. La tipo-

I would like to distinguish between your early and your recent work.

logía no está necesariamente relacionada con la fenomenología o la

Typology is not necessarily related to phenomenology or to mate-

materialidad; es una noción abstracta más relacionada con la estruc-

riality. It is an abstract notion more related to structure and func-

tura y la función. Entiendo que esto es un desarrollo posterior.

tion. I see this as a later development.

Cuando subo de escala, me gusta usar la tipología como otro

When going up a scale I like to use typology as another limit. As I

límite. Como ya he dicho antes, la puerta está abierta, pero el

said before, the door is open but the dog stays inside…and perhaps the

perro se queda dentro; y tal vez lo que hace falta es construir otra

building of another cage is required. Typology allows me to rework some

jaula. La tipología me permite reelaborar algunos temas con los

themes I feel familiar with, and reworking can be very reassuring. Perhaps

que me siento a gusto, y eso puede ser muy tranquilizador. Tal

one can view the world in two ways, one is all about questioning every-

vez se puede ver el mundo de dos maneras, cuestionándolo todo

thing, where the other seeks reassurance, and I think that architecture

o buscando la tranquilidad, y creo que la arquitectura tiene ambas

has both potentials. My early career took place in an intellectual climate,

posibilidades. Mi carrera inicial se desarrolló en un clima intelec-

which was seeking reassurance as everyone had become cynical about

tual que buscaba la tranquilidad, porque todo el mundo se había

Modern architecture. Right now the climate is more open and every-

vuelto cínico con respecto a la arquitectura moderna. Hoy en día

thing is up for questioning. Currently nearly every client mentions Bilbao

el clima es más abierto y todo puede cuestionarse. Actualmente,

somewhere along the line. There is a new fascination with things that chal-

casi todos los clientes mencionan Bilbao en algún momento. Hay

lenge us instead of reassuring us. When drawing upon the experiential

una nueva fascinación por las cosas que nos desafían en lugar de

while changing scale the conjecture becomes rather difficult to explain…

tranquilizarnos. Cuando se recurre a lo experimental al cambiar de escala, esta conjetura llega a ser bastante difícil de explicar. Incluso aunque se acepte ese proyecto, no creo que agote las posi-

I don’t think that even if you embrace that project it will exhaust the

bilidades arquitectónicas, porque cuando estamos haciendo un edi-

architectural possibilities, because when you are doing a building

ficio siempre podemos encontrar cosas interesantes que hacer. Ahora

you can always find interesting things to do. Right now I am very

mismo a mí me interesa mucho ese aspecto.

interested in that area.

En términos arquitectónicos, mi postura sería que me interesa

My position architecturally would be that I am more interested in nor-

más la normalidad que lo extraordinario, y prefiero hacer algo

mality than I am in the extraordinary, and I prefer to make something

especial antes que realizar lo extraordinario. Esto no quita para

special as opposed to realise the extraordinary. This does not take away

que yo admire a las personas que han abierto nuevos caminos

from the fact that I admire people who have opened up the territory and

y se plantean a qué podrían parecerse los edificios.

question what buildings might look like.

Pensemos en el Guggenheim, que era un experimento en marcha

If you think about the Guggenheim, which was an experiment going

cuando yo estaba estudiando; lo que nos interesaba a nosotros era

on when I was at school, we were interested in the reinvention of

la reinvención de todo sin relación con nada. El retorno a la tipolo-

everything without relating to anything. One reasons a return to

gía, la historia y la realidad se entendía como una especie de acu-

typology, history and reality as a kind of accumulation of expe-

mulación de experiencias. Lo que a mí me interesaba era experi-

rience. I was interested in experimenting with degree zero and sud-

mentar con el grado cero; y de pronto, no había nada divertido, aun-

denly there was no fun left, even if you had complete freedom…

que se tuviese total libertad. Aunque podemos valorar esto como un proceso interesante,

While we can appreciate this as an interesting process we have to admit

hemos de admitir que no habría marco de referencia. Lo que da

that there would be no frame of reference. What gives significance to

significado a nuestras vidas es la capacidad para hacer juicios y

our lives is the ability to make judgements and enjoy those judgements.

disfrutar de ellos, no en un sentido peyorativo, sino en un sentido

Not in a pejorative way but in a way that allows us to say that we can

que nos permita decir que podemos disfrutar de algo que puede

enjoy something that might be based in the notion of shared experi-

basarse en la noción de experiencia compartida. Tal vez sea ésta

ences. Perhaps this is a reason for holding on to ideas of cultural con-

la razón de mantenerse fiel a la idea de la continuidad cultural y

tinuity and the notion of seeing history as a contextual frame.

a esa visión de entender la historia como un marco contextual. [Traducción de Jorge Sainz]

Alejandro Zaera —fundador de la oficina Foreign Office Arquitects, con base en Londres— es uno de los jóvenes arquitectos españoles con mayor proyección internacional, siendo su proyecto más famoso hasta la fecha la Terminal del Puerto de Yokohama. Ha contribuido con sus ensayos críticos en EL CROQUIS, Quaderns, A.D. y otras publicaciones de arquitectura.

23

Alejandro Zaera —founder of the London-based office Foreign Office Architects— is one of the internationally renowned young Spanish architects, being his most famous project up to date the Yokohama Port Terminal. He has contributed with critical writings to EL CROQUIS, Quaderns, A.D. and other architectural publications.

La Adecuada Corrección de David Chipperfield *

MINIMALISMO DENSO AARON BETSKY

SPREEDREIECK [PROYECTO DE UN RASCACIELOS JUNTO AL RÍO SPREE] SPREEDREIECK [PROJECT FOR A SKYSCRAPER NEAR THE RIVER SPREE] Berlin, Germany, 2001

A pesar de ser el más consumado practicante del minimalismo denso, el arquitecto David Chipperfield hace gala de una exasperante modestia. Puede que sus edificios sean vacíos elegantemente elaborados, tallados a partir de un cuidadoso análisis del lugar y la función, pero no busquemos en él una forma reconocible o un espacio impresionante. Aunque tiene opiniones concretas sobre cuál es el lugar de la arquitectura, no es un gran teórico. De hecho, David Chipperfield no desea realmente que notemos su arquitectura; se opone a la creación de formas como modo de llamar la atención o de proporcionar determinada experiencia; quiere levantar edificios que hagan que no nos percatemos de que estén ahí, aunque informen de las actividades que tienen lugar dentro o alrededor de ellos, con un cierto sentido de la corrección. David Chipperfield quiere construir marcos dentro de los cuales podamos ver nuestra vida cotidiana. Este enfoque tiene cierta lógica, una lógica que evita muchos de los escollos con los que se encuentra la arquitectura moderna; y lo hace con medios modestos. Yo lo llamaría 'minimalismo denso'. Como tal, la obra de Chipperfield forma parte de un movimiento arquitectónico más amplio que resulta especialmente evidente en estos momentos en el Reino Unido. Mientras que una generación anterior de arquitectos británicos alcanzó cierto renombre exhibiendo la tecnología en construcciones de gran escala y elevado virtuosismo formal, o bien se preocuparon de la integración de nuevas formas, materiales y funciones en el tejido de unos entornos modelados por las tradiciones, este grupo de diseñadores trata de alcanzar ese objetivo, aparentemente sencillo, de hacer algo que sólo exista sin aludir a nada de todo aquello, o, por decirlo con más precisión, meramente exista, pero con decisión. Recortar, modelar y responder, en lugar de exhibir y destacar, es el método de trabajo preferido por quienes ponen en práctica este planteamiento en la arquitectura. Aunque sería injusto agrupar conjuntamente el trabajo de arquitectos tan diversos como Caruso St. John, John Pawson y David Chipperfield, su obra sí comparte tanto algunas características formales como un lugar concreto en la cultura arquitectónica: es una obra —por decirlo sencillamente— blanca, abstracta, ligeramente deformada, compacta y tan vacía como los arquitectos puedan conseguir hacerla. En ella es tan importante lo que se deja fuera como lo que se incluye. Los edificios no presentan referencias históricas —al menos a primera vista— y no hacen exhibición alguna de cómo están hechos. Las juntas, los cambios de plano y la composición interna del muro no son visibles para el observador. Ventanas que flotan en la masa del cerramiento, una gama limitada de materiales que se inclinan preferentemente hacia el estuco, la pintura blanca, la pizarra y las maderas macizas o el metal sin tratar: todo ello proporciona a los edificios su compacidad sencilla y densa. Unas formas cuadradas que se separan, se doblan o se alargan retuercen las composiciones ligeramente fuera de lo habitual. Se trata de una construcción normal llevada de vuelta a los principios básicos y deformada. ¿Por qué recurren a tales métodos Chipperfield y sus socios del minimalismo denso? Porque quieren hacer sólo lo correcto; no creen que la arquitectura pueda enseñarnos o vendernos nada, ni que deba ser precursora de lo nuevo o lo diferente. Aprendiendo de escultores y pintores, y también de arquitectos modernos interesados en la experiencia como Alvar Aalto, estos minimalistas creen que la arquitectura puede hacernos tomar conciencia de dónde estamos ahora. Esto quiere decir que la articulación de las diversas partes y piezas no tiene interés, ya que sólo centraría la atención en el acto de la construcción y con ello en el proceso mediante el cual aparecen las cosas. No es la génesis de los edificios (o las obras de arte) a partir de los materiales, las costumbres sociales o las necesidades lo que tiene interés, sino su capacidad para evocar todos esos fenómenos complejos sin desaparecer dentro de ellos. Y tampoco están interesados los minimalistas densos en construir una imagen clara o una fachada reconocible; no quieren hacer referencia a una historia en la que las cosas aparecen de determinada manera y, por tanto, no quieren que una iglesia parezca una iglesia y que una fábrica parezca una fábrica. Por el contrario, lo que quieren es hacer una forma fundamental, en la que la esencia de la religión o la producción pueda encontrar un hogar en el cual parezca sentirse a gusto. * Este texto está parcialmente basado en conversaciones con David Chipperfield y Rik Nys en Londres, 6 de junio de 2004

24

The Just Rightness of David Chipperfield *

DENSE MINIMALISM AARON BETSKY

MUSEO DE ARTE FIGGE FIGGE ART MUSEUM Davenport, Iowa, USA, 1999-

For the most accomplished practitioner of dense minimalism, the architect David Chipperfield exhibits a maddening modesty. His buildings might be elegantly crafted voids carved out of a careful analysis of site and function, but don’t look to him for recognizable form or awe-inspiring space. Though he has definite opinions about the place of architecture, he has no grand theory. In fact, David Chipperfield doesn’t really want you to notice his architecture. He objects to the making of form as a way of catching our attention or providing one certain experience. He wants to make buildings that you might not realize are there, but that inform the activities taking place in or around them with a sense of rightness. David Chipperfield wants to builds frames within which we can see our daily lives. There is logic to such an approach, one that avoids many of the pitfalls in which modern architecture finds itself. It does so with modest means. I would call it dense minimalism. As such, his work is part of a larger movement in architecture that seems especially evident at the moment in the United Kingdom. Whereas a previous generation of architects in that country made a name for themselves by exposing technology in large-scale structures of great formal bravura, or worried about the integration of new forms, materials and functions into the fabric of environments shaped by traditions, this group of designers tries to achieve the seemingly simple aim of making something that does not say anything about all of that, but just is, or, to put it more finely, barely but resolutely is. Paring down, sculpting and responding, rather than stating and standing out, is the preferred working method of the practitioners of this strategy in architecture. Though it would be unfair to group the work of such diverse designers as Caruso St. John, John Pawson and David Chipperfield together, their work does share both some formal characteristics and a particular place in architectural culture. It is, to put it simply, white, abstract, slightly deformed, massive and as empty as the architects can make it. What is left out is in this work as important as what is included. The buildings display no historical references —at least at first sight— and contain no exposition of how they are made. Joints, turns of plane and the internal build-up of the wall are not visible to the observer. Windows that float in the solidity of the enclosure, a limited palette of materials that leans heavily towards stucco, white paint, solid timbers and slate or untreated metal, gives the buildings their simple, dense massivity. Square forms that splay, bend, or elongate twist the compositions slightly out of the ordinary. It is normal construction brought back to basics and deformed. Why would Chipperfield and his partners in dense minimalism have recourse to such methods? Because they want to do only what is right. They neither believe that architecture can teach or sell us anything, nor that it should be the harbinger of the new or the different. Learning from sculptors and painters, as well as from such experientially focused modernist architects as Alvar Aalto, they believe that architecture can make us aware of where we are already. This means that the articulation of various parts and pieces is not of interest, as it would only draw attention to the act of construction and thus to the process by which things appear. It is not the genesis of buildings (or artworks) out of materials, social practices or needs that is of interest, but their ability to evoke all those complex phenomena without disappearing into them. Nor are the dense minimalists interested in making a clear image or façade. They do not want to refer to a history in which things appear in a certain way and thus do not want to make a church look like a church and a factory like a factory. Rather they want to make a fundamental form in which the essence of religion or production can find a home by which it seems in its place.

* This text is partially based on conversations with David Chipperfield and Rik Nys in London, June 6, 2004

25

MUSEO FLUVIAL Y DE REMO RIVER AND ROWING MUSEUM Henley-on-Thames, Oxfordshire, United Kingdom, 1994/1997

Esta actitud tiende a un misticismo que oscila entre la variante alemana expuesta por Martin Heidegger y su discípula Hannah Arendt, y la escuela francesa de Maurice Merleau-Ponty y Gaston Bachelard. Sin embargo, los minimalistas densos británicos evitan las referencias a esa filosofía; si admiten tener algunas raíces, éstas se refieren a esa atención prestada posteriormente a los hábitos de la vida cotidiana que es patente en la obra de escritores como Pierre Bourdieu y de arquitectos como Alison y Peter Smithson. Los argumentos en favor de su trabajo provienen principalmente de una concentración sensata y tal vez incluso pragmática en los objetos, las actividades y las actitudes de la vida cotidiana que tienen el encargo de aportar con sus edificios. Estos arquitectos no pretenden imponer a la arquitectura una filosofía abstracta, sino que entienden más bien su trabajo como la eliminación de todas las construcciones externas con vistas a realizar tan sólo una acción mínima. Al hacerlo así, la obra, paradójicamente, se torna densa. Estos arquitectos tienen que disimular cualquier alusión e ilusión, cualquier especificidad en la construcción o en las referencias, y cualquier sensación de que en lo que están haciendo existe una naturaleza genérica y producida en serie. Por eso la construcción, las imágenes intencionadas o no, y la propia forma han de omitirse y quedar envueltas en una figura que se libere de la especificidad y que, sin embargo, sea sumamente real en su materialidad. Ésta es la esencia del minimalismo denso: ser absolutamente real y pesado, estar presente y ahí, pero al mismo tiempo ser absolutamente abstracto y estar libre de las contingencias de su apariencia. Es así como el edificio puede crear un lugar real y nada más. Aunque Chipperfield es en cierto modo un caso aparte, porque se inclina a hacer cosas que son más y también menos invisibles. Entre la abnegada remodelación del Neues Museum de Berlín (1997-) y las formas seguras tanto del Museo Fluvial y de Remo (1997) en Henleyon-Thames como del Museo de Arte Figge en Davenport (1999-), Iowa, este arquitecto está definiendo una arquitectura que es al mismo tiempo más radical en su abnegación y más monumental en su alcance que la obra de la mayoría de los últimos minimalistas. Mientras que Pawson entiende el minimalismo como un estilo y Caruso St. John juegan con formas ingeniosas, Chipperfield parece estar más fascinado por la esencia del propio edificio; sigue realizando construcciones, monumentos y tejido urbano tal como lo llevan haciendo los arquitectos desde el Renacimiento italiano, es decir, actuando como un maestro constructor que agrupa conocimientos, funciones, materiales y formas dispares para crear una figura coherente; sólo que sus formas son inescrutables, a veces apenas existen y sus obras terminadas suelen mantener un difícil equilibro entre la desaparición total y las formulaciones grandilocuentes. Todo empezó con el Museo Fluvial y de Remo (1997), en Henley. Este edificio —que lo puso por primera vez en la escena internacional después de haber proyectado una serie de tiendas elegantes y sobrias en Japón y Londres— incluye tendencias opuestas con respecto a la forma y la desaparición en una única composición bellamente emplazada. Los dos edificios paralelos de las galerías pretenden recordar los cobertizos locales, al tiempo que nos ofrecen una impresión de los cascos de madera cuidadosamente trabajados de las embarcaciones de competición para cuya exhibición se proyectó el edificio. Encajadas entre un recodo del río y las vías del ferrocarril, estas galerías establecen un terreno cultural que torna permanentes las tiendas levantadas durante un mes al año durante la regata anual. Así pues, el museo es un festín de referencias, pero todas ellas se han sometido a tal proceso de abstracción que el edificio también se alza por sí solo en su bucólico emplazamiento como un baluarte de la otredad. Los detalles refuerzan esta sensación de lo que podríamos denominar 'distancia íntimamente relacionada'. La entrada no está ligada a nada en particular dentro del paisaje, el edificio no tiene un apoyo visible (dado que tiene que flotar por encima de la planicie inundable), y el edificio educativo, más pequeño, es un festín de geometrías abstractas que desnuda los cobertizos de madera para revelar su estructura de hormigón. Cada vez que pensamos que el museo de Henley va a ser una construcción vernácula y fija, se desenreda. Esta negación de una relación o referencia específicas domina la obra de Chipperfield. Cuando se le pide que explique la colocación y el tamaño de cada una de las ventanas del Estudio del escultor Anthony Gormley (2001) que proyectó en Londres, el arquitecto se niega. La composición interna de la sala tenía prioridad —explica— y las vistas de las medianeras ciegas al otro lado del callejón, o la visión que se tiene del Londres industrial al otro lado del patio son interesantes, pero no de particular importancia. Ésta no es una arquitectura que adore el contexto o que nos pida contemplar una naturaleza más amplia; lo único que quiere es ser correcta, o sólo lo bastante familiar y estática como para ofrecer un esquema claro sin hacer grandes aspavientos. El interior del museo de Henley lleva más lejos esta 'adecuada corrección' (por contraposición a la corrección). No hay en él ni siquiera una sala que haga de vestíbulo, sino tan sólo un pasillo situado entre las diversas funciones del museo. No hay escaleras monumentales ni grandiosas rampas, sino tan sólo un pequeño ascensor cuya presencia queda realzada porque el arquitecto se avino a que la luz se derramase desde lo alto y atravesase su piel de vidrio translúcido. En el piso superior hay tan sólo dos galerías desplazadas una con respecto a otra, sin ningún foco o lugar de descanso. En el proyecto original de Chipperfield, las embarcaciones se colgaban a lo largo del eje de cada espacio, iluminadas por claraboyas altas. Son unas galerías bellamente proporcionadas y perfectamente claras, pero no hay en ellas nada fuera de lo corriente, nada grandioso y nada que haga referencia al sol, al emplazamiento o al orden interno.

26

ESTUDIO GORMLEY GORMLEY STUDIO London, United Kingdom, 2001/2003

This attitude tends towards a mysticism that veers between the German variant expounded by Martin Heidegger and his pupil, Hannah Arendt, and the French school of Maurice Merleau-Ponty and Gaston Bachelard. The British dense minimalists, however, eschew references to such philosophy. If they acknowledge any sources, it is to the later attention to the practices of everyday life evident in the work of either writers such as Pierre Bourdieu or the architects Alison and Peter Smithson. Mainly they make an argument for their work out of a levelheaded and perhaps even pragmatic concentration on the objects, activities and attitudes of everyday life the have the commission to contain with their buildings. They do not seek to impose an abstract philosophy on architecture, but see their work rather as the editing out of all such external structures in favor of performing only the most minimal action. By doing so the work becomes, paradoxically, dense. These architects have to cover up all allusions and illusion, all specificity in construction or reference, and all sense that there is a generic, mass-produced nature to what they are making. Thus construction, intended or unintended imagery, and form itself have to be continually elided and cloaked in a form that liberates itself from such specificity, and yet is extremely real in its materiality. This is the essence of dense minimalism: to be absolutely real, heavy, present and there, while at the same time being absolutely abstract and free from the contingencies of its appearance. It is in this manner that the building can make a real place and nothing more. Yet Chipperfield is somewhat a case apart because he tends towards the making of things that are both more and less invisible. Between the self-denying renovation of the Neues Museum in Berlin (1997-) and the confident forms of either the River and Rowing Museum (1997) in Henley-on-Thames or the Figge Art Museum in Davenport (1999-), Iowa, this architect is defining an architecture that is both more radical in its self-denial and more monumental in its reach than the work of most late minimalists. Whereas Pawson sees minimalism as a style and Caruso St. John play with witty forms, Chipperfield seems more fascinated with the essence of building itself. He still makes constructions, monuments and urban fabric in the manner that architects have done since the Italian Renaissance, operating as a master builder who gathers disparate knowledge, functions, materials and forms into a coherent form. It is only that his forms are inscrutable, that sometimes they barely exist, and that his finished works tend to balance on the edge between total disappearance and grand statements.

It all began with the Henley River and Rowing Museum (1997). This building, which first brought him to international attention after he had designed a series of elegant and restrained boutiques in Japan and London, contains opposite tendencies towards form and disappearance in one beautifully sited composition. The two parallel gallery buildings are meant to recall local sheds, while also giving one a sense of the carefully crafted wood hulls of the racing boats the building was designed to display. Slotted between a spur of the river and the railroad lines, they establish a terrain of culture that makes permanent the tents erected for a month a year during the annual regatta. The museum is thus a feast of references, but all of them have been so abstracted that the building also stands by itself in its bucolic setting as a bulwark of otherness. The detailing strengthens this sense of what one might call intimately related distance. The entrance is not tied to anything particular in the landscape, the building has visible no footing (as it has to float over the floodplain), and the smaller education building is a feast of abstract geometries that undresses the wooden sheds to reveal their concrete frame. Every time you think the Henley Museum is going to be a vernacular, sited structure, it twists away. This denial of specific relation or reference pervades Chipperfield's work. Asked to explain the siting and size of particular windows in the Studio for the sculptor Anthony Gormley (2001) which he designed in London, the architect refuses. The internal composition of the room took precedence, he explains, and the views of blank walls across the alley or a piece of industrial London across the yard are interesting, but of no particular import. This is not architecture that adores its context or asks you to contemplate a greater nature. It wants only to be correct, or just familiar and static enough to offer a clear framework without making a big deal out of anything. The inside of the Henley Museum carries this just-rightness (as opposed to rightness) further. There is not even a lobby as a room into itself, only a passageway between the various functions of the museum. There are no monumental stairs and no grand ramps, only a small elevator whose presence increases because the architect connived to have light spilling over its top and out through its translucent glass skin. Upstairs, there are only the two galleries sliding by each other without any fulcrum or resting point. In Chipperfield's original design, the boats would have hung down the axis of each space, lit by tall lanterns. These are beautifully proportioned and altogether clear galleries, but there is nothing larger than life, nothing grand and nothing oriented towards sun, site or internal order about them.

27

BIBLIOTECA JOSÉ VASCONCELOS JOSÉ VASCONCELOS LIBRARY México, 2003

CIUDAD DE LAS CULTURAS DE ANSALDO ANSALDO CITY OF CULTURES Milan, Italy, 2000-

Esta actitud tiende a un misticismo que oscila entre la variante alemana expuesta por Martin Heidegger y su discípula Hannah Arendt, y la escuela francesa de Maurice Merleau-Ponty y Gaston Bachelard. Sin embargo, los minimalistas densos británicos evitan las referencias a esa filosofía; si admiten tener algunas raíces, éstas se refieren a esa atención prestada posteriormente a los hábitos de la vida cotidiana que es patente en la obra de escritores como Pierre Bourdieu y de arquitectos como Alison y Peter Smithson. Los argumentos en favor de su trabajo provienen principalmente de una concentración sensata y tal vez incluso pragmática en los objetos, las actividades y las actitudes de la vida cotidiana que tienen el encargo de aportar con sus edificios. Estos arquitectos no pretenden imponer a la arquitectura una filosofía abstracta, sino que entienden más bien su trabajo como la eliminación de todas las construcciones externas con vistas a realizar tan sólo una acción mínima. Al hacerlo así, la obra, paradójicamente, se torna densa. Estos arquitectos tienen que disimular cualquier alusión e ilusión, cualquier especificidad en la construcción o en las referencias, y cualquier sensación de que en lo que están haciendo existe una naturaleza genérica y producida en serie. Por eso la construcción, las imágenes intencionadas o no, y la propia forma han de omitirse y quedar envueltas en una figura que se libere de la especificidad y que, sin embargo, sea sumamente real en su materialidad. Ésta es la esencia del minimalismo denso: ser absolutamente real y pesado, estar presente y ahí, pero al mismo tiempo ser absolutamente abstracto y estar libre de las contingencias de su apariencia. Es así como el edificio puede crear un lugar real y nada más. Aunque Chipperfield es en cierto modo un caso aparte, porque se inclina a hacer cosas que son más y también menos invisibles. Entre la abnegada remodelación del Neues Museum de Berlín (1997-) y las formas seguras tanto del Museo Fluvial y de Remo (1997) en Henleyon-Thames como del Museo de Arte Figge en Davenport (1999-), Iowa, este arquitecto está definiendo una arquitectura que es al mismo tiempo más radical en su abnegación y más monumental en su alcance que la obra de la mayoría de los últimos minimalistas. Mientras que Pawson entiende el minimalismo como un estilo y Caruso St. John juegan con formas ingeniosas, Chipperfield parece estar más fascinado por la esencia del propio edificio; sigue realizando construcciones, monumentos y tejido urbano tal como lo llevan haciendo los arquitectos desde el Renacimiento italiano, es decir, actuando como un maestro constructor que agrupa conocimientos, funciones, materiales y formas dispares para crear una figura coherente; sólo que sus formas son inescrutables, a veces apenas existen y sus obras terminadas suelen mantener un difícil equilibro entre la desaparición total y las formulaciones grandilocuentes. Todo empezó con el Museo Fluvial y de Remo (1997), en Henley. Este edificio —que lo puso por primera vez en la escena internacional después de haber proyectado una serie de tiendas elegantes y sobrias en Japón y Londres— incluye tendencias opuestas con respecto a la forma y la desaparición en una única composición bellamente emplazada. Los dos edificios paralelos de las galerías pretenden recordar los cobertizos locales, al tiempo que nos ofrecen una impresión de los cascos de madera cuidadosamente trabajados de las embarcaciones de competición para cuya exhibición se proyectó el edificio. Encajadas entre un recodo del río y las vías del ferrocarril, estas galerías establecen un terreno cultural que torna permanentes las tiendas levantadas durante un mes al año durante la regata anual. Así pues, el museo es un festín de referencias, pero todas ellas se han sometido a tal proceso de abstracción que el edificio también se alza por sí solo en su bucólico emplazamiento como un baluarte de la otredad. Los detalles refuerzan esta sensación de lo que podríamos denominar 'distancia íntimamente relacionada'. La entrada no está ligada a nada en particular dentro del paisaje, el edificio no tiene un apoyo visible (dado que tiene que flotar por encima de la planicie inundable), y el edificio educativo, más pequeño, es un festín de geometrías abstractas que desnuda los cobertizos de madera para revelar su estructura de hormigón. Cada vez que pensamos que el museo de Henley va a ser una construcción vernácula y fija, se desenreda. Esta negación de una relación o referencia específicas domina la obra de Chipperfield. Cuando se le pide que explique la colocación y el tamaño de cada una de las ventanas del Estudio del escultor Anthony Gormley (2001) que proyectó en Londres, el arquitecto se niega. La composición interna de la sala tenía prioridad —explica— y las vistas de las medianeras ciegas al otro lado del callejón, o la visión que se tiene del Londres industrial al otro lado del patio son interesantes, pero no de particular importancia. Ésta no es una arquitectura que adore el contexto o que nos pida contemplar una naturaleza más amplia; lo único que quiere es ser correcta, o sólo lo bastante familiar y estática como para ofrecer un esquema claro sin hacer grandes aspavientos. El interior del museo de Henley lleva más lejos esta 'adecuada corrección' (por contraposición a la corrección). No hay en él ni siquiera una sala que haga de vestíbulo, sino tan sólo un pasillo situado entre las diversas funciones del museo. No hay escaleras monumenta-

28

GALERÍA HINTER DEM GIESSHAUS 1 HINTER DEM GIESSHAUS 1 GALLERY Berlin, Germany, 2003-

MUSEO DE LA LITERATURA MODERNA MUSEUM OF MODERN LITERATURE Marbach am Neckar, Germany, 2002-

So it is with all of Chipperfield's buildings. The building is a strong object that seems right and perhaps even vaguely familiar, but does not look like anything or stand out in contrast to its surroundings. Yet neither does the building disappear into function or context. It is just coherent enough to stand up to scrutiny, but not so strong as to usurp your attention. Your arrival is not celebrated, nor is the central space or core of the building. Views are to be found, not emphasized. Sequences do not so much unfold with the measured step as they just happen in a more or less logical manner. They are ambient as much as they are present. That does not mean that Chipperfield's more developed work lacks formal characteristics by which they might be recognized. In his early designs, that might have been the case, as these were often small remodels for stores or a careful slotting of new structures into existing contexts in which the minimalism of the planes predominated. As Chipperfield himself notes, he started by building small bits and pieces, not by drawing grand plans with sweeping visions. It was only as his commissions became larger that distinctive methodologies started to appear. The most evident of these is the additive, slipped plan. Many of Chipperfield's floor plans consist of series of discrete volumes or rooms, stacked next to and top of each other to form a loose complex. It is clear that he does not start from a box that outlines the site or a form that represents the institution he houses, but from a series of volumes that he gathers together according to the particular situation. When the buildings become larger and of a more cultural or institutional nature, which means that the volumes need to frame their contents with more emphasis than is necessary in a house or store, this strategy becomes abundantly evident. The Ansaldo City of Cultures (2000-) project for Milan is a perfect example, in that the various galleries and blocks fill out their site in the middle of an old factory complex without any direct reference to the existing forms, but with simple clarity. In both plan and elevation, the blocks assert themselves, but also tend to dissolve into each other on the outside and, on the inside, into a circuit with no clear beginning or end. The one grand gesture is, unusually for Chipperfield, an amoeba-like shape that rises slightly above the surrounding blocks and forms the entrance lobby. It is, however, an amorphous core, reached through a tunnel and without any clear focal point. The entry into the José Vasconcelos Library of Mexico competition (2003) and the Law Courts in Salerno (1989-), Italy, currently under construction, exhibit a similar strategy of stacking blocks to create a composite whole that incorporates and is dissolved by circulation patterns, leaving the functions to inhabit the remainder of each block. The result is coherence without monumentality, logic without rigor, and appropriate containers with dignity, but not distinction. At times, the building almost disappears, as in the Museum of Modern Literature (2002-) currently under construction in Marbach am Neckar, Germany. Or, as in the Hinter dem Gieshaus 1 Gallery (2003), the blocks implode into simpler form, turning into a collection of solids and voids whose presence we can ascertain only from the composition of the façade, while the circulation system hugs the rear wall to allow the elided boxes to function as simply as possible. Here the architecture continues the lessons Chipperfield learned from making finely crafted retail and residential spaces in existing buildings: the space appears as an oasis of order carved out of its context. There is, however, a monumental tendency in the work as well. Sometimes that is because it is highly necessary for the architecture to do more than only just enough. In the post-industrial wasteland of Davenport, Iowa, where parking lots have replaced the gridded structures that once made up this prototypical American downtown, Chipperfield had to establish an anchor that would recall those rectilinear containers while reconnecting what is left of the city to the reason it is there, the Mississippi River that flows next to it. The Figge Art Museum (1999-) is grand and resolutely an autonomous object. Even here, though, the architect cannot help but undercut such bravura. The skin is a complicated affair of glass and louvers, as if the well-dressed office buildings that once stood there now appeared in their underwear. The tall volume is off-center and slit windows undercut its connection to the stretched-out base. Inside, there is no direct connection between the entrance and the 'viewing room' where visitors can look out over the river.

29

CASA EN CORRUBEDO HOUSE IN CORRUBEDO

VIVIENDAS SOCIALES EN MADRID SOCIAL HOUSING, MADRID

Galicia, Spain, 1996/2002

Spain, 2001-

les ni grandiosas rampas, sino tan sólo un pequeño ascensor cuya presencia queda realzada porque el arquitecto se avino a que la luz se derramase desde lo alto y atravesase su piel de vidrio translúcido. En el piso superior hay tan sólo dos galerías desplazadas una con respecto a otra, sin ningún foco o lugar de descanso. En el proyecto original de Chipperfield, las embarcaciones se colgaban a lo largo del eje de cada espacio, iluminadas por claraboyas altas. Son unas galerías bellamente proporcionadas y perfectamente claras, pero no hay en ellas nada fuera de lo corriente, nada grandioso y nada que haga referencia al sol, al emplazamiento o al orden interno. Y así ocurre con todos los edificios de Chipperfield. El edificio es un objeto fuerte que parece correcto y tal vez vagamente familiar, aunque no se asemeje a nada ni destaque en contraste con sus alrededores. El edificio sin embargo tampoco desaparece en la función o el contexto; es sencillamente lo bastante coherente como para resistir nuestro examen, aunque no tan poderoso como para usurpar nuestra atención. La llegada de los visitantes no se exalta, ni tampoco el espacio central o el corazón del edificio. Las vistas hay que encontrarlas, no están enfatizadas. Las secuencias no se despliegan atendiendo a un ritmo medido, sino que sencillamente ocurren de una manera más o menos lógica; son ambientales en la medida en la que están presentes. Esto no significa que las obras más desarrolladas de Chipperfield carezcan de características formales por las cuales puedan ser reconocidas. En sus primeros proyectos sí puede que haya sido así, pues con frecuencia se trataba de pequeñas remodelaciones de tiendas, o cuidadosas inserciones de nuevas construcciones en contextos ya existentes, y en los que predominaba el minimalismo de los planos. Como señala el propio Chipperfield, empezó construyendo cosas pequeñas, no haciendo grandes proyectos con visiones arrolladoras. Sólo cuando sus encargos se fueron haciendo más grandes es cuando comenzaron a aparecer metodologías distintivas. La más evidente de ellas es la planta aditiva y desplazada. Muchas de las plantas de Chipperfield consisten en una serie de salas o volúmenes diferenciados, agrupados unos junto a otros y encima de otros para formar un conjunto poco rígido. Está claro que Chipperfield no parte de una caja que perfile el emplazamiento, ni de una forma que represente la institución que alberga, sino de una serie de volúmenes que el arquitecto agrupa según la situación particular. Cuando los edificios son grandes y de una naturaleza más cultural o institucional —lo que significa que los volúmenes necesitan enmarcar sus contenidos con mayor énfasis de lo que es preciso en una casa o una tienda—, este planteamiento resulta perfectamente evidente. El proyecto de la Ciudad de las Culturas Ansaldo (2000-), en Milán, es un magnífico ejemplo, en el sentido de que los diversos bloques y galerías rellenan un emplazamiento situado en medio de un antiguo complejo fabril sin ninguna referencia directa a las formas existentes, si bien con sencilla claridad. Tanto en planta como en alzado, los bloques se imponen, pero también tienden a disolverse: por fuera, unos en otros; y por dentro, en un recorrido sin un principio y un fin claros. El único gesto grandilocuente —algo insólito para Chipperfield— es una figura ameboide que se alza ligeramente por encima de los bloques circundantes y que define el vestíbulo de entrada. Se trata, sin embargo, de un núcleo amorfo, al que se accede a través de un túnel sin que tenga un claro punto focal. La propuesta para el concurso de la Biblioteca José Vasconcelos de México (2003) y el Palacio de Justicia de Salerno (1999), Italia, actualmente en construcción, presentan un planteamiento similar consistente en apilar bloques para crear un conjunto compuesto que se integra y se disuelve mediante los trazados de la circulación, dejando que las funciones ocupen lo que queda de cada bloque. El resultado conseguido es la coherencia sin monumentalidad, la lógica sin rigor, y unos contenedores adecuados y dotados de dignidad, pero sin distinción. A veces, el edificio casi desaparece, como en el pequeño Museo de la Literatura Moderna (2002-) actualmente en construcción en Marbach am Neckar, Alemania. O bien, como ocurre en el proyecto para la Galería Hinter dem Gieshaus 1 (2003), los bloques implosionan formando una forma más sencilla, convirtiéndose en una colección de llenos y vacíos cuya presencia sólo podemos determinar a partir de la composición de la fachada, mientras que el sistema de circulación abraza el muro trasero para permitir que las cajas omitidas funcionen del modo más sencillo posible. En este caso, la arquitectura sigue las enseñanzas que Chipperfield aprendió haciendo espacios comerciales y residenciales, delicadamente elaborados, en edificios ya existentes: el espacio parece un oasis de orden excavado en su contexto. Sin embargo, hay también una tendencia monumental en su obra. A veces se debe a que resulta sumamente necesario para la arquitectura hacer más de lo que es estrictamente suficiente. En los páramos postindustriales de Davenport (Iowa) —donde las playas de

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BIBLIOTECA PÚBLICA EN DES MOINES DES MOINES PUBLIC LIBRARY Iowa, USA, 2001-

CIUDAD DE LA JUSTICIA DE BARCELONA CITY OF JUSTICE, BARCELONA Spain, 2002-

Lately, Chipperfield is also experimenting with forms that are more expressive. Most simply, he is occasionally using diagonal and warped shapes. It began, perhaps, with the House in Corrubedo (1996/2002), which he designed for himself several years ago in small fishing village on the Northern Coast of Spain. There he ingeniously slotted a thoroughly modern (i.e., white, abstract, stripped of details, flat-roofed and non-static in its composition) building into a row of houses, providing himself with a terrace, a viewing area and a sense of presence by folding the structure out at its center. The skew allows the circulation and the public spaces of the buildings to unfold out of each other without asserting their own presence, while also minimizing the seeming bulk of the building from the rear. The bulge out towards the sea is formalized into a large, framed window while below it a piano-curved searing area takes advantage of the irregular space. At times, the skew or angle is subtle. In a Social Housing Project in Madrid (2001-), Spain, which will be completed this October, Chipperfield merely chamfered the tops and angled the corners of the block to make them appear as objects in and of themselves, rather than as the built result of social policy. The deformation is not enough to turn the housing blocks into sculpture or make them look like something they are not, but just enough to also allow a variety in and loosening up of the otherwise tightly controlled floor plans of some of the units. In other cases, the angle is almost rhetorical. In his 2001 proposal for the Spreedreieck ('Skyscraper near the River Spree') in Berlin, the site of Ludwig Mies van der Rohe's famous vision for a crystalline spire, Chipperfield deformed the regular office building into a twisting spiral that refers to its famous precedent, but also to our current realisation that office towers do not need to be rectangular boxes for any reason of internal logic, but do need to contribute to their urban context. The result is something that turns an abstract program and an expressive site into something as close to sculptural independence as the architect has dared to go. In his design for the Des Moines Public Library (2001-), Iowa, currently under construction, the angles wind their way through the nondescript site to create a tentacled collection of spaces for learning that appears, on the outside, like a giant shed that houses not farm equipment or industrial production, but a gathering place for the community. Yet these jagged shapes and assertive forms remain, on the whole, exceptions in the work of David Chipperfield. He appears generally to be more at home with the rectangle, the block and the stacked aggregation of these orthogonal forms. These accumulations are, as his reputation and volume of built work grows, becoming larger and larger. In the last two decades, Chipperfield has moved from carving such shapes out as volumes from existing structures, to the assertion of small houses, stores and galleries in the dense landscape of London and Tokyo, to the making of modest cultural facilities in Europe and the United States, to commissions for grand palaces of culture and justice. The largest of these, the City of Justice in Barcelona (2002-), is about to begin construction. It is collection of otherwise fairly standard office towers that sits on top a vast plinth of courtrooms and the both public and highly secured spaces that go with such highly energized boxes where justice is (one hopes) rendered. Here the architect may, for now, be reaching the limits of his methodology. Composing the towers in the same loose manner as he has applied to joining galleries into museums, Chipperfield is attempting to militate against the massive nature of the whole complex. He is further massaging this bulk with a complex skin of varying colors that slips and slides its voids in a repetitive manner, so that the whole becomes more of a collection of solids and voids than a normal office building would be. At the ground level, the public will experience a sprawling plaza in which they will find the courtrooms as if in a medieval law courts, but at a much larger scale. It remains to be seen whether any of these techniques of pulling apart and lightening the load of bureaucracy will be enough to make the whole appear any less like the representation of a faceless state.

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NEUES MUSEUM EN BERLÍN NEUES MUSEUM, BERLIN Germany, 1997-

aparcamientos han reemplazado a las construcciones reticuladas que en su momento componían este prototípico centro urbano norteamericano—, Chipperfield tuvo que establecer un nexo que recordase esos contenedores rectilíneos, al tiempo que volvía a conectar lo que queda de la ciudad con la razón de su existencia: el río Misisipí que corre junto a ella. El Museo de Arte Figge (1999-) es un objeto grandioso y resueltamente autónomo. Con todo, incluso en este caso el arquitecto no puede sino mitigar ese virtuosismo. La piel es un complicado conjunto de vidrio y lamas, como si los edificios de oficinas perfectamente ataviados que una vez estuvieron ahí apareciesen ahora en paños menores. El volumen alto está descentrado y unas ventanas rasgadas debilitan su relación con el basamento extendido. En el interior no hay una conexión directa entre la entrada y la 'sala mirador' desde donde los visitantes pueden observar el río. Recientemente, Chipperfield está experimentando también con formas que son más expresivas; más sencillamente: en ocasiones está usando figuras diagonales y alabeadas. Esto empezó tal vez con la Casa en Corrubedo (1996/2002) que proyectó para sí mismo hace algunos años en un pequeño pueblo pesquero de la costa norte de España. En este caso insertó con ingenio un edificio completamente moderno (es decir, blanco, abstracto, despojado de detalles, con cubierta plana y nada estático en su composición) en medio de una hilera de casas, dotándolo de una terraza y un mirador, y logrando cierta presencia gracias a un pliegue hacia fuera en el centro del conjunto. La planta oblicua permite que la circulación y los espacios públicos de las dos piezas que lo componen se desplieguen entre una y otra sin revelar su propia presencia, al tiempo que minimizan también la masa aparente del edificio desde la parte trasera. El saliente hacia el mar se formaliza en una gran ventana enmarcada, mientras que en la parte alta una azotea de formas sinuosas aprovecha el espacio irregular. A veces, la oblicuidad o el ángulo son sutiles. En el conjunto de Viviendas Sociales en Villaverde (2001-), Madrid, una obra que se terminará en Octubre, Chipperfield simplemente ha biselado las partes superiores del bloque de viviendas y ha girado las esquinas para hacer que parezca un objeto en y por sí mismo, en lugar de ser sólo el resultado construido de una política social. La deformación no basta para convertir este bloque de viviendas en una escultura o para hacer que parezca lo que no es, pero es suficiente como para permitir también cierta variedad y relajación en las plantas de algunas de las viviendas, por lo demás estrictamente controladas por las ordenanzas. En otros casos, el ángulo es casi retórico. En su propuesta de 2001 para el Spreedreieck ('Rascacielos junto al río Spree') en Berlín —el solar de aquella famosa visión de una aguja cristalina ideada por Mies van der Rohe—, Chipperfield deformó el edificio convencional de oficinas hasta formar una figura helicoidal retorcida que hace referencia a su célebre antecedente, pero también a nuestra constatación actual de que las torres de oficinas no necesitan ser cajas rectangulares por razones de lógica interna, aunque sí deben contribuir a generar un contexto urbano propio. El resultado es un objeto que transforma un programa abstracto y un lugar expresivo en algo tan próximo a la independencia escultórica como el arquitecto se ha atrevido a llegar. En su proyecto para la Biblioteca Pública en Des Moines (2001-), Iowa, actualmente en construcción, los ángulos se orientan a su manera por el anodino emplazamiento hasta crear una colección tentacular de espacios para el conocimiento que, por fuera, parece una gigantesca nave que alberga no maquinaria agrícola o equipos industriales, sino un lugar de reunión para la comunidad. Sin embargo, estas figuras quebradas y estas formas rotundas, en conjunto, siguen siendo la excepción en la obra de David Chipperfield, quien por lo general parece sentirse más a gusto con el rectángulo, el bloque y la suma por acumulación de formas ortogonales. A medida que crece su reputación y su volumen de obras construidas, tales acumulaciones se hacen mayores. En las dos últimas décadas, Chipperfield ha pasado de excavar esas figuras como volúmenes en construcciones ya existentes, a insertar pri-

Aaron Betsky es Director del Instituto Holandés de Arquitectura de Rotterdam. Es autor de varios libros —siendo los más recientes Landscrapers: Building with the Land (2002) y Three California Houses (2002)— y frecuentemente escribe e imparte conferencias sobre arquitectura y diseño.

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If such valiant efforts to scale up his working methods take up a considerable amount of Chipperfield's time and office space at the moment, it is the ongoing project for the Neues Museum in Berlin that remains at the core of his practice. Having won the competition in 1997, the architect is only now beginning to see the date of the first work on site approach. That is because he won the competition by proposing not a network of new structures, as his rivals did, but architecture as a form of research that would reveal and stabilize what was there, and then establish its own presence in fragments whose precise nature would be discovered in the course of the work. In collaboration with historical and restoration architecture experts, Chipperfield has been studying every space and wall in this vast storehouse of neo-classical architecture. On a case-by-case basis, this team has decided what can remain, what cannot be preserved, and what aspect of the building will be visible. This does not mean that there will be no new architecture. First, these choices themselves are an invisible structure. They bury and tear down, construct and present an image as much as any new building. Though it is too early to see what the final result will be, one senses that Chipperfield is turning the Neues Museum into a historical justification of his own architecture. It will be monumental, also in the sense that it will preserve memory, but not grand. It will be a string of spaces that will unfold through the order of the existing buildings, snaking out into entrances, but without a clear hierarchy. There will be views, connections and other moments of escape from this unfolding world, but they will not be tied to focal points beyond the building. Finally, there will be a new architecture, carefully slotted into the existing building, and it will be perfectly proportioned, reminiscent of the stairs and galleries that were once in its place, but elongated, deformed and independent from the wall, so that it will have its own presence —but only just. Time will not stand still in the Neues Museum, nor will space be static. These absolutes never appear in the work of David Chipperfield. Instead, there will be an almost imperceptible slowing of one's pace. One will have a sense in this building, as in all of the work of this preternaturally modest architect, that there is something different, something refined, something behind all of those white walls and frameless windows, but one will never be so captivated as to stand still. Life will go on, but now with a frame, a pace and a logic that does not enclose, that does not stop and start, and that has no beginning or end.

In the end, it is therefore as difficult to find a great point or point to a single achievement in David Chipperfield’s work as it is to get him to articulate a great theory about his work, and that is exactly its point —or rather, its lack thereof. This is an architect who wants not to make a point, a singular object or space with the texture of our lives, but rather scans, abstracts and opens up that often confusing narrative. When he succeeds, he is capable of turning everyday construction into poetry that is not about something else, but that is exactly a version of the vernacular of construction, function and urban or rural context. A criticism of such work can then not reduce it to a vision. Let us try to eschew rhetoric then and say that David Chipperfield makes an architecture that is only just enough, that one can analyze the sources, intentions, forms of appearance and the methodologies of such an architecture, and that is enough said.

Aaron Betsky is Director of the Netherlands Architecture Institute in Rotterdam. He is also the author of several books, most recently Landscrapers: Building with the Land (2002) and Three California Houses (2002). Mr. Betsky writes and lectures frequently on architecture and design.

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OBRAS Y PROYECTOS WORKS AND PROJECTS Casa en Corrubedo House in Corrubedo Centro de Ser v i c i o s d e E r n s t i n g Ernsting Service Center C e m e n t e r i o d e S a n M i c h e l e e n Ve n e c i a San Michele Cemetery, Venice Neues Museum en Berlín Neues Museum, Berlin Nuev o E d i f i c i o d e A c c e s o a l a I s l a d e l o s M u s e o s New Entrance Building, Museum Island Galería Hinter dem Giesshaus 1 Hinter dem Giesshaus 1 Gallery S p r e e d r e i e c k [PP r o y e c t o d e u n R a s c a c i e l o s j u n t o a l R í o S p r e e ] Spreedreieck [Project for a Skyscraper near the River Spree] Ciudad de las Culturas de Ansaldo Ansaldo City of Cultures M u s e o d e A r t e F i g g e en Da v e n p o r t Figge Art Museum, Davenport B i blioteca Pública en Des Moines Des Moines Public Library Ampliación de la Casa Knight Knight House Addition E s t u d i o G o r m l ey Gormley Studio Casa en Manhattan House in Manhattan A p a r t a m e n t o s Pa r k s i d e e n B e r l í n Parkside Apartments, Berlin Viviendas Sociales en Madrid Social Housing, Madrid

Viviendas en V i l a n ov a Vilanova Apartments A c c e s o a l Pa s e o d e l Ó v a l o e n Te r u e l Access to the Paseo del Ovalo, Teruel Nue v a S e d e d e l a B B C S c o t l a n d e n Pa c i f i c Q u ay New BBC Scotland Headquarters in Pacific Quay Ciudad de la Ju s t i c i a d e B a rc e l o n a City of Justice, Barcelona Hotel en Hambu rg o Hotel in Hamburg Museo de la Literatura Moderna en Marbach Museum of Modern Literature, Marbach Casa en Miami Miami House Conjunto Residencial en Athlone House Residential Complex, Athlone House Barrio Residencial en Bailujun Bailujun Residential District Museo de la Cultura de Liangzhu Liangzhu Culture Museum Club Social en Bamboo Forest Villag e Bamboo Forest Village Clubhouse To r r e s R e s i d e n c i a l e s e n C e n t r a l H u a i h a i R o a d Residential Towers, Central Huaihai Road B i b l i o t e c a J o s é Va s c o n c e l o s e n M é x i c o José Vasconcelos Library, Mexico Centro de Ar tes Visuales de Colch e s t e r Colchester Visual Arts Building C e n t r o M u l t i m e d i a d e l a U n i v e r s i d a d d e H o n g Ko n g City University of Hong Kong Multi Media Building M u s e o H e p w o r t h e n Wa k e f i e l d The Hepworth Gallery, Wakefield A p a r t a m e n t o e n Po r t l a n d P l a c e Apartment on Portland Place

L a C o r u ñ a , G a l i c i a , E s p a ñ a / Spain

CASA EN CORR UBEDO 1996/2002 HOUSE IN CORRUBEDO

Cro q u i s c o n c e p t u a l / Concept sketch S i t u a c i ó n / Site V i s t a d e l a b a h í a d e C o r r u b e d o / View of Corrubedo bay

La casa se alza en la calle principal del pequeño pueblo de pescadores de Corrubedo. Situado en el extremo septentrional de una gran bahía protegida, en la costa atlánThis house occupies a gap in the main street of the small Galician fishing village of Corrubedo. Sitting at the northern edge of a large protected bay on Spain's tica de Galicia, el solar ofrece unas vistas espectaculares del puer t o , con el mar detrás. A d i ferencia de los otro s e d i f i c i o s q u e b o rdean la bahía, y que dan la espalda al northwest Atlantic coast, the site offers dramatic views out over the harbour and to the sea beyond. Unlike the other buildings along the harbour side that turn o c é a n o , l a c a s a p r e t e n d e s a c a r e l m á x i m o p a r t i d o d e l a s v i s t a s q u e s u p e c u l i a r u b i c a c i ó n l e o f r e c e , o r i e n t a n d o t o d o s s u s e s p a c i o s i n t e r i o r e s h a c i a e l m a r. their backs to the sea, the house looks to exploit the views afforded by its location and orientate all of its internal spaces towards the ocean. Contemplada desde el agua, la variopinta colección de edificios de Corrubedo ofrece un aparente perfil de pueblo —una estrecha banda de edificios que , a u n q u e c o m p u e s t a From the sea, the collection of individual and apparently random buildings in Corrubedo form a kind of village elevation— a thin ribbon of buildings that although por casas de alturas y g eometrías diferentes, t o d av í a p r e s e n t a u n a d i s p o s i c i ó n s ó l i d a y u n i forme—. A l i n t ro d u c i r u n a nuev a casa —con diferentes prioridades— hubo que made up of houses of varying heights and geometries, still presents itself as a unified and solid arrangement. The introduction of a new house with different pric o n s i d e r a r c u á l e r a s u l u g a r d e n t r o d e e s t e m u r o d e e d i f i c i o s . Po r t a n t o , y b u s c a n d o e s t a s e n s a c i ó n d e c o n t i n u i d a d , l a c a s a s e a s i e n t a s o b r e u n a s ó l i d a b a s e d e p i e d r a y orities had to take into consideration its place within this wall. Looking to provide a sense of continuity, the house sits on a solid stone and concrete base, and h o r m i g ó n , q u e d a n d o s u v o l u m e n s u p e r i o r, a l i g u a l q u e e l d e l a s c a s a s v e c i n a s , p e r f o r a d o p o r p e q u e ñ a s v e n t a n a s . A m o d o d e e s t a n t e , s i t u a d o e n t r e e s t a s d o s c o n d i c i o n e s , its upper mass, like the neighbouring houses, is punctured by small windows. Placed like a shelf between these two conditions, a large panoramic window, extendun enorme ventanal que recorre toda la anchura de la casa pro p o rc i o n a v i s t a s p a n o r á m i c a s s o b r e l a p l aya y la bahía. ing the full width of the house, provides all encompassing views across the beach and harbour. Más que resistirse a las g eometrías de su entorno, la casa las incorpora a su propia forma. Esta estrategia se hace más aparente en el lado de la calle , d o n d e e l e d i f i c i o Rather than resisting the surrounding geometries, the house takes them into its own form. This strategy is most apparent on the street side of the building where e n t r a e n c o l i s i ó n c o n l a s g e o m e t r í a s d e l a s c a s a s v e c i n a s , i n t e g r á n d o l a s e n s u c o m p o s i c i ó n f o r m a l . E n e l i n t e r i o r, e s t a p a u t a s e r e p i t e e n l a s e s c a l e r a s , l o s d o r m i t o r i o s y the colliding geometries of adjoining houses extend across the building, dictating its formal composition. Internally this pattern is repeated with stairs, bedrooms, l a s z o n a s d e e s t a r, q u e s e a r t i c u l a n e n b a s e a g e o m e t r í a s d i f e r e n t e s , m i e n t r a s q u e e n l a p a r t e s u p e r i o r d e l a c a s a — i n t r o d u c i e n d o u n p e r f i l p r o p i o , d e c a r á c t e r m á s o r g á and living spaces articulated according to differing geometries, while on top of the house, introducing its own more organic outline, a large enclosed terrace n i c o — u n a a m p l i a t e r r a z a c u b i e r t a e n m a r c a u n a v i s i ó n p r o t e g i d a d e l m a r. D e s d e e s t a t e r r a z a , l a c a s a p a r e c e m a n t e n e r u n a e v i d e n t e s e n s a c i ó n d e c o n t i n u i d a d c o n e l r e s t o forms a protected view of the sea. Looking out from this terrace the house can clearly be seen to maintain a sense of continuity with the rest of the harbourde la bahía, p e ro a l m i s m o t i e m p o s u s i l u e t a , s u s e s p a c i o s a n g u l a r e s y s u s mu ro s blancos ofrecen la imag en de algo nuevo y s o r p r e n d e n t e . side, while at the same time its silhouette, angular spaces and white walls also offer something striking and new.

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A l z a d o a l l i t o r a l / Harbour side elevation

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LITORAL / HARBOUR SIDE

C A L L E / STREET SIDE

Sección 1-1 / Section 1-1

P l a n t a s e g u n d a . Cotas +4.38 / +4.58 Second floor plan. Levels +4.38 / +4.58

LITORAL / HARBOUR SIDE

C A L L E / STREET SIDE

L I TO

RAL

/ HA

RBO

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E

P l a n t a p r i m e r a . Cotas +0.19 / +1.34. A c c e s o d e s d e l a c a l l e / First floor plan. Levels +0.19 / +1.34. Street entrance

Planta baja. Cotas -1.29 / -1.12. A c c e s o d e s d e e l l i t o r a l / Ground floor plan. Levels -1.29 / -1.12. Harbour entrance Sección 2-2 / Section 2-2

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P l a n t a d e c u b i e r t a s / Roof plan

Planta ático (+7.05 / +7.26) / Attic floor plan (+7.05 / +7.26)

A l z a d o a l a c a l l e / Street elevation

Sección 3-3 / Section 3-3

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C o e s f e l d - L e t t e , A l e m a n i a / Germany

CENTR O D E S E RV I C I O S D E E R N S T I N G 1998/2001 ERNSTING SERVICE CENTRE

S i t u a c i ó n / Site Cro q u i s c o n c e p t u a l e s / Concept sketches

E s t e e d i f i c i o , s i t u a d o e n l a p e q u e ñ a l o c a l i d a d d e C o e s f e l d - L e t t e — a l o e s t e d e M ü n s t e r , e n l a r e g i ó n a l e m a n a d e N o r d r h e i n We s t f a l e n — e s l a n u e v a s e d e d e l a e m p r e s a t e x This building, located in the small town of Coesfeld-Lette, just west of Münster in Germany’s Nordrhein-Westfalen region, is the new headquarters for the German til alemana Ernsting. Se ha construido junto a las dos nav e s d e d i s t r i bu c i ó n existentes —una de las cuales fue diseñada por Fabio Reinhar t y Bruno Reich l i n e n l o s a ñ o s clothing retailer Ernsting. Designed on a greenfield site, the structure stands alongside two existing distribution centres, one of which was designed by Fabio o chenta, y la otra por Sch i l l i n g A rc hitects a finales de los noventa—. Este terc e r e d i f i c i o c o m p l e t a e l c o m p l e j o E r n s t i n g , y facilita espacios de trabajo para el depar t a m e n t o Reinhart and Bruno Reichlin in the 80s and the other by Schilling Architects in the late 90s. This third building completes the Ernsting compound and provides c o m e r c i a l y d e v e n t a s , a s í c o m o p a r a l o s d e p a r t a m e n t o s d e i nv e s t i g a c i ó n y d e s a r r o l l o . office space for business and retail managers together with a research and development department. L a i d e a d e l p r o y e c t o f u e t r a s c e n d e r l a f o r m a c o nv e n c i o n a l d e u n e d i f i c i o e n d o s p l a n t a s y f a v o r e c e r u n a i n t e r a c c i ó n m á s e s t r e c h a e n t r e l o s l u g a r e s d e t r a b a j o y e l p a i s a j e The concept for its design was to break up the form of the two storey building so as to allow its spaces a closer interaction with the landscape and to provide a d e l e n t o r n o , p r o p i c i a n d o u n a r e l a c i ó n i n t e r i o r -e x t e r i o r m á s f l u i d a d e l o n o r m a l . E s t a e s t r a t e g i a d e f r a g m e n t a r l a m a s a i n t e r i o r d e l a e s t r u c t u r a v i n o t a m b i é n d i c t a d a p o r l a s more open than usual relationship between inside and outside. This notion of fragmenting the internal mass of the structure was also influenced by the demands d e m a n d a s d e l c l i e n t e , q u e p r e t e n d í a s i n g u l a r i z a r a c a d a u n a d e l a s d e l e g a c i o n e s d e E r n s t i n g c o n u n a i m a g e n p r o p i a . Ta l e s c o n d i c i o n e s p e r m i t i e r o n d i s e ñ a r p a t i o s i n t e r i o of the client who sought to define each of Ernsting’s various business holdings within a singular building envelope. These conditions allowed for the opportunity to res que actúan como centros de los que irradian los elementos pro g r a m á t i c o s d e l e d i f i c i o , al tiempo que facilitan luz y vistas a todas las zonas de oficina. La sensación de design internal courtyards, which provide a hub from which all of the programmatic elements of the building could radiate, and which afford all of the office areas a p e r t u r a s e s u b r a y a p o r l a s g a l e r í a s y p ó r t i c o s q u e e nv u e l v e n l a e s t r u c t u r a p r e f a b r i c a d a d e f a c h a d a , y p o r d o s e s p a c i o s a m o d o d e a t r i o s — e l m a y o r d e l o s c u a l e s f u n c i o n a light and views. The sense of openness is further emphasised by a colonnade and balconies around the periphery of the monolithic precast structure, and by two c o m o v e s t í bulo y punto de acceso al edificio, siendo también el principal lugar de encuentro de sus ocupantes—. atrium spaces, the larger of which acts as the main lobby and entry point for the building, and accommodates the principal area where people can meet. Inside, E n e l i n t e r i o r, e l e s p a c i o d e o f i c i n a s e s d e p l a n t a a b i e r t a — e s c a s a m e n t e c o m p a r t i m e n t a d o e n o f i c i n a s c e l u l a r e s c o n v e n c i o n a l e s q u e d i v i d a n e l e s p a c i o — c o n o b j e t o d e f a c i the office space is open-plan, with very few of the more conventional cellular offices compartments dividing up the space, so as to provide views into the courtlitar las vistas del paisaje y de los patios a través del edificio. Como complemento a esa intensa sensación de liviandad y separación horizontal, la construcción se desyards and across to the surrounding countryside from both sides of the interior of the building. Complementing this strong sense of lightness and horizontal detachpega ligeramente del plano del suelo como si flotara sobre éste, adquiriendo una ligereza que contrasta con la monolítica presencia del edificio. ment, the building is raised slightly off the ground plane so as to appear to float, looking to achieve a lightness in contrast to the building’s monolithic presence.

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A l z a d o S u ro e s t e / Southwest elevation

A l z a d o S u r e s t e / Southeast elevation A l z a d o N o r e s t e / Northeast elevation Planta baja / Ground floor plan

A l z a d o N o ro e s t e / Northwest elevation

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S e c c i ó n l o n g i t u d i n a l A / Longitudinal section A P l a n t a p r i m e r a / First floor plan

S e c c i ó n l o n g i t u d i n a l B / Longitudinal section B

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Sección de cerramiento tipo y detalle Typical wall section and detail

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Ve n e c i a , I t a l i a [ C o n c u r s o . P r i m e r P r e m i o ] / Venice, Italy [Competition. First Prize]

CEMENTERIO DE SAN MICHELE 1998- SAN MICHELE CEMETERY

IN ASSOCIATION WITH SSSR

← S i t u a c i ó n . Vista aérea (1ª y 2ª fases) / Site. Aerial view (1st and 2nd phases) → Vista aérea (1ª fase) / Aerial view (1st phase)

L a p r o p u e s t a p a r a r e m o d e l a r e l p r i n c i p a l c e m e n t e r i o d e l a c i u d a d d e Ve n e c i a f u e s e l e c c i o n a d a c o n l a v o l u n t a d d e d e s a r r o l l a r y e x t e n d e r l a i s l a d e S a n M i c h e l e . E s t e h i s t ó Following an international competition, this proposal for the redesign of Venice's principal cemetery was selected to develop and extend the island of San r i c o l u g a r — s i t u a d o e n l a l a g u n a v e n e c i a n a , y c u y o r e c i n t o a c o g e u n c o nv e n t o y u n a i g l e s i a d e l s i g l o X V — h a e s t a d o s o m e t i d o a c o n t i n u o s c a m b i o s d u r a n t e m á s d e c u a Michele. This historic site, located in the Venetian lagoon and enclosing a 15th-century church and convent, has been in continuous development for over four t ro c i e n t o s a ñ o s , si bien recientemente ha llegado a un punto en el que la romántica imag en de su exterior contrasta enormemente con un interior de marcado sesgo mu n ihundred years but has recently evolved to a point where the romantic image of its outer face is in stark contrast to the somewhat municipal character of its intec i p a l . Pa r a a b o r d a r e s t e a p a r e n t e d e s e q u i l i b r i o l a p r o p u e s t a b u s c a r e d e f i n i r c i e r t o s a s p e c t o s m a t r i c e s d e l c e m e n t e r i o . rior. Looking to address this apparent imbalance, the proposal sought to redefine some of the cemetery's former physical qualities. El proy ecto se desarrolla en dos fases: en la primera, la superficie destinada a enterramientos del cementerio actual se amplía según una serie de patios nuevos, un creThe project itself comprises two phases: in the first phase, the burial grounds of the current cemetery are complemented through the construction of a series matorio y una capilla. En oposición a la organización de las tumbas existentes en hilera, n uestra propuesta plantea un cambio en la escena de edificios, m u ros, t u m b a s y of new courtyards, a crematorium and a chapel. In contrast to the existing rows of tombs, the proposed scheme offers a new arrangement of buildings, walls, zonas ajardinadas. Más que ordenar los elementos nuevos de forma lineal —una estrategia de regularidad que hubiera g enerado una rígida y monótona secuencia de mu ro s tombs and landscape. Rather than distributing the new elements in a linear manner (which through their regularity creates something of a rigid, repeating paty t u m b a s — , se ar t i c u l a u n a e s t r u c t u r a o r g a n i z a t i va capaz de a g r u p a r l o s vo l ú m e n e s d e m a n e r a q u e s e c o n s i g a u n a m ay o r s e n s a c i ó n d e a r r a i g o y r e c o g i m i e n t o . Basada en tern of walls and tombs) an organisational structure has been developed which groups the volumes together to form a greater sense of settlement and enclol o s p r i n c i p i o s d e s c o rc i ( v i s t a s ) , c a m p o y c o r t i ( p a t i o s ) , calle (vías) y g i a rd i n i (jard i n e s ) , e s t a o rg a n i z a c i ó n e s p a c i a l i n t e n t a r á c r e a r u n p a i s a j e m á s va r i a d o — a u n q u e d e f i sure. Informed by the principles of scorci (views), campo and corti (courtyards), calle (lanes) and giardini (gardens) this spatial organisation hopes to create a nido con precisión— en San Michele . more varying and yet clearly defined San Michele landscape. La segunda fase del proy e c t o c o n t e m p l a l a c o n s t r u c c i ó n d e u n a nuev a isla, en disposición paralela al cementerio existente y separada de éste por un canal de 15 metro s The second phase of the project involves the construction of a new island, running parallel to the existing cemetery but separated by a 15m-wide channel. This de ancho. En esta nuev a isla se dispondrán cuatro e d i f i c i o s f u n e r a r i o s — d i s e ñ a d o s c o m o bl o q u e s e s c u l p i d o s , de gran sencillez— y una serie de jardines al nivel del agua. new island will feature four tomb buildings (designed as simple, sculpted blocks) together with a series of gardens at water level. Unlike the remainder of San A d i f e r e n c i a d e l a a c t u a l S a n M i c h e l e , c o n s t r u i d a m u y p o r e n c i m a d e l a g u a y r o d e a d a p o r u n m u r o p e r i m e t r a l , e s t a n u e v a i s l a p r e t e n d e c o nv e r t i r s e e n u n m o n u m e n t o d e Michele, built higher above the water line and with its perimeter wall, this new island looks to create a more open, accessible monument so as to provide a greater c a r á c t e r m á s a b i e r t o y a c c e s i b l e , q u e s i n g u l a r i c e n o s ó l o a l c e m e n t e r i o s i n o t a m b i é n a l a l a g u n a y a l a c i u d a d d e Ve n e c i a e n s u c o n j u n t o . sense of place not only for the cemetery but for the lagoon and Venice as a whole.

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A l z a d o N o r te / North elevation

En esta doble página: D i b u j o s , f o t o m o n t a j e s y m a q u e t a s r e l a t i vo s a l a n t e p r o y e c t o ( 2 0 0 1 ) On this double spread: Preliminary project (2001). Drawings, photomontages and models ← 1ª FASE / 1st PHASE

↓ 2ª FASE / 2nd PHASE

P l a n t a g eneral / Overall plan

A l z a d o S u r / South elevation

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1ª FASE. PROYECTO BÁSICO 1st PHASE. DEVELOPED DESIGN STAGE Vista aérea desde el Sur / Aerial view from South A l z a d o s / Elevations → N o r te / North ↓ S u r / South

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P l a n t a g eneral 1ª FASE / Overall plan 1st PHASE

S e c c i ó n N O - S E p o r O s a r i o , N ú cleo 2 y Núcleo 1 NW / SE section through Charnel House, Zone 2 and Zone 1

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Seccion NE / SO por núcl e o 3 y z o n a d e c o l u m b a r i o s NE / SW section through Zone 3 and Columbarium area

PROYECTO DE EJECUCIÓN FINAL DESIGN STAGE

Sección 2-2 / Section 2-2

Sección 3-3 / Section 3-3

1ª FASE / 1st PHASE N ú cleo 1 / Zone 1

P l a n t a n ú cleo 1 (1A, 1B, 1C) / Floor plan. Zone 1 (1A, 1B, 1C)

Sección 1-1 / Section 1-1

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Detalle de acceso Entrance. Detail

E s t u d i o p r e l i m i n a r. S e c c i ó n l o n g i t u d i n a l p o r a c c e s o / Preliminary study. Longitudinal section through entrance

Detalle de Osario Charnel House. Detail

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Detalle de Nich o s Burial Niches. Detail

E s t u d i o p r e l i m i n a r. S e c c i ó n t r a n s v e rs a l N ú cl e o 1 p o r N i c hos 1B y 1C / Preliminary study. Cross section of Zone 1 through Burial Niches 1B and 1C

E s t u d i o p r e l i m i n a r. S e c c i ó n t r a n s v e rs a l N ú cleo 1 por accesos a 1A y 1C / Preliminary study. Cross section of Zone 1 through entrances to 1A and 1C

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A l e m a n i a [ C o n c u r s o . P r i m e r P r e m i o ] / Germany [Competition. First Prize]

NEUES MUSEUM BERLÍN 1997- NEUES MUSEUM, BERLIN

Reestablecimiento de Forma y Figura Re-establishment of Form and Figure → Ima g e n a c t u a l d e s d e e l O e s t e Exterior view from the West →↓ V i s t a a é r e a d e l a I s l a d e l o s M u s e o s Aerial view of the Museum Island

S i t u a c i ó n / Site → Maqueta conceptual: en blanco, las zonas derruidas del edificio original Concept model: in white, the destroyed areas of the original building

En 1997, l a o f i c i n a g a n ó e l c o n c u r s o p a r a l a r e s t a u r a c i ó n d e l N e u e s M u s e u m d e B e r l í n — o b r a d e F r i e d r i c h Au g u s t S t ü l e r c o n s t r u i d a e n 1 8 5 9 — e n c o l a b o r a c i ó n c o n J u l i a n In 1997 David Chipperfield Architects won an international competition for the restoration of Friedrich August Stüler’s 1859 Neues Museum in association with H a r r a p , ex p e r t o e n r e s t a u r a c i ó n . S i t u a d o e n l a i s l a d e S p r e e , e n e l c o r a z ó n d e l a n t i g u o B e r l í n o r i e n t a l , e l e d i f i c i o h a b í a s i d o e n s u o r i g e n c o n c e b i d o c o m o a m p l i a c i ó n d e l the restoration architect Julian Harrap. Located on the Spree Island, in the heart of the former east Berlin, the building had initially been constructed to extend A l t e s M u s e u m — o b r a d e K a r l F r i e d r i c h S c h i n k e l , m a e s t r o d e S t ü l e r — y c o n s t r u i d o e n e l s o l a r v e c i n o s i t u a d o a l s u r. E l d i s e ñ o o r i g i n a l d e l N e u e s h a b í a f o r m a d o p a r t e d e l the space of the Altes Museum, built immediately to the south by Stüler’s teacher Karl Friedrich Schinkel. The original Neues design had formed part of an overc o n j u n t o a r q u i t e c t ó n i c o g l o b a l c o n c e b i d o p a r a l a i s l a d e S p r e e p o r F e d e r i c o G u i l l e r m o I V, c o n e l q u e p r e t e n d í a , a t r a v é s d e l a c o n s t r u c c i ó n d e u n a s e r i e d e m u s e o s a r q u e o all architectural concept for the Spree Island, prompted by Friedrich Wilhelm IV, of a series of art and archaeological museums styled so as to promote a greater l ó g i c o s y d e a r t e , f o m e n t a r e l g u s t o p o r l a a n t i g ü e d a d c l á s i c a . E n t r e e s t o s m u s e o s , y e n r a z ó n a s u c o n s t r u c c i ó n y r i c a d e c o r a c i ó n i n t e r i o r, e l N e u e s M u s e u m f u e c o n s i d e appreciation of classical antiquity. Among these museums, and in terms of its construction and rich interior decoration, the Neues Museum was considered the rado el edificio monumental más impor tante de la época prusiana. most important monumental Prussian building of its era. C o n t e m p l a d o h oy en día junto a los otro s c u a t ro museos reconstruidos que quedan en la isla, el Neues Museum de Stüler es la única estructura que todavía se mantiene en Seen today alongside the four other reconstructed museum buildings on the island, Stüler’s Neues Museum is the only structure still ruined from the war— a estado ruinoso desde la guerra —un contraste que suscita la evocación y reflexión sobre temas de decadencia histórica— a pesar de que el grado de destrucción del edificontrast that demonstrates ideas of history and decay in a compelling and powerful way, although throughout the building the degree of destruction varies c i o varía mu ch o s e g ú n l a s z o n a s . Cier t o s i n t e r i o r e s h a n s o b r ev i v i d o c a s i p o r c o m p l e t o y c o n s e r v a n i n t a c t o s s u s e l a b o r a d o s a c a b a d o s y l o s f r e s c o s d e s u s t e ch o s ; en cam greatly. Certain interiors have survived almost completely, with elaborate finishes and ceiling frescos still intact, while other building elements exist only as the b i o , o t ro s e l e m e n t o s c o n s t r u c t i vo s s o n a p e n a s s ó l o c e r r a m i e n t o s d e u n e s p a c i o a b s o l u t a m e n t e vacío. E l a r m a z ó n d e l a d r i l l o d e l mu s e o t i e n e u n p o d e r d e e v o c a c i ó n s i m i l a r enclosures of a gaping void. The power of the ruin not least stems from this exposed brickwork shell, investing the building, 150 years after it was first imagal de los restos arq u e o l ó g i c o s , y t r a n s m i t e a l e d i f i c i o , 150 años después de su construcción, l a i m b o r r a ble presencia y belleza de una ruina clásica. ined, with the indelible presence of a picturesque classical ruin. Dado lo evocador e inaccesible a la vez de este espacio, la restauración del Neues Museum siguió un principio de conser vación más que de reconstrucción, esto es, el Given this evocative yet inaccessible space, the restoration of the Neues Museum followed a principle of conservation rather than reconstruction— that is, the diseño apor ta el grado mínimo contextual que permita que la impor tancia de toda la estructura y la secuencia de espacios contenida en ella sean legibles. Así, las desdesign gives back only enough context so that the significance of the whole structure and the sequence of spaces contained within it are legible. Accordingly, aparecidas ala noro e s t e y c r u j í a s u r e s t e s o n r e c o n s t r u i d a s ; la hilera de salas es restaurada; y la escalera y los patios son diseñados manteniendo la presencia de cier t o s the missing north-west wing and south-east bay are rebuilt, the enfilade of rooms is restored, and the stair and courtyard spaces are designed so as to maine l e m e n t o s r e v e l a d o r e s d e l a d e c a d e n c i a d e l e d i f i c i o . E l o b j e t i vo e s q u e e l n ue v o N e u e s M u s e u m , y s u c o l e c c i ó n d e a n t i g ü e d a d e s e g i p c i a s y d e o b j e t o s d e l a P r e h i s t o r i a , tain elements of the building’s own decay. In this way, the new Neues Museum and its collection of Egyptian antiquities and Pre- and Early History exhibits should navegue cuidadosamente entre la reconstrucción 'des-historizada' y la preser v a c i ó n m o numentalizada. navigate carefully between de-historicised reconstruction and monumentalised preservation.

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MUSEOS

EDIFICIOS PÚBLICOS / PLAZAS / CALLES

MUSEUMS

PUBLIC BUILDINGS / SQUARES / STREETS

A B C D E F

1 2 3 4 5 6 7 8 9 10 11 12 13

A B C D E F

1 2 3 4 5 6 7 8 9 10 11 12 13

Altes Museum Neues Museum Nue v o e d i f i c i o d e a c c e s o Perg a m o n mu s e u m B o d e mu s e u m Patios de los Museos

NUEVAS INTERVENCIONES ARQUITECTÓNICAS

Av e n i d a A rq u e o l ó g i c a / Archeological Promenade

↑ Plan g eneral de la Isla de los Museos: e d i f i c i o s ex i s t e n t e s y nuev a s i n t e r v e n c i o n e s Museum Island. Overall plan: existing buildings and new interventions → R e c o r r i d o a rq u e o l ó g i c o / Archaeological promenade

L a ' Av e n i d a A r q u e o l ó g i c a ' e s u n a p a r t e e s e n c i a l d e l p l a n g e n e r a l The 'Archeological Promenade' is a main component of the masde la Isla de los Museos. Este plan g eneral fue desarrollado por el terplan for the Museum Island. The masterplan for the Museum Planu n g s g r u p p e M u s e u m s i n s e l , d e c u ya c o o rd i n a c i ó n u r b a n í s t i c a Island was compiled by the Planungsgruppe Museumsinsel of se encarga la oficina de David Chipperfield Arc hitects. Los demás which David Chipperfield Architects is the coordinating planner. The m i e m b r o s s o n : A t e l i e r H e i n z Te s a r ( B o d e m u s e u m ) , H i l m e r & S a t t l e r other members are: Atelier Heinz Tesar (Bodemuseum), Hilmer & ( A l t e s M u s e u m ) , O. M . U n g e r s ( P e r g a m o n m u s e u m ) , L e v i n M o n s i g n y Sattler (Altes Museum), O.M. Ungers (Pergamonmuseum), Levin L a n d s c h a f t s a r c h i t e k t e n ( a r q u i t e c t o s p a i s a j i s t a s ) y Po l y f o r m ( d i s e ñ o Monsigny Landschaftsarchitekten (landscape architects) and c o r p o r a t i vo y s e ñ a l i z a c i ó n ) . Polyform (Corporate Design and signage).

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a b c d e

Nue v o a l a n o r o e s t e Nue v a c ú p u l a s u r e s t e Reconstrucción de galería de columnas Cuar to ala Templete

Mer c a d o d e H a c k e s c h e r Estación de Tren – Mercado de Hackescher Parque Monbijou F r i e d r i c h s b r ü cke (puente) Patio de columnas Bodestrasse Catedral de Berlín Sc h l o ß p l a t z Under den Linden Zeughaus L u s t g a r ten E i s e r n e B r ü ck e ( p u e n t e ) A m Ku p f e r g r a b e n

Altes Museum Neues Museum New Entrance Building Pergamonmuseum Bodemuseum Museum Courtyards

NEW BUILDING INTERVENTIONS

a b c d e

New north-west wing New south-east dome Reconstruction of colonnades Fourth wing Tempietto

Hackescher Markt Overground Train Station – Hackescher Markt Monbijou Park Friedrichsbrücke (bridge) Colonnade courtyard Bodestrasse Berlin Cathedral Schloßplatz Under den Linden Zeughaus Lustgarten Eiserne Brücke (bridge) Am Kupfergraben

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P l a n t a n i v e l 1 / Floor level 1

S e c c i ó n l o n g i t u d i n a l p o r A l a O e s t e / Longitudinal section through West Wing

P l a n t a n i v e l O / Floor level 0

A l z a d o t r a s e ro (Oeste) / Rear elevation (West)

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S e c c i ó n l o n g i t u d i n a l p o r A l a E s t e / Longitudinal section through East Wing

A l z a d o f ro n t a l ( E s t e ) / Front elevation (East)

P l a n t a n i v e l 3 / Floor level 3

S e c c i ó n l o n g i t u d i n a l p o r p a t i o s / Longitudinal section through courtyards

P l a n t a n i v e l 2 / Floor level 2

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TREPPENHALLE ↑ Estado actual ↑ Present conditionl

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→ Estado original → Original condition

→→ M a q u e t a d e r e c o n s t r u c c i ó n d e l a e s c a l e r a d e l v e s t í bu l o →→ Stair hall reconstruction model

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PATIO EGIPCIO. E s t u d i o y m a q u e t a d e r e c o n s t r u c c i ó n d e mu ro S u r y d e n uev a c o n s t r u c c i ó n EGYPTIAN COURYARD. Study and reconstruction model of South wall and new construction

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VESTÍB ULO. ENTRADA PRINCIPA L / VESTIBULE. MAIN ENTRANCE (Ala Este . Nivel 1) / (East Wing. Level 1) ← Estado actual ↑ Pro y e c t o d e r e s t a u r a c i ó n d e l mu ro N o r te ← Present condition ↑ North wall. Restoration project

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NORDKUPPELSAAL (Ala Este . Nivel 2) / (East Wing. Level 2)

E s t a d o a c t u a l d e l a N o rd k u p p e l s a a l / Present condition of Nordkuppelsaal

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Pro y e c t o d e r e s t a u r a c i ó n / Restoration project

L o s e s t u d i o s d e r e s t a u r a c i ó n , r e a l i z a d o s e n c o l a b o r a c i ó n c o n Julian Harrap Arc h i t e c t s , b uscan el modo de dotar de un escenario a los frag m e n t o s q u e s e c o n s e r v an del museo, Restoration studies, developed with Julian Harrap Architects, look for a way of providing a setting for the conserved fragments of the museum without negating s i n n e g a r s u e s t a d o d e c o n s e r v a c i ó n . El afianzamiento de estos marc o s a rq u i t e c t ó n i c o s r e p a r a l o s d a ñ o s v i s i bles de las superficies, a l t i e m p o q u e i n c r e m e n t a l a l e g i b i l i d a d their state of preservation. The strengthening of these architectural frames repairs the damaged appearance of the surfaces while increasing the legibility of the d e l a f á b r i c a h i s t ó r i c a . Au n q u e e s t o s e s t u d i o s , l l ev ados a cabo de manera independiente , revelan el pro c e s o d e r e s t a u r a c i ó n , no deben ser leídos de manera secuencial. Su historic fabric. These separate studies, although revealing a progressive restoration, are not to be read sequentially, but rather they offer a spectrum of repair o b j e t i vo e s m á s b i e n e l d e o f r e c e r u n e s p e c t ro d e e s t r a t e g i a s d e r e p a r a c i ó n y t r a n s fo r m a c i ó n d e s d e l a s c u a l e s v e s t i r l a s s u p e r f i c i e s r e s t a u r a d a s d e l N e u e s M u s e u m . and change from which the restored surfaces of the Neues Museum will be tailored.

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NIOBIDENSAAL (Ala Este . Nivel 2. E s t a d o a c t u a l y p ro p u e s t a d e r e s t a u r a c i ó n mu ro Oeste) / (East wing. Level 2. Present condition and restoration proposal for West wall)

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RÖMISCHERSAAL (Ala Este . Nivel 2. E s t a d o a c t u a l y m a q u e t a d e l p ro y e c t o d e r e s t a u r a c i ó n ) / (East wing. Level 2. Present condition and restoration project model

Detalles de la Cúpula Sureste Details of Southeast Dome

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C ú p u l a S u r e s t e / Southeast Dome

←← S e c c i ó n c o n s t r u c t i va / Building section

↑ Maqueta / Model

V i s t a d e l a c c e s o a l a C ú p u l a S u r e s t e d e s d e l a M I T T E L A LTERLICHER SAAL (Nivel 2) / View of the entrance to the Southeast Dome from MITTELALTERLICHER SAAL (Level 2)

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NUEVAS SALAS DE EXPOSICIÓN. S e c c i o n e s - a l z a d o s i n t e r i o r e s y m a q u e t a / NEW EXHIBITION GALLERIES. Inside model and elevations-sections

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M a q u e t a d e c o n s t r u c c i ó n d e l a s n uev as galerías a escala 1:1 / Mock-up of construction of new galleries. Scale 1:1

←← S e c c i ó n p o r f a c h a d a E s t e a c t u a l / Sección through existing East facade ← S e c c i ó n p o r f a c hada Oeste n uev a / Section through new West facade ↑ A l z a d o O e s t e n uev o / New West elevation

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↑ M a q u e t a c e r r a m i e n t o ex i s t e n t e / Existing facade model

↓ M a q u e t a c e r r a m i e n t o n uev o / New facade model

B e r l í n , A l e m a n i a / Germany

NUEVO E D I F I C I O D E A C C E S O A L A I S L A D E L O S M U S E O S 1999- NEW ENTRANCE BUILDING, MUSEUM ISLAND

← S i t u a c i ó n / Site → V i s t a d e s d e e l r í o S p r e e c o n e l M u s e o Perg a m ó n e n p r i m e r t é r m i n o / View of the River Spree with the Pergamon Museum in the foreground ↓ V i s t a a é r e a d e l a I s l a d e l o s M u s e o s / Aerial view of the Museum Island

El Nuevo E d i f i c i o d e A c c e s o a ñ a d e u n a nuev a pieza edificada al conjunto arquitectónico de la Isla de los Museos de Berlín, iniciado en 1825 por el Altes Museum de Karl The New Entrance Building adds a new building block to the architectural formation of Berlin's Museum Island, initiated in 1825 by Karl Friedrich Schinkel's Altes F r i e d r i c h S c h i n k e l . D e s e m p e ñ a n d o u n p a p e l c l a v e e n l a r e c o n s t r u c c i ó n g l o b a l d e l l u g a r, e l e d i f i c i o s e c o n v e r t i r á e n l a e n t r a d a p r i n c i p a l a l a i s l a , y e n e l a c c e s o a l a ' A v e n i d a Museum. Playing a key role in the overall reconstruction of the site, the building will form the principal entrance point to the island, and to the 'Archaeological A rqueológica' —una secuencia de espacios nuevos y ex i s t e n t e s q u e c o n e c t a n a c u a t ro d e l o s c i n c o mu s e o s d e l c o m p l e j o — . Se trata del primer edificio de nuev a c o n s t r u c c i ó n Promenade'— a sequence of new and existing spaces connecting four of the five museums together. It is the first new building on the island since the complee n l a i s l a d e s d e q u e s e t e r m i n ó e l M u s e o Per g a m o n h a c e m á s d e 7 0 a ñ o s , y h a c e e l n ú m e ro s e i s e n e s t a c o l e c c i ó n d e e s t r u c t u r a s . tion of the Pergamon Museum over 70 years ago, and extends its collection of structures to a sixth building. E n e l c o r a z ó n d e l e d i f i c i o s e s i t ú a l a c o n ex i ó n c o n e l M u s e o Perg a m o n , u n n ú cl e o c e n t r a l a l q u e s e h a d o t a d o d e s i n g u l a r i d a d v i s u a l m e d i a n t e u n a e s c a l e r a q u e c o n e c t a The link to the Pergamon Museum forms the core of the building's design— a central focus given visual representation by a staircase linking its ground floor to su planta baja con uno de los sótanos. En las plantas superiores, el edificio contiene todos los servicios públicos y los equipamientos que se espera encontrar en un a basement level. On the floors above the building contains all of the public services and facilities that have come to be expected of modern museum spaces, museo moderno, lo que evita tener que estrujar estos ser vicios en el interior de los antiguos museos. Bajo estas plantas, los visitantes pueden acceder directamente al so as to relieve the necessity of squeezing these services into the historic museums themselves. Below these levels, visitors can directly access the main tour i t i n e r a r i o p r i n c i p a l d e l M u s e o Pe r g a m o n , a s í c o m o a l d e l o s M u s e o s B o d e , N e u e s y A l t e s a t r a v é s d e l a Av e n i d a . A s í , la e x p e r i e n c i a d e l a s d i f e r e n t e s c o l e c c i o n e s p r e s e n of the Pergamon Museum, together with the Bode, Neues, and Altes museums via the promenade, allowing the different collections of the island to be experit e s e n l a i s l a s e c o nv i e r t e e n u n c o n t i n u u m e s p a c i a l . enced as a spatial continuum. E l e d i f i c i o Pack h o f , de Sc h i n k e l , q u e o r i g i n a l m e n t e s e a l z ó e n e s t e l u g a r p e ro f u e d e m o l i d o a c a u s a d e u n h u n d i m i e n t o d e l t e r r e n o e n 1 9 3 8 , o f r e c i ó u n i m p o r t a n t e p u n t o d e Schinkel's Packhof building, which originally stood on the site but was demolished due to subsidence in 1938, offered an important starting point for the scale par tida para la escala del Nuevo Edificio de Acceso. Al igual que el edificio de Sch i n k e l , el proy ecto consiste en una estructura independiente orientada al suroeste con of the New Entrance Building. Like Schinkel's building, the design will be constructed as a free-standing structure and orientated towards the south west to proo b j e t o d e f a c i l i t a r e l a c c e s o d e s d e U n t e r d e n L i n d e n . A r t i c u l a d o p o r vo l ú m e n e s a b s t r a c t o s , e s c u l t ó r i c o s , re v e s t i d o s d e m a n e r a u n i fo r m e m e d i a n t e u n a p i e l d e v i d r i o t r a n s vide easy access from Unter den Linden. Composed of abstract, sculptural volumes, covered uniformly in a skin of translucent glass, the surface of the buildl ú c i d o , e l e d i f i c i o p r e s e n t a r á u n a s u p e r f i c i e s a t i n a d a q u e r e d u c i r á l a s e v e r a r e f l e x i ó n d e l a s f a c h a d a s d e v i d r i o c o nv e n c i o n a l e s , m o s t r á n d o s e c o m o u n e l e m e n t o i n d e p e n ing will be satinated so as to reduce the reflective severity of conventional glass façades and appear instead as an independent body, absorbing rather than diente que absorberá, más que reflejará, l o s d i ferentes colores de su entorno. El efecto será el de un bl o q u e m o n o l í t i c o , aunque al mismo tiempo etéreo, q u e c o n formará reflecting the different colours of its surroundings. The overall effect then will be one of a monolithic, somewhat ethereal block, boldly yet unassumingly providla entrada a una poblada y singular constelación de museos de una forma atrevida pero s i n p r e t e n s i o n e s . ing a gateway to a unique and tightly packed constellation of museums.

94

← Vista de la fachada Noroeste a lo largo del río Spree View or Northwest facade along the river Spree ↓ Cro q u i s c o n c e p t u a l e s / Concept sketches

↓ Ima g e n d e l l u g a r a n t e s d e l a I I G u e r r a M u n d i a l / Site view before World War II

97

A l z a d o N o r te / North elevation

P l a n t a n i v e l 2 / Floor level 2

S e c c i ó n l o n g i t u d i n a l / Longitudinal section

S e c c i o n e s t r a n s v e rs a l e s / Cross sections

P l a n t a n i v e l 1 / Floor level 1

Alzado al río (Oeste) / River elevation (West)

A l z a d o S u r / South elevation P l a n t a n i v e l 0 / Floor level 0

98

99

100

101

1

2

3

4

S e c c i ó n l o n g i t u d i n a l p o r M u s e o Perg a m o n y N u ev o E d i f i c i o d e A c c e s o / Longitudinal section through Pergamon Museum and New Entrance Building

102

5

6

1 Galería larga / Long gallery 2 Foy er / Foyer 3 Ve s t í bu l o / Hall S e c c i ó n t r a n s v e rs a l p o r N u ev o E d i f i c i o d e A c c e s o y N e u e s M u s e u m / Cross section through New Entrance Building and Neues Museum

103

4 E s c a l e r a d e a c c e s o a l a Av e n i d a A rq u e o l ó g i c a / Main staircase to Archaeological Promenade 5 Sala de ex p o s i c i ó n ( S u r ) / Exhibition room (South) 6 Sala de ex p o s i c i ó n ( N o r te) / Exhibition room (North)

Calle del Museo / Museum Street

Alzado al Neues Museum (Este) Neues MuseumEntrance (East)

1,00 10

15 25

135 8

1,00 725

55

515

16

15 2

1,00

95 4

96

5

1,00

95

4

5

96

4

1,00

95 96

985

5 4

96

4

1

3

2

4

86

Detalle de fachada. S e c c i ó n h o r i z o n t a l Facade detail. Horizontal section

104

14

86

14

86

14

25 5 14

515

16

2

4

3,04 96

4

1,005

1 +51,00

+50,98

36 275

895

8 1

29

6

4

05

96

15

4

65

96

65

4

18 12

12

2,00

73

415

1

80

+49,80

4,23

4,22

+49,00

2 4

1,00 2

7

635

16 665

13

95

14

95

14

6 3

1

+46,70

+46,70

2

2

1,00

4

2 6

10

72 16

1 8

505

SECCIÓN HORIZONTA L / HORIZONTAL SECTION 16,70

1

16,70

+42,62

65

6 3

7,40

9,70

65 3,99

4,005

2,30

6

55

25

9 8

17

1 E s c u a d r a d e v i d r i o , a l e a c i ó n m e t á l i c a , 40 x 40 mm V i d r i o d e s e g u r i d a d l a m i n a d o , 12-16 mm S o p o r t e s d e f a c hada, a l e a c i ó n m e t á l i c a , 40 x 160 mm 2 Aleta horizontal de vidrio 3 E s c u a d r a s h o r i z o n t a l e s , a l e a c i ó n m e t á l i c a , 40 x 60 mm 4 Te r m i s t o r d e c u e n t a Pa n e l a i s l a n t e d e v i d r i o P i l a r e s d e a c e ro, 140 x 140 mm

4,01

4,025

1 Glass bracket, metal alloy, 40 x 40 mm Laminated safety glass, 12-16 mm Façade supports, metal alloy, 40 x 160 mm 2 Horizontal glass fin 3 Horizontal brackets, metal alloy 40 x 60 mm 4 Thermal bead Insulation glass pane Solid steel columns, 140 x 140 mm SECCIÓN VERTICAL / VERTICAL SECTION

40

+39,30

1

+38,52

65

6 3

50

90

3

+38,40

1,00 2

16

95 7 7 95

14

3,90

3,93

7 13

3,945

2 4

1,00 2

16

61 77

7 12 7 7 12

14

+34,50

+34,50

+34,30

+34,30

10

20

6

15 5

505 795

6

3,90

4

20

2

4 20

96 80

4 20

96 80 3,20

105

4 20

96 80

4 20

Detalle de fachada. S e c c i ó n v e r t i c a l Facade detail. Vertical section

1 Estructura de tech o s : Rejilla metálica Subestructura (retícula de 1m) Viga principal Sellante bitum inoso, dos capas, 1 cm Aislamiento térmico Barrera de humedad 0.5 cm Tec h o c o n n e r v a d u r a s d e h o r m i g ó n r e fo r z a d o 2 Estructura de tabiques: Escuadra de vidrio M o n t a j e d e l v i d r i o , a l e a c i ó n m e t á l i c a , 40 x 40 mm V i d r i o d e s e g u r i d a d l a m i n a d o , 12-16 mm S o p o r t e s d e f a c hada, a l e a c i ó n m e t á l i c a , 40 x 160 mm Aleta horizontal de vidrio E s c u a d r a s h o r i z o n t a l e s , a l e a c i ó n m e t á l i c a , 40 x 60 mm E n l u c i d o ex t e r i o r Aislamiento térmico Pa r e d d e h o r m i g ó n r e fo r z a d o Enlucido interior 3 Estructura de suelos: Tab l a s d e ro b le , a p p ro x. 22 mm L i s t o n e s , 40 x 60 mm N i v e l a d o d e a n h i d r i t a , 65 mm Capa de separación A i s l a m i e n t o t é r m i c o , 30 mm Placa por t a n t e , 15 mm R e j i l l a d e s o p o r te 60 x 60 cm A r m a z ó n d e t e ch o , 50 cm 1 Ceiling structure: Metal grating Substructure (1m grid) Main beam Bituminous sealing, two-layered, 1 cm Heat insulation Moisture barrier 0.5 cm Reinforced concrete ribbed ceiling 2 Wall structure: Glass bracket Glass mounting, metal alloy, 40 x 40 mm Laminated safety glass, 12-16 mm Façade supports, metal alloy, 40 x 160 mm Horizontal glass fin Horizontal brackets, metal alloy, 40 x 60 mm Exterior render Heat insulation Reinforced concrete wall Interior plaster 3 Floor structure: Oak floorboards, approx. 22 mm Floor battens, 40 x 60 mm Anhydrite screed, 65 mm Separating layer Heat insulation, 30 mm Load-bearing plate, 15 mm Elevation, support grid 60 x 60 cm Shell ceiling, 50 cm

B e r l í n , A l e m a n i a [ C o n c u r s o p o r i nv i t a c i ó n . P r i m e r P r e m i o ] / Germany [Invited Competition. First Prize]

G A L E R Í A H I N T E R D E M G I E S S H AUS 1 2003- HINTER DEM GIESSHAUS 1 GALLERY

← V i s t a a c t u a l d e l e m p l a z a m i e n t o d e s d e l a B o d e s t r a s s e ( 2 0 0 4 ) / Current view of the site from Bodestrasse (2004) ↓ M a q u e t a d e c o n c u rs o / Competition model

P l a n o d e s i t u a c i ó n / Site plan

→ V i s t a d e s d e L u s t g a rd e n / View from Lustgarden

To d a s l a s i nv e s t i g a c i o n e s e s t a b a n d o m i n a d a s p o r l a e x t r a o r d i n a r i a n a t u r a l e z a d e l s o l a r, e l n ú m e r o 1 d e H i n t e r d e m G i e s s h a u s . E s t a u b i c a c i ó n p r i v i l e g i a d a , d o n d e l a c i u All investigations were dominated by the extraordinary nature of the site, Hinter dem Gießhaus 1. This privileged position where the city confronts the unique d a d s e e n f r e n t a a l a s i n g u l a r i d a d d e l a I s l a d e l o s M u s e o s y a l s o l a r d e l a n t i g u o B e r l i n e r S c h l o ß , r e q u i e r e u n a r e f l e x i ó n e s p e c i a l . Po d e m o s c o n s i d e r a r l o s e d i f i c i o s q u e c o n situation of the Museum Island and the site of the former Berliner Schloß requires particular consideration. The buildings that form this boundary can be forman esta zona limítro fe como una especie de frente . La fachada representa a la ciudad al tiempo que delimita el s a n c t a s a n c t ó r u m de la Isla de los Museos. regarded as a sort of frontage. The elevation represents the city while defining the sanctum of the Museum Island. A l formar par te de esta fachada resulta esencial que el nuevo edificio ocupe su lugar y no compita con los edificios a los que se enfrenta —una butaca de primera fila no Being located within this elevation, it is important that the new building takes its position and is not to be confused with the buildings it overlooks (sitting in the le pone a uno en el escenario—. E l d i s e ñ o d e l e d i f i c i o i n t e n t a p l a s m a r e s t a ' c o n d i c i ó n f ronteriza' de especial normalidad mediante la composición de su masa, la ar t i c u l afront row does not put you on stage). The design of the building attempts to represent this 'boundary condition' through the composition of its mass, the articuc i ó n d e l o s h u e c o s y l o s mu ro s , y l a s e n c i l l a m a t e r i a l i d a d d e s u vo l u m e n , c r e a d o a b a s e d e m a m p o s t e r í a d e p i e d r a t a l l a d a s o b r e s o p o r t e s d e p i e d r a r e c o n s t i t u i d a . lation of openings and walls and the simple materiality of its volume, created by hewn stone masonry on reconstituted stone consoles. El programa del edificio se basa también en este concepto de normalidad ar ti c u l a d a . Los requerimientos de las galerías de ex p o s i c i ó n n o s o n c o m p l i c a d o s , por lo que se The programme of the building maintains the concept of articulated normality. The requirements of gallery spaces are not complicated, large loft-like spaces p ro p o n e n g r a n d e s e s p a c i o s t i p o l o f t, iluminados gracias a la luz natural que penetra a través de grandes ventanales. La secuencia de salas de ex p o s i c i ó n t i e n e u n a l t o g r a d o are proposed and daylight is supplied through large window openings. The sequence of gallery spaces provides a high degree of flexibility, whilst maintaining de flex i b i l i d a d , al tiempo que preser va cier ta determinación en cuanto al espacio y la luz natural. Esta estrategia consigue dotar al edificio de una cualidad casi industrial. a certain determination in terms of space and daylight. This approach ensures a nearly industrial quality for the building.

106

P l a n t a p r i m e r a / First floor plan

P l a n t a t e rcera / Third floor plan

Planta baja / Ground floor plan

P l a n t a s e g u n d a / Second floor plan

A l z a d o S u r e s t e / Southeast elevation

P l a n t a s ó t a n o / Basement floor plan

108

S e c c i ó n t r a n s v e rs a l / Cross section

S e c c i ó n l o n g i t u d i n a l / Longitudinal section

A l z a d o S u ro e s t e / Southwest elevation

A l z a d o N o rd e s t e / Northeast elevation

M a q u e t a s d e l a p ro p u e s t a d e l c o n c u rs o / Competition models

109

Vista desde la Bodestrasse View from Bodestrasse

110

La acer tada ar t i c u l a c i ó n d e l o s nu m e ro s o s v e nThe judicious articulation of a number of large tanales permite al edificio sacar partido de su windows allows the building to exploit its singular ubicación. Los monumentales huecos unique position. The monumental openings son un reflejo tanto de la escala urbana como del reflect the urban scale as well as the order of p r i n c i p i o q u e o rdena los edificios vecinos. El the neighbouring buildings. The design of the diseño de la fachada que mira a la Isla de los façade facing the Museum Island is inspired Museos es el resultado del intento de situar la by an attempt to locate the solitary pilaster on s o l i t a r i a p i l a s t r a a l b o rde del semi-destruido edithe edge of the semi-destroyed neighbouring ficio adyacente, completando de este modo el building, thus completing the elevation on the a l z a d o a l c a n a l Ku p f er g r a b e n . Kupfergraben canal. Mezcl a e q u i l i b r a d a e n t r e s o f i s t i c a d o e d i f i c i o d e As a balance between a sophisticated loft-like espacios tipo loft y privilegiado observador que building and a privileged onlooker over the se asoma a la Isla de los Museos y el Lustgar ten, Museum Island and the Lustgarten, the buildel edificio consigue alcanzar una sosegada soliing achieves a calm solidity re-establishing dez, r e h a b i l i t a n d o e s t e i m p o r t a n t e y d e s t a c a d o this important and visible corner. rincón de la ciudad.

112

113

B e r l í n , A l e m a n i a / Germany

SPREEDREIECK [ PROYECTO DE UN RASCACIELOS JUNTO AL RÍO SPREE] [ ] 2001 SPREEDREIECK PROJECT FOR A SKYSCRAPER NEAR THE RIVER SPREE

L. Mies van der Rohe . Pro y e c t o t e ó r i c o d e r a s c a c i e l o s d e v i d r i o ( 1 9 2 1 ) Theoretical project for glass skyscraper (1921)

Cro q u i s c o n c e p t u a l e s / Concept sketches S i t u a c i ó n / Site

E n e l a ñ o 2 0 0 1 , e l p e r i ó d i c o b e r l i n é s D e r Ta g e s p i e g e l i n v i t ó a c i n c o e s t u d i o s d e a r q u i t e c t u r a — D a v i d C h i p p e r f i e l d A r c h i t e c t s ; B o t h e , R i c h t e r, Te h e r a n i ; E i s e n m a n In the year 2001 the Berlin newspaper Der Tagespiegel invited five architectural practices —David Chipperfield Architects; Bothe, Richter, Teherani; Eisenman A rc h i t e c t s ; Gerkan, Marg and Par t n e r ; y N a l b a c h + Nalbac h — a p r e s e n t a r s u s p ro p u e s t a s p a r a e l p ro y e c t o d e u n r a s c a c i e l o s s i t u a d o e n l a F r i e d r i c h s t r a s s e , e n e l t r a m o Architects; Gerkan, Marg and Partner; and Nalbach + Nalbach— to submit study proposals for a skyscraper project, situated along the city's Friedrichstrasse s u r o e s t e d e l r í o S p r e e . A d i f e r e n c i a d e o t r o s c o n c u r s o s d e a r q u i t e c t u r a p a t r o c i n a d o s p o r u n p e r i ó d i c o — c o m o e l c o n c u r s o p a r a l a To r r e d e l C h i c a g o Tr i b u n e d e 1 9 2 2 — on the south west corner of the river Spree. Unlike other, more infamous, newspaper-sponsored architectural competitions —notably the Chicago Tribune n o s e p r e t e n d í a c o n e l l o c o n s t r u i r n i n g ú n e d i f i c i o . Po r e l c o n t r a r i o , e l e s t u d i o s i m p l e m e n t e p r e t e n d í a s e r u n a s u t i l p r o v o c a c i ó n h a c i a l a s a u t o r i d a d e s u r b a n í s t i c a s d e l a Tower competition of 1922— no building was ever intended to be realised; rather the study simply acted as a gentle provocation for Berlin's planning authorc i u d a d y l o s l e c t o r e s d e p r e n s a . S i n e m b a r g o , y e n m a y o r m e d i d a q u e e n e l c o n c u r s o d e l C h i c a g o Tr i b u n e , l a s a s o c i a c i o n e s h i s t ó r i c a s e n e s t e c a s o t r a e n a l a m e m o r i a , c o n ities and the newspaper's readership. More than the Chicago Tribune competition, however, the historical associations of this architectural brief resonate f u e r z a , u n p r o y e c t o b e r l i n é s a n t e r i o r. Y e s q u e , p a r a e s t e m i s m o s o l a r, e n 1 9 2 1 , L u d w i g M i e s v a n d e r R o h e d i s e ñ ó s u f a m o s a p r o p u e s t a d e r a s c a c i e l o s d e c r i s t a l . A l i g u a l more strongly with an earlier Berlin project. On this same site in 1921 Ludwig Mies van der Rohe produced his famous scheme for a glass skyscraper. Like q u e p a r a o t r a s p o s t e r i o r e s p e rs p e c t i va s d i bu j a d a s a l á p i z d e c e r a , c o n c i b i ó p a r a e l r a s c a c i e l o s u n a e s t r u c t u r a e n a l t u r a s i n r a s g o s d i s t i n t i vo s , t o t a l m e n t e r e c u b i e r ta de his later glass tower proposals, his wax crayon perspective envisaged an almost featureless high-rise structure, faced entirely in glass, rising above its v i d r i o , y q u e s e a l z a b a s o b r e l o s e d i f i c i o s v e c i n o s d e l a F r i e d r i c h s t r a s s e . Po r s u a b a n d o n o d e l a s f o r m a s a r q u i t e c t ó n i c a s c o n v e n c i o n a l e s , y p o r s u i n t e r é s p o r l a t r a n s p a Friedrichstrasse neighbours. In its abandonment of conventional architectural forms, and its focus upon ideas of transparency rather than solidity, 80 years rencia en detrimento de la solidez, 80 años después el proy ecto de Mies sigue pareciendo radical. later Mies' project still remains radical. Con este legado arq u i t e c t ó n i c o , el rascacielos de cristal de Mies fue , de manera inev i t a ble , el punto de par tida para nuestra propuesta. El diseño se presentó como una Given this architectural heritage, Mies' glass skyscraper unavoidably became the starting point for our submission, with the design presented as a continuc o n t i nuación de esta tradición de torres cristalinas. Al igual que en el caso de Mies, el edificio, t o t a l m e n t e r e c u b i e r to de cristal, r e chaza los modelos arq u i t e c t ó n i c o s b á s iation of his tradition of crystalline towers. As with the Mies project, the building, clad completely in glass, rejects the classical architectural standard of base, c o s — b a s e , f u s t e y c a p i t e l — e n f a v o r d e u n a t o r r e e s c u l t ó r i c a y s i n g u l a r. E n v o l v i e n d o e s t a f o r m a c o n t i n u a , l a f a c h a d a d e l e d i f i c i o p r e s e n t a u n a c a m b i a n t e m o d u l a c i ó n g e o shaft, and capital in favour of a singular, sculptural tower. Enveloping this continuous form the building's facade offers a shifting, geometric modulation of métrica de superficies ver ticales y triangulares, adaptadas en par te para optimizar las vistas sobre el Tierg a r ten y sobre los edificios gubernamentales del Reich s t ag. La vertical and triangular surfaces, tailored in part to maximise views over the Reichstag government buildings and the Tiergarten. The glass skin of the skyp i e l d e v i d r i o d e l r a s c a c i e l o s , y s u s 4 7 p l a n t a s , s e s o p o r t a n e s t r u c t u r a l m e n t e d e s d e u n n ú c l e o c e n t r a l , l o q u e p e r m i t e l i b e r a r l a s u p e r f i c i e e nv o l v e n t e d e l e d i f i c i o y m o s t r a r scraper, and its 47 floors, are supported structurally by a central core, freeing up the surface of the building to express a striking silhouette, and to respectu n a s o r p r e n d e n t e s i l u e t a q u e , d e m a n e r a r e s p e t u o s a p e r o n o i m i t a t i v a, p r e s e r v a e l i n n o v a d o r l e g a d o a r q u i t e c t ó n i c o d e M i e s e n l a F r i e d r i c h s t r a s s e . fully but not imitatively maintain Mies' innovative architectural legacy for Friedrichstrasse.

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M i l á n , I t a l i a [ C o n c u r s o . P r i m e r P r e m i o ] / Italy [Competition. First Prize]

CIUDA D D E L A S C U LTURAS DE ANSALDO 2000- ANSALDO CITY OF CULTURES

IN ASSOCIATION WITH F&P ARCHITETTI

Cro q u i s c o n c e p t u a l e s / Concept sketches S i t u a c i ó n / Site

↓ M a q u e t a d e c o n c u rs o / Competition model

El proy ecto para un campus de museos y 'Ciudad de las Culturas' de Milán se localiza en el interior de una manzana de nav e s i n d u s t r i a l e s a b a n d o n a d a s q u e c o n fo r m a b a n The proposal for a campus of museums and 'City of Cultures' is located within a block of disused industrial buildings on the site of the former Ansaldo factory la antigua Fábrica Ansaldo. Inspirado en la condición típica milanesa de severas fachadas a la calle que ocultan intrincados y bellos pa tios, el proy ecto pretende acentuar in Milan. Inspired by the typical Milanese condition of quiet, sombre street facades concealing beautiful, intricate courtyards, the project looked to emphasise el inev i t a ble carácter introv e r tido del solar ex i s t e n t e . Nuestra propuesta —una inter v e n c i ó n formal en el marc o d e u n c o m p l e j o i n d u s t r i a l d e c a r á c t e r i n formal— pro c u r a the inevitably internalised quality of the existing site. As a formal intervention within an informal industrial complex, the proposal looked to accept and build upon a c e p t a r e s a s c a r a c t e r í s t i c a s p ro p i a s y c o n s t r u i r s o b r e e l l a s , r e h a b i l i t a n d o l o s e d i f i c i o s i n d u s t r i a l e s e x i s t e n t e s e i n c o r p o r a n d o u n e d i f i c i o s i n g u l a r i n e q u í vo c a m e n t e n ue v o these inherent characteristics through both the restoration of the existing industrial buildings and the introduction of a new and distinct central building as a q u e s e c o n v e r t i r á e n e l p u n t o f o c a l d e l a r e d d e c o n e x i o n e s c o n t e n i d a s e n e l p e r í m e t r o d e l s o l a r. focal point for the network of connections that the perimeter of the site encloses. El programa de Ansaldo lo forman una mezcla de equipamientos públ i c o s y p r i vados. Las nav e s i n d u s t r i a l e s r e h a b i l i t a d a s a c o g erán el Museo Arqueológico de Milán —que The programme for Ansaldo forms a mixture of both public and private facilities. Housed within the newly restored factory buildings will be Milan's Archaeological p r o c e d e n t e d e d o s e d i f i c i o s s i t u a d o s e n e l c e n t r o d e l a c i u d a d s e r á a h o r a r e u b i c a d o e n u n a ú n i c a e s t r u c t u r a — , e l C e n t r o p a r a E s t u d i o s Av a n z a d o s s o b r e A r t e s V i s u a l e s , y Museum (relocated into a single structure from the two buildings it currently occupies in the city centre), Centre for Advanced Studies of Visual Arts, and a workel taller de una compañía tradicional de títeres. J u n t o a e s t o s e d i f i c i o s s e c o n s t r u ye el principal elemento de la inter v e n c i ó n : el nuevo Centro de las Culturas No-Europeas. shop for a traditional puppet's company. Alongside these existing buildings, and providing the main intervention on the site, will be the new Centre for Non-European E l e d i f i c i o , q u e e n g l o b a u n m u s e o , u n a r c h i vo y u n c e n t r o d e i nv e s t i g a c i ó n , s e s i n g u l a r i z a p o r l a f o r m a l i b r e , o r g á n i c a , d e s u v e s t í b u l o c e n t r a l , q u e d i b u j a u n p a t i o i n t e r i o r Cultures. Containing a museum, archive and study centre, the building is distinguished by its free-form, organic central hall, forming an internal courtyard (or —un patio dentro de otro patio— para uso del Centro y d e l c o m p l e j o e n s u c o n j u n t o . court within a court) for both the Centre and the site as a whole. D e b i d o a l h e r m é t i c o c o n t e x t o d e n a v e s i n d u s t r i a l e s q u e l o r o d e a , l a s s u p e r f i c i e s d e l n u e v o e d i f i c i o h a n s i d o i nv e r t i d a s . L o s e s p a c i o s q u e e n c i e r r a n y a l o s q u e s e a d o s a n , Due to the tight surrounding context of the factory block, the surfaces of this new building have effectively been inverted. The spaces they enclose and adjoin s e v u e l v e n d e l d e r e c h o y d e l r e v é s , d e m a n e r a q u e e l e s p a c i o r e p r e s e n t a t i vo d e l e d i f i c i o e s u n a a m a l g a m a a l e a t o r i a d e vo l ú m e n e s q u e r e c u e rd a a l a s o t r a s e s t r u c t u r a s i n d u s are turned inside-out and outside-in, so that the representational space of the building is a more random assemblage of volumes reminiscent of the other industriales que ex i s t e n d e n t ro del complejo. Los espacios intermedios pasan a formar par te de una secuencia formal de patios y pasadizos exteriores en los que se entrelazan trial structures located within the complex. The spaces in between, become part of a formal sequence of external courts and passages, intertwining new and las nuev as y las viejas arquitecturas en el marco del mu n d o i n t e r i o r d e l c o m p l e j o A n s a l d o . old architectures within the inner world of the Ansaldo block.

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S e c c i ó n t r a n s v e rs a l / Cross section

P l a n t a t e rcera / Third floor plan

P l a n t a p r i m e r a / First floor plan

Planta baja / Ground floor plan

A l z a d o S u r e s t e / Southeast elevation

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A l z a d o N o ro e s t e / Northwest elevation

A l z a d o S u r e s t e / Southeast elevation

A l z a d o N o rd e s t e / Northeast elevation

A l z a d o S u ro e s t e / Southwest elevation

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S e c c i ó n t r a n s v e r s a l / Cross section

P l a n t a p r i m e r a / First floor plan

M a q u e t a s e c c i o n a d a / Sectioned model

S e c c i ó n l o n g i t u d i n a l e n t r e e j e s C y D / Longitudinal section between axes C and D

V i s t a d e l a c c e s o a l A t r i o / View of entrance to Atrium

Planta baja / Ground floor plan

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P l a n t a s e g u n d a / Second floor plan

S e c c i ó n l o n g i t u d i n a l p o r e l C e n t ro d e l a s C u l t u r a s N o - E u ro p e a s / Longitudinal section through the Centre for Non-European Cultures

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M a q u e t a s e c c i o n a d a p o r a c c e s o a l A t r i o / Sectioned model through entrance to Atrium

↓ M a q u e t a p r e l i m i n a r d e l A t r i o / Atrium. Preliminary model

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D e t a l l e s e c c i ó n h o r i z o n t a l v i t r i n a / Showcase. Horizontal section detail

S e c c i ó n h o r i z o n t a l p o r c e r r a m i e n t o ↑ y p o r v i t r i n a ↓ / Horizontal section through wall ↑ and through showcase ↓

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D e t a l l e d e s e c c i ó n h o r i z o n t a l d e c e r r a m i e n t o / Horizontal wall section detail

D e t a l l e s d e s e c c i ó n p o r v i t r i n a d e ex p o s i c i ó n / Details of section through showcase

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D e t a l l e d e s e c c i ó n v e r t i c a l d e l c e r r a m i e n t o d e l A t r i o / Atrium. Vertical wall section detail

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Da v e n p o r t , I o wa, E E U U [ C o n c u r s o . P r i m e r P r e m i o ] / USA [Competition. First Prize]

MUSEO DE AR TE FIGGE 1999- FIGGE ART MUSEUM

IN ASSOCIATION WITH HERBERT LEWIS KRUSE BLUNCK ARCHITECTURE

S i t u a c i ó n / Site plan

E l c e n t ro de Da v e n p o r t, u n a c i u d a d s i t u a d a a o r i l l a s d e l M i s s i s s i p p i , e n l a f ro n t e r a e s t e d e l e s t a d o d e I o wa, a d o l e c e d e mu c h o s d e l o s p ro b l e m a s e n d é m i c o s q u e s u f r e n n u m e The centre of Davenport, located on the banks of the Mississippi on Iowa's eastern border, suffers from many of the problems endemic to a number of American r osas ciudades americanas. E n e l t r a n s c u rso de los años, este área ha presenciado la marc ha de mu chos de sus habitantes y de sus empr esas, q u e d e c i d i e ron abandonar el cities. Over the years the area has witnessed the departure of much of its residential and business communities leaving downtown Davenport with little of the c e n t ro de la ciudad ante la falta de dinamismo urbano. Con idea de revitalizar esta zona y acentuar su conex i ó n c o n e l r í o , l a c i u d a d d e c i d i ó e l r e a l o j o y r e u b i c a c i ó n d e l M u s e o vibrancy normally associated with urban life. In an attempt to reinvigorate this area, and recreate a connection to the river, the city identified the relocation and d e A r te de Dav e n p o r t — r e b a u t i z a d o M u s e o d e A r t e F i g g e — c o m o e l e m e n t o c a t a l i z a d o r d e l p ro g r a m a d e r ev i t a l i z a c i ó n u r b a n a . re-housing of the Davenport Museum of Art (renamed the Figge Art Museum) as the catalyst in a programme of urban regeneration. Asumiendo el deseo de crear un tipo de edificio emblemático para la nuev a ciudad, el diseño del Museo de Ar te Figg e s e c o n c i b e c o m o u n a e s t r u c t u r a m o n o l í t i c a d e v i d r i o Identifying a wish to create some kind of emblematic building for the new city, the design of the Figge Art Museum was conceived as a monolithic glass strucc u ya p r e s e n c i a , i m p a c t a n t e a u n q u e s e n c i l l a , s i r v a de ref e r e n c i a a e s t a p a r t e r e h a b i l i t a d a d e l o s muelles de Da v e n p o r t. L a i d e a f u e l a d e d i s e ñ a r u n s e n c i l l o b l o q u e vo l u ture that would powerfully yet simply landmark Davenport's redeveloped waterfront. Its architecture was based around the idea of a simple volumetric block enveloped m é t r i c o , con rev e s t i m i e n t o d e s u p e r f i ci e s o p a c a s , t r a n s p a r e n t e s y t r a n s l ú c i d a s . Estas superficies de vidrio se disponen horizontalmente en bandas, que varían en intensiby opaque, transparent and translucent surfaces. These glass surfaces are fritted with horizontal banding that varies in density so as to define each of the Center's dad al tiempo que singularizan cada uno de los elementos del Centro. formal elements. E n t é r m i n o s u r b a n o s , el diseño pretende respetar la trama de la ciudad consolidada ocupando sólo la mitad de la superficie de la manzana. El Centro, c o n s u p e r f i l ro t u n d o In urban terms, the design looked to support the old city grid by filling one half of a previously empty city block. While maintaining a strong and singular outline y s i g n i f i c a t i v o , s e r e v e l a m á s v a r i a d o d e l o q u e s u h u e l l a u r b a n a p o d r í a s u g e r i r. S u s d i f e r e n t e s a l z a d o s r e s p o n d e n a l a s d i s t i n t a s c o n d i c i o n e s d e l e m p l a z a m i e n t o , y c a d a the design of the Center reveals itself as more varied than its urban footprint would suggest— different frontages reflect differing site conditions and define each fachada a las vías de acceso: desde la plaza, desde la calle y desde la terraza que da al río. of the building's facades with distinct approaches; city plaza, street entrance, and riverside terrace.

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E n e l i n t e r i o r d e l e d i f i c i o e l p ro g r a m a y o r g a n i z a c i ó n s e b a s a n e n g r a n m e d i d a e n e l a c t u a l M u s e o d e A r te de Da v e n p o r t, c o n s u r i c a y u x t a p o s i c i ó n d e e s p a c i o s e x p o s i t i vo s Inside the building the programme for its design and layout is based largely on the existing Davenport Museum of Art with its rich mix of exhibition and supporty a u x i l i a r e s : e s p a c i o s e d u c a t i vo s , s a l a s d e e s t u d i o y d e d i bu j o , s a l a s d e c o n f e r e n c i a s y b i b l i o t e c a . E l p ro y e c t o p ro p o n e e l s o l a p a m i e n t o d e e s t a s f u n c i o n e s y u n i t i n e r a r i o ing functions with the inclusion of educational spaces, drawing and study rooms, lecture and library facilities. The proposed design encourages the overlap of these p ú b l i c o a t r av é s d e l e d i f i c i o q u e p e r m i t a a l o s v i s i t a n t e s c o n o c e r l a s a c t i v i d a d e s d e l M u s e o F i g g e, y a l o s e s t u d i a n t e s y a r t i s t a s u n a r e l a c i ó n i n m e d i a t a c o n l a c o l e c c i ó n d e functions providing a public route through the building, giving visitors an awareness of the activities of the Figge Art Museum and for students and artists to have p i n t u r a s y o b j e t o s q u e a l b e rga. an immediate relationship with the collection of paintings and objects that it houses.

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P l a n t a t e rcera / Third floor plan

P l a n t a s e g u n d a / Second floor plan

S e c c i ó n l o n g i t u d i n a l / Longitudinal section

P l a n t a p r i m e r a / First floor plan

Planta baja / Ground floor plan

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D e s M o i n e s , I o wa, E E U U [ C o n c u r s o p o r I nv i t a c i ó n . P r i m e r P r e m i o ] / USA [Invited Competition. First Prize]

B I B L I OT E C A P Ú B L I C A E N D E S M O I N E S 2001- DES MOINES PUBLIC LIBRARY

IN ASSOCIATION WITH HERBERT LEWIS KRUSE BLUNCK ARCHITECTURE

Pro p u e s t a s p r ev i a s Preliminary proposals S i t u a c i ó n / Site

L a b i b l i o t e c a f o r m a r á p a r t e i n t e g r a l d e l n u e v o We s t e r n G a t e w a y P a r k d e D e s M o i n e s . L a s z o n a s d e t e r i o r a d a s d e e s t a p a r t e d e l a c i u d a d h a n s i d o i n c l u i d a s e n u n p r o g r a m a The library will form an integral part of the new Des Moines 'Western Gateway Park'. This area of the city has been scheduled for intensive brown field regend e r e v i t a l i z a c i ó n u r b a n a , y l a n u e v a b i b l i o t e c a y e l n u e v o p a r q u e s e c o nv e r t i r á n e n l a s p i e z a s c e n t r a l e s d e l a r e n o v a c i ó n d e l á r e a d e D e s M o i n e s . eration and the new library and park will become a centrepiece for the urban renewal of Des Moines. Situada en el extremo este del parque , la nuev a biblioteca actúa como elemento de transición con el centro urbano, y si bien por un lado responde al trazado de la ciudad, Located at the east end of the park the new library acts as a link between downtown Des Moines and the park. On the one hand, it responds to the city block, p o r o t ro, el edificio se extiende hacia el interior del parque , g r avitando sobre el paisaje que le rodea y creando una serie de espacios exteriores de características diferenbut at the same time it also stretches out into the parkland, floating in the surrounding landscape, thus creating outside spaces of different character while contes, en tanto que en su interior transmite al visitante la sensación de estar en el parque mientras lee un libro. veying to the visitor the feeling of sitting in the park while reading a book. L a G a l e r í a G a t e w a y, u n e s p a c i o f l e x i b l e d e a c t i v i d a d , f o r m a p a r t e d e u n r e c o r r i d o p ú b l i c o a t r a v é s d e l e d i f i c i o , r e f o r z a n d o s u p a p e l d e p u e n t e e n t r e e l p a r q u e y l a c i u d a d y The Gateway Gallery, a flexible activity space, forms part of a public route through the building, reinforcing its bridging character between the park and the city matizando el umbral entre la biblioteca y el parque . and blending the threshold between library and park.

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S e c c i ó n t r a n s v e rs a l / Cross section

A l z a d o S u r / South elevation

Planta primera First floor plan

Planta baja Ground floor plan

A l z a d o N o r te / North elevation

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← E s t u d i o s p r ev i o s / Development stage models

D e t a l l e d e c e r r a m i e n t o / Wall section detail

La estructura de hormigón de dos pisos se asienta sobre un aparcamiento subterráneo y es recubier ta en su totalidad por una fach a d a d e v i d r i o i n n ov adora y energ é t i c a The two story concrete structure sits above an underground car park and is entirely wrapped in an innovative energy efficient glass skin. Laminated between m e n t e e f i c i e n t e . L a m i n a d a e n t r e d o s s u p e r f i c i e s d e v i d r i o , u n a m a l l a d e c o b r e r e g u l a e l n i v e l d e d e s l u m b r a m i e n t o y r a d i a c i ó n s o l a r, r e d u c i e n d o c o n s i d e r a b l e m e n t e l o s c o s two glass surfaces, a layer of expanded copper mesh reduces the glare level and solar gain, greatly reducing long-term energy costs. The mesh is the only tes energéticos a largo plazo. La malla es el único mecanismo de pro t e c c i ó n s o l a r n e c e s a r i o , y asegura que las vistas desde el interior hacia el parque se mantienen en todo sun-shading device necessary, ensuring that the view from the inside into the park is maintained at all times. Slight variations in the make up of the panels m o m e n t o . L i g eras variaciones en el maquillaje de los paneles se traducen en una fachada diferenciada aunque unifo r m e , s u b r ayando la fo r m a o rgánica de la biblioteca. provide the library with a differentiated yet uniform skin, emphasising the organic shape of the building. A d e m á s d e e s t a n t e r í a s , l a b i b l i o t e c a a l b e r g a e q u i p a m i e n t o s e d u c a t i vo s , z o n a s d e j u e g o s i n f a n t i l e s y u n a l a d e c o n f e r e n c i a s c o n c a f etería, l o q u e r e f u e r z a e l c a r á c t e r d e l In addition to book stacks, the library also accommodates education facilities, children's play areas and a conference wing with a café , reinforcing the public e d i f i c i o c o m o l u g a r d e e n c u e n t ro, abier t o y p ú bl i c o . L a s z o n a s a d m i n i s t r a t i vas y de ser vicios se disponen en el ala Este . Las estanterías de libros se ordenan de tal modo nature of the building and providing a platform for public life. Administration and back of house services are to be found in the east wing. The stacks are arranged que siempre sea posible ver el parque desde dentro, y transmitir así una sensación de aper tura y transparencia. in such a way that one will always be able to see into the park thus creating a sense of openness and transparency.

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R i c h m o n d , S u r r e y, R e i n o U n i d o / United Kingdom

A M P L I AC I Ó N D E L A C A S A K N I G H T 2001 KNIGHT HOUSE ADDITION

S i t u a c i ó n / Site Cro q u i s c o n c e p t u a l / Concept sketch

E n 1 9 9 0 l a o f i c i n a d e D a v i d C h i p p e r f i e l c o m p l e t ó u n a v i v i e n d a p a r a e l f o t ó g r a f o N i c k K n i g h t y s u f a m i l i a e n R i c h m o n d , S u r r e y, q u e s u p o n í a l a a m p l i a c i ó n y r e h a b i l i t a c i ó n In 1990 David Chipperfield Architects completed a house for the photographer Nick Knight and his family in Richmond, Surrey, extending and reworking an existde una casa de los años cincuenta situada en las afueras de la ciudad. Diez años después, con el aumento de la familia del fo t ó g r a fo, esta primera casa necesitaba una ing 1950s suburban house. Over the last ten years, however, with the photographer’s family expanding, this first house consequently needed to be extended, a m p l i a c i ó n q u e p r o p o r c i o n a r a n u e v a s z o n a s d e e s t a r, d e t r a b a j o y d e a l m a c e n a m i e n t o , y q u e p e r m i t i e r a l a p o s i b i l i d a d d e a m p l i a r e l j a r d í n t r a s e r o . providing additional living, working, and storage space, as well as the opportunity to enlarge the rear garden. I n i c i a l m e n t e , l o s p r i m e ros diseños de esta segunda casa ex p l o r a ro n l a p o s i b i l i d a d d e extender el lenguaje arq u i t e c t ó n i c o d e l p ro y ecto de 1990, p e ro este enfo q u e p ro n t o Early designs for this second building initially explored the possibility of extending the architectural language of the first 1990 house, but this approach was soon quedó descar tado, ya que la unidad y coherencia del proy e c t o o r i g i n a l r e s u l t a b a n p o c o claras. Encontrar una arquitectura que pudiera existir por sí misma y en tándem rejected as the unity and coherence of the original project became obscured. Finding an architecture that would exist on its own and in tandem with the older con la antigua casa se complicaba aún más debido al delicado planeamiento de la zona. house was complicated further by the sensitive planning environment. E n r e s p ue s t a a t o d o s e s t o s c o n d i c i o n a n t e s , e l c o n c e p t o a rq u i t e c t ó n i c o d e l a nuev a a m p l i a c i ó n s i t u ó u n a forma r esidencial arquetípica —con una cubier t a i n clinada a dos In response to these reservations, the architectural concept for the new addition placed an archetypal house form (with a pitched roof and two gabled ends) ag u a s — j u n t o a l a c a s a o r i g i n a l . E s t e n u e v o e l e m e n t o f u e e n t o n c e s c o n e c t a d o a l a v i v i e n d a e x i s t e n t e m e d i a n t e u n a c a j a a b s t r a c t a d e v i d r i o . R e c u b i e r t o d e c o n t r a v e n t a n a s alongside the original house. This new element was then connected to the existing house via an abstracted glass box. Clad in translucent fibreglass shutters, t r a n s l ú c i d a s d e f i b r a d e v i d r i o , este elemento de conex i ó n p ro p o rciona un enlace con la antigua casa en ambas plantas y contiene armarios y un cuar to de baño. A través de this connecting piece provides a link to the older house at both floors, as well as accomodating a bathroom and storage spaces. Accessed through this volume e s t e vo l u m e n s e a c c e d e a l a s d o s h a b i t a c i o n e s d e l a n ue v a casa, s i t u a d a s u n a s o b r e o t r a . L a s e n s a c i ó n d e a p e r t u r a s e v e i n c r e m e n t a d a p o r l a g r a n v e n t a n a d e l d o r m i t o r i o , are the two rooms of the new house, one on top of the other – giving a sense of openness exaggerated further by the large bedroom window which slides verq u e s e d e s l i z a v e r t i c a l m e n t e p a r a t r a n s f o r m a r l a h a b i t a c i ó n s u p e r i o r e n u n m i r a d o r. D e e s t e m o d o , l a s c u e s t i o n e s p l a n t e a d a s e n e l p r o y e c t o o r i g i n a l — s o b r e e s p a c i o , l u z y tically to transform the upper room into a balcony. In this way, the themes established in the original project —of space, light, and view— are continued in this v i s t a s — s o n c o n t i n u a d a s e n e s t a a m p l i a c i ó n , m a n t e n i e n d o v i vo e l e s p í r i t u d e l a v i v i e n d a e x i s t e n t e a l t i e m p o q u e s e p e r s i g u e y s e i n t ro d u c e u n a i d e a f i g u r a t i va d i f e r e n t e . addition, continuing the spirit of the existing house while pursuing and introducing a different figurative idea.

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S e c c i ó n t r a n s v e rs a l p o r a c c e s o p r i n c i p a l / Cross section through main access

S e c c i ó n t r a n s v e rs a l p o r e s c a l e r a / Cross section through staircase

Planta alta / Upper floor plan

Planta baja / Lower floor plan

A l z a d o a l j a rd í n p o s t e r i o r / Rear garden elevation

A l z a d o a l a c a l l e/ Street elevation

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L o n d r e s , R e i n o U n i d o / London, United Kingdom

ESTUDIO GORMLEY 2001/2003 GORMLEY STUDIO

S i t u a c i ó n / Site Pa t i o p o s t e r i o r / Rear yard A l z a d o d e s d e l a c a l l e Vale Roy al / Vale Royal street elevation

El nuevo estudio del ar t i s t a i n g l é s A n t o ny Gormley se halla al nor te de la estación de Kings Cro s s , en un barrio de nav e s i n d u s t r i a l e s , almacenes y vías de tren. S i g u i e n d o This design for a new studio for the English artist Antony Gormley is located amid the industrial buildings, warehouses, and rail yards just north of London's la idea de crear espacios luminosos y abier tos adecuados a las diversas y específicas maneras de trabajar del ar tista, el edificio es una suma de espacios de dibu j o , p i nKings Cross station. Attempting to create light and open spaces for the diverse and specific ways in which the artist works, the building provides studio space tura, e s c u l t u r a , s o l d a d u r a , f u n d i c i ó n y fotografía. for drawing, painting, sculpting, welding, casting, and photography. A n t o n y G o r m l e y — u n a r t i s t a g a n a d o r d e l p r e m i o Tu r n e r, c u y a o b r a h a s i d o e x p u e s t a e n m u s e o s d e t o d o e l m u n d o — e s a u t o r d e a l g u n a s d e l a s p i e z a s e s c u l t ó r i c a s m á s A former Turner prize winner, and an artist whose work has been exhibited in museums and as installations all over the world, Antony Gormley has created some ambiciosas y singulares de las dos últimas décadas, entre ellas, Field, The Ang el of the Nor t h y la obra Quantum Cloud, sobre el río Támesis, en Greenwich. A medida que of the most ambitious and recognisable sculptural works of the past two decades, including Field , The Angel of the North , and Quantum Cloud on the river Thames a u m e n t a b a e l i n t e r é s p o r s u t r a b a j o , A n t o n y G o r m l e y f u e n e c e s i t a n d o u n e s p a c i o m a y o r, l o s u f i c i e n t e m e n t e g r a n d e c o m o p a r a p o d e r a c o g e r s u s i n s t a l a c i o n e s — a m e n u d o in Greenwich. With the increasing interest in his work, Antony Gormley required a space that would be large enough to construct his often huge installations, d e g r a n t a m a ñ o — y, a l m i s m o t i e m p o , l o s u f i c i e n t e m e n t e í n t i m o y p e r s o n a l c o m o p a r a p o d e r i d e a r s u s s i g u i e n t e s p r o y e c t o s a r t í s t i c o s e n r e c o g i m i e n t o . yet at the same time would also be somewhere intimate and personal enough in which he could conceive his next artistic projects. B u s c a n d o s a t i s f a c e r a m b o s r e q u i s i t o s , e l d i s e ñ o p ropuesto hace referencia y abstracción de los edificios de gran escala de su entorno, p ropios de la arq u i t e c t u r a v e r n a c u Looking to satisfy both of these requirements, the design of the proposed studio references and abstracts the large scale, industrial architectural vernacular of l a r i n d u s t r i a l . E l e d i f i c i o s e s i g n i f i c a p o r l a s i l u e t a d e s u s c u b i e r t a s a d o s a g u a s y p o r s u b r i l l a n t e p e r o u n i f o r m e l u z i n t e r i o r. C o n s t r u i d o e n l a p a r t e t r a s e r a d e l s o l a r, e l e s t u the surrounding buildings. The building is distinguished by the silhouette of its pitched roofs and its bright but even interior light. Located to the rear of its site, dio queda precedido por un gran patio de acceso, que se deja abier to para permitir los trabajos de montaje de las piezas más grandes. Dos escaleras de acero g a l vanizado the studio building itself is approached across a large yard, left open for the assembling of bigger pieces. A pair of galvanised steel staircases connect this yard c o n e c t a n e s t e p a t i o c o n l a s s a l a s d e e s t u d i o p e q u e ñ a s y c o n l a s z o n a s d e o f i c i n a d e l a p l a n t a s u p e r i o r. to the domestic-scale studio and office areas on the upper floor. O p e r a n d o a l m i s m o t i e m p o c o m o t a l l e r d e p r o d u c c i ó n y e s t u d i o d e p a r e d e s b l a n c a s , e l e d i f i c i o c o n c e n t r a t o d a l a p r o d u c c i ó n a r t í s t i c a d e A n t o n y G o r m l e y, y h a s i d o f r u t o d e Operating as both a workshop and as a paired down, white-walled studio space, the building will become the focus for all of Antony Gormley's artistic producu n a s e n s i ble y pragmática colaboración entre el ar tista y el arq u i t e c t o . tion, and will sensitively yet pragmatically edify a collaborative effort between artist and architect.

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P l a n t a s u p e r i o r / Upper floor plan

S e c c i ó n l o n g i t u d i n a l / Longitudinal section

→ Planta baja / Ground floor plan

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A l z a d o E s t e / East elevation

S e c c i ó n t r a n s v e rs a l / Cross section A l z a d o f ro n t a l / Front elevation

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'Sarnavap 1000' vapour control layer, min. lap 100 mm 'Sarnatherm' roof insulation, fastened with SBF fasteners and DTL pressure plates D60 metal profiled decking, fixed to angle purlins Sarnafil 1.2 mm thick polyester roof membrane, min lap 80 mm with sarnabar fixing 100 x 100 angled purlins Timber sheeting railson 450 mm max. centred rails 12 mm plasterboard sheeting on 450 mm max. centred rails

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Timber blocking piece to plasterboard ceiling Expamet pre-galvanised steel 10 mm 548 plaster angle bead Flourescent battons to recess RCP 100 mm crown dritherm supafil full cavity fill insulation or similar Snowplast skim coat render Steels & beams refer to engineers dwgs. Plaster corner bead

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Render internally 200 mm blockwork End laps at min. of 80 mm to all sarnafil polyester roofing membrane Sarnafil 1.2 mm thick polyester roof membrane fastened in gutter with sarnabar fixing Metal shim/packer to allow tolerance to installation of coping Alluminium coping in secret fix to top of parapet/mechanically fixed to back face Marine plywood packing piece forming wall plate. Expamet 534 render stop bead

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EML lath over timber and block work Timber framing element around gutter profile 100 mm blockwork 3 coat 'renderplus' external render or similar 100 mm 'crown dritherm supafil' full cavity fill insulation or similar Tyvek 'solid' vapour control layer 'Crown dritherm suprafil' full cavity fill insulation or similar

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Nue v a Yo r k , EEUU / New York, USA

C A S A E N M A N H ATTA N 2001/2003 HOUSE IN MANHATTAN

M a q u e t a c o n c e p t u a l / Concept model

L a r e h a b i l i t a c i ó n d e e s t a e s t r u c t u r a b r o w n s t o n e d e l X I X d e c i n c o p l a n t a s , e n e l We s t V i l l a g e d e N u e v a Yo r k , s e c e n t r ó e n l a i d e a d e c o n e c t a r e s p a c i a l m e n t e t o d o s l o s d i f eThe project to renovate a five storey 19th Century brownstone house in New York's West Village concentrated on the idea of connecting all floors. By the introrentes niveles de la casa. La incorporación de una escalera abier ta y escultural en el centro liga las diferentes zonas de la casa en una especie de ' l o f t v e r t i c a l ' . duction of a sculptural open stair in the centre of the house the different living areas are connected together into a 'vertical loft'. E s t a m a c i z a e s c a l e r a d e r o b l e , q u e s e p l i e g a y r e t u e r c e a t r a v é s d e l a c a s a , c o n e c t a l a c o c i n a s i t u a d a e n e l s ó t a n o c o n l a t e r r a z a d e c u b i e r t a — t r a s a t r a v e s a r e l c o m e d o r, The solid oak stair, folding and twisting, connects the cellar kitchen to the roof deck, passing through a dining room, drawing room, library and bedroom, proel salón, la bibl i o t e c a y u n d o r m i t o r i o — s u m i n i s t r a n d o v i s t a s y l u z a l n ú cleo de la casa. viding views and light to the centre of the house. L a p a l e t a d e m a t e r i a l e s e m p l e a d o s e n e l i n t e r i o r d e l a v i v i e n d a s e r e d u c e p a r a s u b r a y a r l a l i g e r e z a d e l a s h a b i t a c i o n e s y l a s i g n i f i c a c i ó n d e l a e s c a l e r a , q u e s e c o nv i e r t e e n The material palette of the house is reduced to emphasise the lightness of the rooms and the central importance of the wooden stair. It becomes an object of un objeto de singular presencia material. Las superficies de las paredes, recintos y demás elementos son tratados como bloques o planos de un solo material. great material presence. Wall surfaces, enclosures and other elements are all treated as blocks or planes which are made of a single material.

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↑ Fac hada a la calle / Street elevation → Fac h a d a a l j a rd í n t r a s e ro / Rear garden elevation

A l z a d o f ro n t a l o r i g i n a l Existing front elevation

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A l z a d o f ro n t a l / Front elevation

Alzado posterior original Existing rear elevation

A l z a d o p o s t e r i o r / Rear elevation

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P l a n t a d e c u b i e r t a s / Roof plan

P l a n t a t e rcera / Third floor plan

S e c c i ó n t r a n s v e rsal, hacia el Nor te Cross section, looking North

P l a n t a s e g u n d a / Second floor plan

S e c c i ó n t r a n s v e rsal, hacia el Nor te Cross section, looking North

P l a n t a p r i m e r a , a c c e s o d e s d e c a l l e / First floor plan, street entrance

Planta baja, j a rd í n / Ground floor plan, garden

P l a n t a s e m i s ó t a n o / Cellar floor plan

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S e c c i ó n t r a n s v e rsal, hacia el Sur Cross section, looking South

Detalle de la escalera / Staircase detail

S e c c i ó n l o n g i t u d i n a l p o r e s c a l e r a / Longitudinal section through staircase

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S e m i s ó t a n o . C o c i n a / Cellar kitchen

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Planta baja. C o m e d o r / Ground floor dining room

P l a n t a p r i m e r a . S a l ó n / First floor drawing room

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P l a n t a p r i m e r a . S a l ó n / First floor drawing room

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P l a n t a s e g u n d a . B i b l i o t e c a / Second floor library

P l a n t a t e rcera. D o r m i t o r i o / Third floor bedroom

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V i s t a d e l a t e rc e r a p l a n t a , h a c i a e l S u r / Third floor view to South

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V i s t a d e l a t e rc e r a p l a n t a , h a c i a e l N o r te / Third floor view to North

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Escalera hacia la terraza / Stair to roof

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Escalera hacia la terraza / Stair to roof

B e r l í n , A l e m a n i a / Germany

A PA R TAMENTOS PARKSIDE 2001/2004 PARKSIDE APARTMENTS

S i t u a c i ó n / Site Cro q u i s c o n c e p t u a l / Concept sketch

L o s A p a r t a m e n t o s Pa r k s i d e t o m a n s u n o m b r e d e s u e x cl u s i va u b i c a c i ó n : j u n t o a l p a rq u e T i e r g a r t e n , e n p l e n o c e n t ro d e B e r l í n . E s t e e d i f i c i o d e d i e z p l a n t a s d e a p a r t a m e n Parkside Apartments gains its name from its exclusive location directly on the Tiergarten park in the centre of Berlin. The ten-storey apartment building forms t o s l i m i t a e l b o r d e n o r t e d e u n n u e v o d e s a r r o l l o u r b a n o r e s i d e n c i a l d e h o t e l e s y o f i c i n a s : e l B e i s h e i m C e n t e r e n Po s t d a m e r P l a t z . the northern border of a new hotel, office and residential development, Beisheim Center on Postdamer Platz. E l e d i f i c i o i n c l u y e 3 6 a p a r t a m e n t o s , d e e n t r e 1 5 0 y 3 0 0 m 2 d e s u p e r f i c i e . To d o s l o s a p a r t a m e n t o s d i s p o n e n d e v a r i o s b a l c o n e s y d e g e n e r o s o s p o r c h e s . L a i d e a d e e x t r e m a The building accommodates 36 apartments ranging from 150 sqm to 300 sqm. All apartments have several balconettes and generous loggias. The principle of high flexibilidad es la base del diseño. El espectro d e p o s i bl e s d i s t r i buciones en planta fluctúa entre lo tradicional, lo cerrado, y las ideas de espacios fluidos. Los apar tamenflexibility forms the basis for the design. The spectrum of possible floor plans spans from traditional, to closed, to flowing room concepts. The apartments on the t o s d e l a n ov e n a p l a nt a s e a r t i c u l a n c o m o d ú p l ex. D e s d e s u s n i v e l e s s u p e r i o r e s s e a c c e d e a l a t e r r a z a d e l a c u b i e r ta, c o n a m p l i a s v i s t a s s o b r e e l c e n t ro d e B e r l í n . L o s e q u i 9th floor are planned as maisonettes, and their upper floors provide access to the roof terrace, offering far-reaching views over the centre of Berlin. Public facilip a m i e n t o s p ú blicos —cafés, restaurantes y tiendas— se disponen en planta baja. El acceso principal al bloque de apar tamentos se sitúa en el centro d e e s t o s e q u i p a m i e n t o s . ties are planned for the ground floor, such as cafés, restaurants and shops. The main entrance to the apartment block is located in the centre of these facilities. Tr a s a c c e d e r a l e d i f i c i o a t r a v é s d e u n h a l l r e v e s t i d o d e p i e d r a n a t u r a l , s e a c c e d e a u n v e s t í b u l o q u e p e r m i t e l a s v i s t a s a l j a r d í n a t r a v é s d e s u s a m p l i a s v e n t a n a s . L o s a s c e n On entering the building via a natural stone clad hall, one reaches the lobby with views of the landscaped garden through generous windows. The stairwells with sores —que conducen a dos apar tamentos por planta— se sitúan a ambos extremos del vestíbu l o . lifts are located at each end of the lobby, each leading to two apartments on each floor. La fachada se compone mediante grandes losas irregulares de piedra caliza natural toscamente pulida, lo que confiere al edificio un cier to carácter monolítico. E l m ó d u l o b á s i c o The façade is composed of large, irregular roughly sanded slabs of natural shell limestone, giving the building a monolithic character. French windows form the de fach a d a e s e l c o n s t i t u i d o p o r p u e r ta-ventanas. J u n t o a l o s b a l c o n e s y s u s a n t e p e ch o s d e v i d r i o , e s t o s h u e c o s s u b r aya n l a p l a s t i c i d a d y l a c o m p o s i c i ó n l i b r e d e l a f a chada. basic façade module. Together with the balconettes and their glass balustrades, these windows emphasise the plasticity and free composition of the façade.

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S e c c i ó n l o n g i t u d i n a l / Longitudinal section

P l a n t a á t i c o ( d é c i m a ) / Attic (tenth) floor plan

Planta sex t a / Sixth floor plan

Planta baja / Ground floor plan

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Planta tipo y s e c c i ó n t r a n s v e rs a l Typical floor plan and cross section

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Detalle de balcón de dos hojas Detail of two-sash balcony

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↑ Sección ver tical ↓ Sección horizontal Vertical section Horizontal section

V i l l a v e r d e , M a d r i d , E s p a ñ a / Spain

VIVIENDA S S O C I A L E S E N M A D R I D 2001- SOCIAL HOUSING, MADRID

IN ASSOCIATION WITH J.M. FERNÁNDEZ ISLA & M.M. SANTOLAYA HEREDERO

A l z a d o a l a c a l l e / Street elevation S i t u a c i ó n / Site

E n c a r g a d a s p o r l a E M V, e s t a s v i v i e n d a s s o c i a l e s s e s i t ú a n e n e l m a r c o d e u n n u e v o c r e c i m i e n t o u r b a n o c o n c e b i d o p a r a e l b a r r i o d e V i l l a v e r d e , a l s u r d e M a d r i d . E l p r o Commissioned by the Empresa Municipal de la Vivienda, the project for a social housing scheme is located in a new development in the Villaverde district y e c t o , q u e c o n s t a d e 1 7 6 a p a r t a m e n t o s d e u n o , d o s y t r e s d o r m i t o r i o s , r e s p e t a l a s o r d e n a n z a s q u e r e c o g e e l p l a n g e n e r a l p a r a e s t e s o l a r, e s t o e s , u n ú n i c o b l o q u e e n f o r m a of southern Madrid. Comprised of 176 one-, two-, and three-bedroom apartments, the scheme responds to an overall masterplan for the site which requested d e U , d e 1 5 m e t r o s d e a n c h o , c o n u n a o c u p a c i ó n d e s u e l o p o c o m a y o r d e 2 . 0 0 0 m 2. A l i g u a l q u e e l r e s t o d e l o s b l o q u e s d e l a m i s m a z o n a , l a a l t u r a e s d e o c h o p l a n t a s y l a a single U-shaped block, 15m deep, and with a footprint of just over 2,000m 2. Like other buildings within the same development, it also required that the c u b i e r ta a dos a g u a s . D e n t ro d e l a s r e s t r i c c i o n e s q u e c o n l l e v a e s t e t i p o d e p ro g r a m a , n u e s t ro p ro y e c t o p ro c u r ó m a n i p u l a r l a s p a r a a b s t r a e r d e e l l a s l a i d e a n o r m a t i va de block be eight stories high and have the appearance of a pitched roof. Within the confines of this brief, the design attempted to manipulate these archib loque de apar tamentos. Así, mientras algunos d e los edificios vecinos respetan la silueta simétrica y la cubier ta a dos aguas, n o s o t ro s c u e s t i o n a m o s l a s t r a d i c i o n a l e s tectural restrictions so as to abstract the normative idea of an apartment block. So whereas other neighbouring buildings adopt a symmetrical, double-pitched r e l a c i o n e s e n t r e c e r r a m i e n t o y c u b i e r ta. A q u í e s t a r e l a c i ó n s e t r a d u c e e n u n a p e n d i e n t e p ro n u n c i a d a d e u n ú n i c o f a l d ó n — q u e s e m a n t i e n e a l o l a rg o d e t o d o e l b l o q u e — silhouette, the traditional relationships of wall and roof are abstracted into a low, single pitch for the bulk of the block, and a small secondary pitch bevelmás una pendiente secundaria que bisela los extremos del alzado principal del edificio. ling the building's front edge. E l i n c r e m e n t o d e s u p e r f i c i e e n p l a n t a q u e s e c o n s i g u e g r a c i a s a e s t a r e d u c c i ó n d e l vo l u m e n d e c u b i e r t a p e r m i t e u n a m ay o r a l t u r a d e t e c h o s y f av o r e c e t a m b i é n u n a p ro The increase in floor area achieved by this reduction in roof volume allowed for higher floor to ceiling spaces and a more sculptural approach to the building puesta más escultórica para la piel del edificio. Así, en el intento por escapar de la fo r m a o r t o g o n a l , l o s l a d o s c o r tos del bloque se rebajan para conseguir que los alzados envelope. The sides of the block have been carved away from the orthogonal, to create a more varied outline to the building's elevation. All plans of the apartm uestren un perfil más variado. Acentuado por la elección del materiales —paneles de hormigón de un color rosa terroso para la fachada, hormigón azul pizarra para el ments are arranged to allow for dual aspect and natural ventilation. Further distinguished by its choice of materials— earthy-pink concrete façade panels, slate p ó r tico del patio, y una densa franja veg etal entre ambos—, el efecto del conjunto irradia color hacia afuera. blue concrete for the courtyard portico, and a dense band of landscaping in between, the effect is a rich panel of colours radiating outwards. Al igual que para la fo r m a g l o b a l d e l e d i f i c i o , el diseño de la superficie de cerramiento del bl o q u e t a m b i é n d e r i va de un conjunto preestabl e c i d o d e l i m i t a c i o n e s . En este caso, Like the building's overall form, the surface of the block also evolved from a predetermined set of limitations. These emerged from the desire to create both an n u e s t ro interés era crear una fachada jerárq u i c a , p e ro también el que la disposición de los huecos no se repitiera en ninguna de las och o p l a n t a s d e l e d i f i c i o . El pro y e c t o hierarchical façade and one in which the fenestration does not repeat itself over the building's eight floors. A three-dimensional study into mass and form, the r e s u l t a e n d e f i n i t i va tanto un estudio tridimensional sobre la masa y forma de un bloque de viviendas, c o m o u n e j e rc i c i o , casi matemático, d e d i bu j o e n d o s d i m e n s i o n e s . design of the plot represents a two-dimensional exercise in patterning.

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Plantas tipo Typical floor plans

Sección longitudinal por patio Longitudinal section through courtyard

Planta baja Ground floor plan

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COLOR A - OSCURO COLOUR A - DARK

COLOR B - MEDIO COLOUR B - MEDIUM

COLOR C - CLARO COLOUR C - LIGHTER

Alzado a la calle (Oeste). C ó d i g o d e c o l o r e s Colour coding of street elevation (West)

A l z a d o l a t e r a l / Side elevation S e c c i ó n t r a n s v e r s a l / Cross section

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186

187

1 2 3 4 5 6 7

TONALIDADES

TONES

A B C D

A B C D

Intenso Medio intenso Medio suave Sua v e

Panel GRC Alféizar GRC D i n t e l g rc cáscara Po s i c i ó n d e b a l a u s t r e Po s i c i ó n r e j i l l a t e n d e d e ro Salida humos caldera J untas de panel fo r m a n d o g o t e r ó n

1 2 3 4 5 6 7

GRC Panel GRC windowsill GRC shell lintel Balustrade position Washing line grid position Boiler fume outlet Panel joints forming dripstone

Intense Medium intense Medium soft Soft

E s t u d i o d e p a n e l e s d e f a c hada / Façade panel study → E s t u d i o d e m a q u e t a s e c c i o n a d a / Sectional model study ↓ Ima g e n d e l a o b r a e n c o n s t r u c c i ó n . J unio 2004 / Building site. June 2004

1 GRC pro y e c t a d o 2 Po l i e s t i r e n o ex p a n d i d o 3 Junta sellada

Detalle de panel / Panel detail

FORJADO FLOOR SLAB SECCIÓN VERTICAL VERTICAL SECTION

PLANTA PLAN

S i s t e m a d e f i j a c i ó n d e p a n e l e s / Panel attachment system

188

1 Sprayed GRC 2 Polystyrene foam 3 Sealed joint

1 2 3 4 5 6

Panel GRC Placa 200x120 anclada al fo r j a d o Estructura auxiliar tubo Angular de conex i ó n C a r r i l t i p o H a l fen A n g u l a r a n cl a d o fo r j a d o

1 2 3 4 5 6

GRC panel 200x120 sheet anchored to floor slab Auxiliary tube structure Connection angle iron Halfen-type runner Angle anchored to floor slab

C o m p o s i c i ó n d e p a n e l e s e n e l h a s t i a l / Panel composition in gables

U n i ó n e s q u i n a i n t e r i o r / Interior corner union

1 2 3 4

Panel GRC Alféizar GRC Forjado Solado terrazas

1 2 3 4

GRC Panel GRC sill Floor slab Terrace paving

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E s p a ñ a [ C o n c u r s o p o r I nv i t a c i ó n . P r i m e r P r e m i o ] / Spain [Invited Competition. First Prize]

A CCESO AL PASEO DEL ÓVALO EN TER UEL 2001/2003 ACCESS TO THE PASEO DEL OVALO, TERUEL

IN ASSOCIATION WITH B720 ARQUITECTURA

Planta y secciones g enerales Overall plan and sections

E l p ro y e c t o c o n s i s t e e n l a r e fo r m a d e l a c c e s o q u e c o n d u c e a l Pa s e o d e l Ó va l o d e s d e l a e s t a c i ó n d e t r e n p a r a f a c i l i t a r l a c o n e x i ó n p e a t o n a l c o n e l c e n t ro h i s t ó r i c o . E s t e The project consists of reforming the access from the railway station to the Paseo del Ovalo, an historic promenade built on the site of the city walls. The promp a s e o h i s t ó r i c o e s t á c o n s t r u i d o s o b r e e l l u g a r o c u p a d o p o r l a s a n t i g u a s mu r a l l a s , u n o d e l o s m o mu m e n t o s s i g n i f i c a t i vo s d e e s t a c i u d a d p a t r i m o n i o d e l a h u m a n i d a d . El enade is one of the many sensitive monuments in this world heritage city. The immediate environment leading to the promenade has been improved with the entorno principal del paseo ha sido mejorado con ajard i n a m i e n t o , m o b i l i a r i o u r b a n o , iluminación complementaria y un especial cuidado en la calidad de los acabados. addition of planting, street furniture and upgrading the quality of finishes and providing additional lighting. D e s d e l a e s t a c i ó n , l o s t r a n s e ú n t e s q u e e l i g e n n o s u b i r p o r l a o r n a m e n t a d a e s c a l e r a n e o - m u d é j a r q u e l l e v a al Pa s e o d e l Ó v a l o c a m i n a n p o r u n a e x p l a n a d a a u s t e r a , c u yo Passengers choosing not to climb the ornate neo-Mudéjar style stairway leading to the Paseo proceed along a defined pathway through a hard landscape, to a pa v i m e n t o s e h a u n i f i c a d o c o n u n a d o q u i n a d o d e p i e d r a , q u e l e s c o n d u c e h a s t a l a n ue v a ca v i d a d p r a c t i c a d a e n l a mu r a l l a d e l a c i u d a d y q u e d e f i n e e l e s p a c i o d e l v e s t í tall new cavity inserted into the city wall. This constricts to a tighter opening within the depth of the walls and leads to the elevator lobby, which is top-lit via the b u l o y d e l a s c e n s o r q u e s u b e h a s t a e l Pa s e o d e l Ó va l o . U n e s p a c i o q u e s e e s t r e c h a c o n fo r m e p e n e t r a e n l a p ro f u n d i d a d d e l o s mu ro s , y q u e q u e d a i l u m i n a d o d e s d e l a p a r te glazed elevator shaft which pierces through to the upper level. superior por un hueco que secciona el vestíbulo en toda su altura. A sensitive approach meant that new materials could be absorbed without destroying the original qualities of the monument. E l m e s u r a d o y c u i d a d o s o p l a n t e a m i e n t o p e r m i t e q u e l o s nuevo s m a t e r i a l e s p u e d a n s e r a s u m i d o s s i n q u e s e d e t e r i o r e n l a s c a r a c t e r í s t i c a s o r i g i n a l e s d e l m o nu m e n t o h i s t ó r i c o .

190

191

5

3

2

A l z a d o / Elevation

S e c c i ó n B - B / Section B-B

P l a n t a d e a c c e s o a e s c a l e r a s d e e m e rg e n c i a ( s e c c i ó n 5 - 5 ) / Emergency staircase entrance level (section 5-5)

Planta de acceso inferior (sección horizontal 2-2)

194

Lower entrance level (horizontal section 2-2)

P l a n t a i n t e r m e d i a ( s e c c i ó n 3 - 3 ) / Intermediate level (section 3-3)

1 Pavimento y peldañeado de piedra de Villalba de dimensiones 58x17, l o n g i t u d variable según planos 2 Pavimento de piedra de Villalba de dimensiones 60x10 cm y l o n g i t u d va r i a b l e s e g ú n p l a n o s 3 M u ro d e p i e d r a d e V i l l a l b a d e 3 0 c m d e e s p e s o r y d i m e n s i o n e s va r i a b l e s 4 Pavimento formado por bandas alternadas de piedra caliza tipo calatorao o similar en acabado flameado y adoquín d e p i e d r a c u a rc i t a - c a l i z a m a rg o s a e n c o l o r n e g ro a c a b a d o n a t u r a l p o r ex fo l i a c i ó n e n p i e z a s d e 1 0 c m p o r l a rg o s va r i a b l e s de 10, 10, 40 cm y 10 cm de espesor, colocadas a hueso 5 Capa de mor t e ro M-40 (1:6) de 5 cm de espesor 6 Solera de hormigón HM-200 de 20 cm de espesor armado c o n f i b r a d e p o l i p ro p i l e n o 7 Zahorra ar tificial de 15 cm de espesor 8 Pasamanos metálico acabado inox mate 60x20 con p i p a m e t á l i c a a n c l a d a a l m u r o c o n r e s i n a s e p ox i l i c a s 9 S i l l a r p a r a r e p o s i c i ó n d e mu ro ex i s t e n t e e n p i e d r a d e V i l l a l b a d e d i m e n s i o n e s va r i a b l e s , a c a b a d o a l c o r te . 10 Puer ta metálica en acero i n ox acabado granallado formada p o r m a rc o m e t á l i c o c o n t u bu l a r 4 0 x 4 0 y p a s a m a n o s de e: 3 mm, batiente con perno superior y brazo infe r i o r, freno empotrado en suelo con antipánico en cara interior 11 Proy ector empotrado en acero i n ox i d a ble mate p a r a l á m p a r a i n c a n d e s c e n t e h a l ó g ena de 100w/1650 12 Perfil en U formado por dos pletinas 90x10 y una pletina de 100x10 13 Canal de drenaje lineal de hormigón polimero con bastidor integrado y reja de fundición tipo ACO H-100K o similar

V i s t a d e l a c c e s o a a s c e n s o r e s d e s d e e l Paseo / View of lift access from the promenade

1 2 3 4

5 6 7 8 9 10 11 12 13

A l z a d o a c c e s o a e s c a l e r a s d e e m e rg e n c i a / Emergency staircases entrance elevation

Escaleras. S e c c i ó n l o n g i t u d i n a l y s e c c i o n e s t r a n s v e rsales Staircases. Longitudinal sections and cross sections

196

Villalba stone pavement and step, dimensions 58x17, variable length as per plans Villalba stone pavement, dimensions 60x10 cm, variable length as per plans Villalba stone wall, 30 cm thickness, variable sizes Calatorao or similar pavement formed by alternating limestone belts with flame finish, pavers in black quartzite-limestone marl, natural flaking finish in 10 cm pieces with variable lengths of 10, 10, 40 cm and 10 cm thickness, set in herringbone pattern Mortar layer M-40 (1:6) 5 cm thickness HM-200 concrete layer 20 cm thickness reinforced with polypropylene fibre Artificial backfill 15 cm thick Metal handrail matt stainless steel 60x20 with metal pipe anchored to wall with epoxy resin Ashlar to reposition existing wall in Villalba stone, variable dimensions, finished as per cut. Readjusted on site Stainless steel door, sandblasted finish formed by metal frame with 40x40 tube and handrail t: 3 mm, jamb with upper bolt and lower arm, brake recessed in floor with anti-panic device on interior face Recessed spotlight casing in matt stainless steel for 100w/1650 incandescent halogen light U shape formed by two 90x10 strips and one 100x10 strip Linear drain channel in polymer concrete with integrated frae and cast iron grid ACO H-100K or similar

V i s t a d e l a c c e s o a e s c a l e r a d e e m e rg e n c i a / View of emergency staircase access

197

S e c c i ó n t r a n s v e rs a l A - A / Cross section A-A

S e c c i ó n t r a n s v e rsal C-C / Cross section C-C

198

D e t a l l e d e c a n c e l a e n a c c e s o i n f e r i o r a a s c e n s o r e s / Lower entrance to lifts. Gate details

ESTRUCTURA / STRUCTURE

PLANTA / PLAN

SECCIÓN / SECTION

ALZADO PUERTA CERRADA / CLOSED GATE ELEVATION

ALZADO PUERTA ABIERTA / OPEN GATE ELEVATION

P u e r t a c a n c e l a d e u n a h o j a , c o n s t r u i d a c o n p e r f i l e s d e a c e r o i n ox i d a b l e r e c t a n g u l a r e s 8 0 x 6 0 m m y l a t e r a l e s r e d o n d o s ; a c a b a d a Single gate made from rectangular 80x60 mm stainless steel shapes and rounded sides; finished in 2mm stainless steel con plancha de acero i n ox i d a ble de 2mm de espesor, con juntas soldadas y acabado con chorreado de arena (mate). sheet, with welded joints and sandblasted finish (matt). M e d i d a s g l o b a l e s 3 0 0 a l t o x 4 0 5 a n c h o , s e a ñ a d i r á n u n a s p l a n c h a s d e a c e r o i n ox i d a b l e p a r a h o m o g e n e i z a r e l g r o s o r d e l a p u e r ta, Overall measurements 300mm high x 405 wide. Stainless steel sheeting added to homogenise door thickness, increasing a u m e n t a n d o e l g ro s o r d e l o s p e r f i l e s r e c t a n g u l a r e s 8 0 x 6 0 m m h a s t a a l c a n z a r l o s 6 3 m m d e l o s p e r f i l e s r e d o n d o s l a t e r a l e s . height of 80x60 mm rectangular shapes to 63 mm rounded side shapes. Todas las uniones entre piezas se realizarán mediante soldadura dispondrá de bisagras pivotantes con rodamientos axiales y All pieces welded together with pivoting hinges, axial bearings and double turn keylock (two locks at height 130 and 190 d o b l e v u e l t a d e l l a v e ( d o s c e r r a d u r a s , a 130 y 190 cm de altura), c a d a c e r r a d u r a d i s p o n d r á d e a n cl a j e e n mu ro e n s i t u a c i ó n a b i e r ta cm), each lock anchored to wall on-site in open and closed positions (four anchorage points). 8 cm anchorage in concrete y cerrada (cuatro anclajes). Se realizará un anclaje de 8 cm en el mu ro de hormigón donde albergará la cancela cuando esté abierta, wall to hold gate when open, set flush with wall plane. q u e d a n d o é s t a e n r a s a d a c o n e l p l a n o d e l mu ro.

201

G l a s g o w , S c o t l a n d [ C o n c u r s o p o r I nv i t a c i ó n . P r i m e r P r e m i o ] / Escocia [Invited Competition. First Prize]

NUEVA SEDE DE LA BBC SCOTLAND EN PA CIFIC Q UAY 2001- NEW BBC SCOTLAND HEADQUARTERS IN PACIFIC QUAY

Situación Site plan

Maqueta conceptual Concept model

E l p ro y e c t o p a r a l a n ue v a s e d e d e l a B B C S c o t l a n d e n G l a s g o w s e l o c a l i z a e n u n d e s c a m p a d o j u n t o a l o s a b a n d o n a d o s mu e l l e s d e G ov an, u n l u g a r c a r a c t e r i z a d o p o r l a p r e The project for the new BBC Scotland headquarters at Pacific Quay, Glasgow, is located alongside the abandoned Govan docks on an exposed plot of land domsencia del río Clyde y por las montañas de los H i g h l a n d s s i t u a d a s a l n o r te . Ante este paisaje abier t o , e l d i s e ñ o d e l e d i f i c i o bu s c ó u n m o d o d e e s t a bl e c e r s u p ro p i o s e n t i d o d e l inated by the expanse of the river Clyde and the mountains of the Scottish Highlands to the north. Faced with this open landscape, the design of the building lugar y responder al mismo tiempo a los requerimientos de la BBC, en cuanto a su deseo de disponer de un edificio que resultara recogido y además accesible al públ i c o . had to find ways to establish its own sense of place and satisfy the demands of the BBC for a contained yet publicly accessible building. L a p r o p u e s t a i n t e n t a p l a n t e a r u n e d i f i c i o d i f e r e n t e a u n o c u a l q u i e r a d e o f i c i n a s c o nv e n c i o n a l e s ; m á s i n d u s t r i a l , c o n a s p e c t o d e l o f t , y q u e s i g n i f i q u e p o r i g u a l l a s z o n a s d e The resulting proposal aimed to create a building distinct from conventional offices; more industrial, loft-like in feel, it gives equal importance to collective work t r a b a j o c o l e c t i vo q u e l o s p u e s t o s d e t r a b a j o i n d i v i d u a l e s , o l o s e s p a c i o s p ú b l i c o s . S e g ú n e s t a i d e a , e l e d i f i c i o s e d e s a r ro l l ó e n t o r n o a u n p a t i o c e n t r a l , a m o d o d e a t r i o , areas, individual work stations and public spaces. Accordingly the central atrium is configured as a tiered sequence of platforms and terraces, visible through configurado como una secuencia escalonada de plataformas y terrazas, y t o d o e l l o v i s i ble desde el exterior gracias al cerramiento de vidrio. La circ u l a c i ó n y c o mu n i c aglass walls from the outside. Circulation and communication through the building and between office floors is accentuated by the giant staircase, which not only ción a través del edificio y entre las plantas de oficinas se ve favorecida por esta gigantesca escalera, q u e n o s ó l o p ropone zonas de encuentro i n formales, sino que tamoffers informal meeting areas, but encourages movement between spaces, giving powerful visual representation to the public aspect of the building. b i é n e s t i mula la dinamicidad entre espacios y le da una imag en impactante al aspecto del edificio. E n t é r m i n o s c o m p o s i t i vo s , e l p ro b l e m a m á s i n m e d i a t o q u e s e n o s p l a n t e ó c o n e s t e p ro g r a m a r e s i d í a e n l a r e l a c i ó n e s p a c i a l e n t r e l o s e l e m e n t o s t é c n i c o s , c o m o l o s e s t u In terms of the formal composition, the most immediate problem posed by the project brief lay in the relationship between technical elements such as studios y las zonas de oficina. La yuxtaposición entre la solidez y el tamaño de los estudios en contraste con los espacios de oficina vecinos —que para tener vistas debían dios and office spaces. The juxtaposition between the solidity and size of the studios in contrast to the adjoining office spaces, which require transparency ser transparentes— fue la mayo r d i f i c u l t a d formal del programa. En todas las decisiones de diseño la respuesta fue procurar la integración de cada uno de los elementos to enjoy the surrounding views, was the most difficult formal issue raised by the programme. The response throughout all of the design decisions was to intedel edificio —evitando el que las zonas técnicas tuvieran una atmósfera de marginalidad— y la compar timentación de las zonas comunes, de modo que el edificio en su grate each of the building’s elements, avoiding a back-of-house atmosphere for technical areas, and the compartmentalisation of common spaces, so that conjunto fuera capaz de asumir y mostrar la diversidad de sus usos. the building as a whole can absorb and reveal the diversity of its uses.

202

Planta quinta Fifth floor plan

Planta tercera Third floor plan

Sección longitudinal, Este-Oeste , hacia el Nor te Longitudinal section, East-West, looking North

Planta baja Ground floor plan

204

S e c c i ó n t r a n s v e rs a l N o r t e - S u r, hacia el Este / North-South cross section, looking East

M a q u e t a c o n c e p t u a l / Concept model

205

A l z a d o O e s t e / West elevation

A l z a d o N o r te / North elevation

A l z a d o E s t e / East elevation

A l z a d o S u r / South elevation

206

207

Detalle del rev e s t i m i e n t o d e l a p a n t a l l a m e t á l i c a a n t i - l l u v i a / Detail of metal rain screen area

D e t a l l e d e e s q u i n a c o n a c r i s t a l a m i e n t o t r i p l e / Corner triple glazed facade areas

D e t a l l e d e e s q u i n a c o n a c r i s t a l a m i e n t o d o b le / Corner double glazed facade areas

Detalle de esquina de la pantalla metálica anti-lluvia / Corner metal rain screen facade areas

Detalle del rev e s t i m i e n t o c o n a c r i s t a l a m i e n t o t r i p l e / Detail of triple glazed area

209

A t r i o . S e c c i ó n t r a n s v e rs a l h a c i a e l E s t e / Atrium. Cross section looking East

S e c c i ó n t r a n s v e rsal hacia el Oeste / Cross section looking West

D e t a l l e d e s e c c i ó n l o n g i t u d i n a l h a c i a e l S u r / Detail of longitudinal section, looking South ← D e t a l l e d e p l a n t a d e l A t r i o / Detail of Atrium floor plan

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E s p a ñ a [ C o n c u r s o p o r I nv i t a c i ó n . P r i m e r P r e m i o ] / Spain [Invited Competition. First Prize]

CIUD A D D E L A J U S T I C I A D E B A R C E L O N A 2002- CITY OF JUSTICE, BARCELONA

IN ASSOCIATION WITH B720 ARQUITECTURA

← A t r i o . M a q u e t a d e t r a b a j o / Atrium. Working model

↑ P l a n o d e s i t u a c i ó n / Site plan → Pro p u e s t a p r ev i a / Preliminary proposal

En la actualidad, l o s d i ferentes depar tamentos judiciales de la ciudad de Barcelona y de l'Hospitalet de Llobregat se encuentran esparcidos en 17 edificios, repar t i d o s e n t r e Currently, the various departments of Barcelona & l’Hospiatalet de Llobregat are scattered in 17 buildings placed across the two cities, with functional frustralas dos ciudades, lo que provoca una serie de frustraciones funcionales tanto en los usuarios como en sus empleados. La unificación de todos ellos en una nuev a Ciudad tions for both users and employees. A new conjoined City of Justice will improve efficiency and allow working spaces to adapt and absorb the constant transd e l a J u s t i c i a r e d u n d a r á e n u n a m a y o r e f i c i e n c i a , p e r m i t i r á q u e l o s e s p a c i o s d e t r a b a j o s e a d a p t e n a l a c o n s t a n t e t r a n s f o r m a c i ó n d e l c u e r p o j u d i c i a l y, a l t i e m p o , s e r e s e r formation of the judicial body along with reserve space for future growth. v ará espacio para un futuro c r e c i m i e n t o . El emplazamiento está en el límite entre las dos ciudades, en un solar anteriormente ocupado por cuar teles militares, junto a la Gran Vía —una de las principales vías de The site is at the border of the two cities of Barcelona and l’Hospitalet de Llobregat on a site which was previously a military barracks. It is located adjacent to a c c e s o a l c e n t r o d e B a r c e l o n a — y l a Av e n i d a d e l C a r r i l e t — u n a a r t e r i a q u e c o n d u c e a l ' H o s p i t a l e t — . E s t a u b i c a c i ó n d i s f r u t a d e ó p t i m o s a c c e s o s a l a c i u d a d y a l a s r u t a s both Gran Via, a major access route into the centre of Barcelona, and Carrilet, an artery leading to l’Hospitalet. The position provides optimum accessibility to m e t ro p o l i t a n a s m á s i m p o r tantes, t a n t o e n t r a n s p o r te públ i c o c o m o p r i vado. the city and major metropolitan routes, on both public and private transport. L a p r o p u e s t a m á s s i g n i f i c a t i v a d e l p r o y e c t o e s l a d e f r a g m e n t a r e l a m b i c i o s o p r o g r a m a — d e 3 3 0 . 0 0 0 m 2— e n u n a s e r i e d e e d i f i c i o s s e p a r a d o s a u n q u e i n t e r r e l a c i o n a d o s The most significant proposition breaks up the massive programme requirements (330,000m2) into a series of separate but inter-related buildings on a pubque vuelcan sobre una suer te de plaza pública, en una composición espacial que pretende romper con una imag en de la justicia rígida y monolítica. La propuesta bu s c a lic plaza, giving a spatial composition which attempts to break the rigid and monolithic image of justice. This proposal also attempts to provide an equilibt a m b i é n e q u i l i b r a r l a s d i ferentes relaciones entre áreas de trabajo, zonas públicas y paisaje . Así, e l c o n j u n t o fo r m a d o p o r l o s s e i s e d i f i c i o s j u d i c i a l e s p r i n c i p a l e s s e d i srium to the relationships between the different working areas, public areas and landscape. A group of the six main judicial buildings are situated around the pon e en torno a un edificio atrio, i l u m i n a d o c e n i t a l m e n t e . En su mayo r p a r te , e s t o s e d i f i c i o s a l b e rgan salas de vistas en su planta baja y en las tres plantas siguientes; a perimeter of a top-lit atrium building and generally contain courtrooms at ground floor and three further floors. All of these floors are accessed directly from ellas se accede directamente desde el atrio, q u e a c t ú a c o m o f i l t ro. the atrium which acts as a filter. L o s o n c e e d i f i c i o s i n d e p e n d i e n t e s s e r e v e l a n c o m o b l o q u e s m e s u r a d o s , c o n f a c h a d a s p o r t a n t e s d e h o r m i g ó n a r m a d o . E l h o r m i g ó n s e t e ñ i r á e n f u n c i ó n d e l á r i d o a d i t i vo. El The eleven independent buildings are restrained blocks with load bearing concrete cage facades. The concrete will be coloured with an exposed aggregate fine d i f i c i o a t r i o t i e n e u n a p l a n t a d e fo r m a l i b r e , c o n l o s a s d e h o r m i g ó n v i s t o y p a n t a l l a s s o l a r e s d e m a l l a e n t r e t e j i d a d e l a n t e d e c e r r a m i e n t o s d e v i d r i o s i n m a rc o s . E l a t r i o , c u ya ish. The atrium building has a more free form plan with 1 metre deep exposed concrete slabs and woven mesh shading screens in front of frameless glazing. c u b i e r t a t e n d r á u n s i s t e m a d e p r o t e c c i ó n s o l a r a b a s e d e v i g a s d e h o r m i g ó n d e d o s m e t r o s d e s e c c i ó n , s e c o nv e r t i r á e n e l p r i n c i p a l e s p a c i o p ú b l i c o d e l c o m p l e j o . The atrium roof will have two metre deep section concrete beams as a shading system over the main public room for the complex.

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Planta baja / Ground floor plan

A l z a d o p r i n c i p a l / Main elevation

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S e c c i ó n l o n g i t u d i n a l / Longitudinal section

A l z a d o l a t e r a l / Side elevation

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S e c c i ó n l o n g i t u d i n a l p o r A t r i o / Longitudinal section through Atrium

P l a n t a p r i m e r a / First floor plan

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S e c c i ó n t r a n s v e rs a l / Cross section

P l a n t a q u i n t a / Fifth floor plan

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A t r i o . Planta baja / Atrium. Ground floor plan

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A t r i o . P l a n t a s t e rc e r a y c u a r ta / Atrium. Third and fourth floor plans

A t r i o . S e c c i ó n S L - 2 / Atrium. Section SL-2

A t r i o . S e c c i ó n S L - 1 / Atrium. Section SL-1

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A t r i o . S e c c i ó n S T-1 / Atrium. Section ST-1

A t r i o . D e t a l l e s d e c a r p i n t e r í a d e f a c hada / Atrium. Facade framing details

E n c u e n t ro d e A t r i o c o n E s p a c i o P ú b l i c o / Interface of Atrium with Public Plaza

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Vo l a d i z o d e A t r i o e n a c c e s o s a Au d i t o r i o / Atrium canopy at entrance to Auditorium

A t r i o . D e t a l l e s d e c u b i e r t a d e v i d r i o / Atrium. Glass roof details

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A l e m a n i a / Germany

HOT E L E N H A M B URGO 2002- HOTEL IN HAMBURG

← S i t u a c i ó n / Site plan → V i s t a h a c i a e l r í o E l b a / View towards the River Elbe ↓ V i s t a d e s d e e l r í o E l b a / View from the River Elbe

Nuestra aproxim ación a este pro y ecto a orillas del río Elba consideró la historia y el carácter ex c e p c i o n a l d e l B av aria Gelände , u n f a m o s o c o m p l e j o c e r vecero q u e o c u p ó e s t e The investigations for this project were inspired by the extraordinary nature and history of the Bavaria grounds— a famous former industrial brewery compound l u g a r. L o s i n g u l a r d e s u e m p l a z a m i e n t o — p u e s s e t r a t a d e l a m a y o r z o n a i n d u s t r i a l d e l i n t e r i o r u r b a n o d e H a m b u r g o — e n t r a ñ a u n a c o n s i d e r a c i ó n e s p e c i a l , y a q u e s e s i t ú a e n t r e overlooking the river Elbe. Its exclusive position as the largest industrial workplace within Hamburg's inner city area requires particular consideration, being sitdos áreas urbanas sumamente diverg e n t e s : al este , e l c e n t ro de Hambu rg o — c o n s u s n o t a bl e s v i v i e n d a s y e d i f i c i o s c o m e rciales—, y al oeste y al nor t e l o s e d i f i c io s d e p e q u e ñ a uated between two highly divergent city areas— Hamburg's inner city, represented by its prominent townhouses and trade buildings to the east and St. Pauli's e s c a l a d e l b a r r i o d e S t . Pa u l i , c o n s t r u i d o s e n e l s i g l o X I X . small-scale 19th century buildings to the west and north. Po d e m o s e n t e n d e r e l s o l a r c o m o u n v a c í o u r b a n o e n e l c u a l l o s n u e v o s d e s a r r o l l o s d e b e n a s u m i r u n p a p e l m e d i a d o r e n t r e l a s d i f e r e n t e s s i t u a c i o n e s u r b a n a s , c o n u n a d e m a n d a The site can be regarded as an urban vacuum where new development needs to take up a mediating role between the different urban situations, which are now d e n u e v a s r e l a c i o n e s e n t r e s í . N u e s t r o d i s e ñ o p a r a e s t e c o m p l e j o h o t e l e r o , e n c o n t r a s t e c o n l a a n t e r i o r n a t u r a l e z a i n t r o v e r t i d a d e l s o l a r, p r e t e n d e e s t a b l e c e r r e f e r e n c i a s , being placed in a new relationship with one another. In contrast to the previous introverted nature of the site, the design of the hotel complex attempts to cret a n t o p ro g r a m á t i c a s c o m o a rq u i t e c t ó n i c a s , c o n s u s a l r e d e d o r e s . A s í , e l c o m p l e j o d e 2 1 p l a n t a s c o n s i s t e e n u n a s e r i e d e vo l ú m e n e s e s c a l o n a d o s , c u ya a l t u r a s e c o r r e s ate both programmatic and architectural references to the neighbouring surroundings. Thus, the 21-storey building complex consists of different staggered volp o n d e c o n l o s a l e r o s d e l o s e d i f i c i o s v e c i n o s . M i e n t r a s l a b a s e d e l e d i f i c i o , c o n s u n u e v a p l a z a p ú b l i c a , d i a l o g a t a n t o e n e s c a l a c o m o e n c o n t e n i d o c o n e l b a r r i o d e S t . Pa u l i , umes, where the height of each volume corresponds with the eaves of the surrounding buildings. Whereas the base of the complex with its new public square l a t o r r e d e l h o t e l — c o n s u s 3 3 0 h a b i t a c i o n e s — e s t a b l e c e u n p u n t o d e r e f e r e n c i a v i s u a l e n e l h o r i z o n t e d e H a m bu rg o , elev á n d o s e s o b r e e l c e n t ro d e l a c i u d a d . Desde la pers refers both in scale and content to the St. Pauli neighbourhood, the hotel tower with its 330 hotel rooms rises above the normal city, creating a visual landmark p e c t i va del río, l a t o r r e s u r g e c o m o u n e s b e l t o vo l u m e n v e r t i c a l q u e e n c a j a e n l a t o p o g r a f í a d e l a f a m o s a ' c o ro n a d e l p u e r t o ' , u n c o n j u n t o d e i m p o n e n t e s e d i f i c i o s d e p r i n for Hamburg's skyline. From the direction of the water it appears as a slim, vertical volume, fitting into the topography of the famous 'crown of the harbour', a cipios del siglo X X que bordean la ribera del Elba. series of impressive turn-of-the-century buildings along the embankment of the river Elbe. La fach a d a d e v i d r i o y b ro n c e — u n a e s t r u c t u r a b a s a d a e n l a c o n s t r u c c i ó n t i p o d e p i l a r e s y j á c e n a s — s u b r aya la ver t i c a l i d a d d e l e d i f i c i o , c u b r i é n d o l o c o m o u n a c a p a h o m o The glass-bronze façade is structured with a post-beam construction, which emphasises the vertical. It covers the buildings as a homogenous layer, unifying génea, u n i f i c a n d o l o s d i s t i n t o s vo l ú m e n e s y a c t u a n d o c o m o u n s u t i l t e l ó n d e fo n d o p a r a l a a rq u i t e c t u r a d e l e n t o r n o . the different volumes and providing a subtle backdrop for the neighbouring architecture.

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P l a n t a s e g u n d a / Second floor plan

P l a n t a v i g é s i m a / Twentieth floor plan

P l a n t a p r i m e r a / First floor plan

P l a n t a d é c i m o s ex t a / Sixteenth floor plan

Planta baja / Ground floor plan

P l a n t a c u a r ta / Fourth floor plan

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S e c c i ó n t r a n s v e rs a l / Cross section

M a q u e t a s d e t r a b a j o / Working models

S e c c i ó n l o n g i t u d i n a l / Longitudinal section

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→ V i s t a h a c i a e l a c c e s o p r i n c i p a l d e s d e l a B e r n h a rd - N o cht Strasse View towards the main entrance from Bernhard-Nocht Strasse

M a r b a c h a m N e c k a r, A l e m a n i a / Germany

MUSEO DE LA LITERATURA MODERNA 2002- MUSEUM OF MODERN LITERATURE

S i t u a c i ó n y v i s t a a é r e a / Site plan and aerial view

E s t e mu s e o , c u ya i n a u g u r a c i ó n o f i c i a l e s t á p r e v i s t a p a r a e l a n i v e r s a r i o d e l n a c i m i e n t o d e l d r a m a t u r g o a l e m á n F r i e d r i c h vo n S c h i l l e r — e l 1 0 d e N oviembre de 2005—, se This museum will be completed and officially opened on the anniversary of the German dramatist Friedrich von Schiller’s birthday (10 November 2005). It is e n c u e n t r a s i t u a d o e n e l p a r q u e m u n i c i p a l d e M a r b a c h , l u g a r d e n a c i m i e n t o d e S c h i l l e r, e n l o a l t o d e u n a m e s e t a c o n v i s t a s a l e s p e c t a c u l a r v a l l e d e l R í o N e c k a r. E l n u e v o m u s e o located in the civic park of Marbach, Schiller’s birthplace, on top of a rock plateau overlooking the picturesque valley of the Neckar River. The new museum will s e c o n s t r u i r á j u n t o a l o s A r c h i v o s d e l a L i t e r a t u r a A l e m a n a , e l M u s e o N a c i o n a l d e S c h i l l e r y u n m o n u m e n t o a l e s c r i t o r. E l n u e v o m u s e o s e c o n s t r u i r á a c o n t i n u a c i ó n , y s e stand alongside the German Literature Archive, the National Schiller Museum, and a monument to the writer. Displaying and archiving works of 20th century lito c u p a r á d e l a e x p o s i c i ó n y a rc h i vo d e o b r a s p e r t e n e c i e n t e s a l a l i t e r a t u r a d e l s i g l o X X — e n t r e l a s q u e d e s t a c a n l o s m a n u s c r i t o s o r i g i n a l e s d e El Pro c e s o , de Franz Kafka, y erature, notably the original manuscripts of Franz Kafka’s The Trial and Alfred Döblin’s Berlin Alexanderplatz , the museum will also provide panoramic views B e r l i n A l exanderplatz, de Alfred Döblin—, además de ofrecer al visitante la posibilidad de poder disfrutar de interesantes vistas del paisaje de los alrededores. across and over the far distant landscape. El concepto arq u i t e c t ó n i c o e s p roponer la conexión del parque con el antepatio inferior del Museo Schiller a través de una secuencia de terrazas que aprov e chando la pro By means of a sequence of terraces, the architectural concept for the museum proposes to connect the park level to the lower forecourt of the Schiller Museum. n unciada pendiente del solar permita la creación de dos elementos de carácter mu y d i ferente: una entrada íntima, en sombra, situada en lo alto de la ladera, y otra más sigIn this way, by utilising the steep slope of the site, the terraces create two very different characters— an intimate, shaded entrance on the brow of the hill, and n i f i c a t i v a, u n a s e r i e d e e s p a c i o s e s c a l o n a d o s y a b i e r t o s q u e m i r a n h a c i a e l v a l l e . a grander, more open series of tiered spaces facing the valley below. Las salas interiores del museo, a modo de pabellones, y a las que se accede desde el punto más alto, v an revelándose gradualmente en un recorrido descendente a trav é s Entered from its highest point, the pavilion-like interiors of the museum therefore reveal themselves as one descends through the display spaces. Inside, the d e l a s z o n a s d e e x p o s i c i ó n . É s t a s s e c o m p o n e n d e u n a s e r i e d e s a l a s y g a l e r í a s d e p ro p o rc i o n e s va r i a b l e s , e n l a s q u e s e va n a l t e r n a n d o d i f e r e n t e s a l t u r a s d e t e c h o . Dada exhibition level consists of a mixture of halls and galleries of varying proportions and alternating ceiling heights. Housing and displaying fragile and sensitive la frag i l i d a d y d e l i c a d e z a d e l o s o b j e t o s q u e s e c o n s e r v an y ex p o n e n — m a nu s c r i t o s , c o p i a s y c a t á l o g o s — , e s t o s e s p a c i o s s e d i s p o n e n e n l a p a r t e i n fe r i o r d e l e d i f i c i o , c o n works, such as manuscripts, transcripts and catalogues, these spaces are contained in the lower part of the building, in timber-panelled rooms illuminated only revestimiento de paneles de madera e iluminación ar t i f i c i a l . A l m i s m o t i e m p o , cada una de estas salas de ambiente controlado limita con una galería bañada por la luz natuby artificial light. At the same time, each of these environmentally controlled spaces borders onto a naturally lit gallery, so as to balance views inward to the ral, lo que equilibra, por un lado, la perc e p c i ó n i n t e r i o r i z a d a d e l mundo de las palabras y los manu s c r i t o s , y p o r o t ro, la perc e p c i ó n ex t e r i o r d e l v e rd e y p i n t o r e s c o valle composed, internalised world of texts and manuscripts with the green and scenic valley on the other side of the windows. s i t u a d o a l o t ro lado del vidrio.

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P l a n t a s u p e r i o r. N i v e l e n t r a d a p r i n c i p a l / Upper floor plan. Main entrance level

S e c c i ó n l o n g i t u d i n a l / Longitudinal section S e c c i ó n t r a n s v e rs a l / Cross section

P l a n t a i n f e r i o r. Nivel galerías de ex p o s i c i ó n / Lower floor plan. Exhibition galleries level

A l z a d o S u r / South elevation

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↑ P l a n t a s u p e r i o r, n i v e l e n t r a d a p r i n c i p a l ; S e c c i ó n l o n g i t u d i n a l ; ↓ P l a n t a i n f e r i o r, n i v e l g a l e r í a s d e ex p o s i c i ó n / ↑ Upper floor plan, main entrance level; Longitudinal section; ↓ Lower level plan, exhibition galleries level

A l z a d o S u r / South elevation S e c c i ó n t r a n s v e r s a l / Cross section

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Vista de la sala en planta inferior entre ejes 21-22 y J-P View of lower floor hall, between axes 21-22 and J-P

S e c c i ó n v e r t i c a l d e f a c h a d a S u r, entre ejes 21-22 y J-L South facade vertical section, between axes 21-22 and J-L

EEUU / USA

CASA EN MIAMI 2002- MIAMI HOUSE

Cro q u i s c o n c e p t u a l e s / Concept sketches

→ M a q u e t a p r e l i m i n a r / Preliminary model ↓ V i s t a d e s d e e l i n t e r i o r / View from inside

P l a n o d e s i t u a c i ó n / Site plan

E l s o l a r s e e n c u e n t r a a l o e s t e d e l a p e n í n s u l a d e M i a m i B e a c h — j u n t o a u n a s e r i e d e i s l a s d e p r o p i e d a d p r i v a d a — , r o d e a d o p o r a g u a e n d o s d e s u s l a d o s , y c o n v i s t a s a l s u r. The site is to the westside of the Miami Beach peninsula, adjacent to a series of private islands and bounded on two sides by water with views to the south. U b i c a d a e n u n e x t r e m o d e l s o l a r, l a c a s a a t i e n d e e n m a y o r m e d i d a a l a g u a y a l a s v i s t a s . E l p r i m e r o d e l o s d o s c u e r p o s s i r v e d e b a r r e r a v i s u a l f r e n t e a l a c a l l e , y g e n e r a u n Located on the side, the house takes advantage of the water and views to the south. The first of the two buildings provides a visual barrier to and from the p a t i o d e a c c e s o c o n u n c i e r t o n i v e l d e p r i vacidad. El cuerpo de dos plantas, que se destina a vivienda, se abre a la piscina de la terraza, p rolongándose hacia el ex t r e m o s u r street, creating a courtyard space with a degree of privacy. The two-storey residence block opens onto the terrace pool which extends to the south edge of d e l s o l a r. E n p l a n t a b a j a , l a c o c i n a , e l c o m e d o r y l a p i s c i n a q u e d a n c o n e c t a d o s a l a z o n a d e e s t a r y a l a t e r r a z a d e l a p l a n t a p r i m e r a . E s t a c o n e x i ó n c o n l a s z o n a s d e c a r á c the site. On the ground floor the kitchen, dining area and pool are linked to the living area and terrace on the first floor. This connection of public rooms creates t e r m á s p ú b l i c o e s t a b l e c e u n a s e p a r a c i ó n e n t r e l o s d o r m i t o r i o s d e i nv i t a d o s y l a s u i t e d e l d o r m i t o r i o p r i n c i p a l . C a d a u n a d e l a s z o n a s p r i v a d a s s e a b r e a l a s v i s t a s a l s u r a separation between the guest rooms and the master suite. Each of the private areas is open to the south and west views, but maintain a degree of privacy y al oeste , pero mantiene un cier t o g r a d o d e p r i vacidad con respecto a las zonas públicas de la vivienda. from the public areas of the residence. La casa se alza sobre un zócalo de un metro d e a l t u r a c o n o b j e t o d e c u m p l i r l a s o rd e n a n z a s l o c a l e s s o b r e i nu n d a c i o n e s . Este zócalo establ e c e l a h o r i z o n t a l i d a d m e d i a n t e a n ch a s The house is raised on a one-meter high plinth to meet requirements of the local flood plain. This plinth establishes horizontality with a monolithic expreslosas de ex p r e s i ó n m o n o l í t i c a . Los materiales —sólidos y macizos— se utilizan para regular la temperatura de la casa, manteniéndola sombreada y fresca. Las aper turas que sion. The solid and massive materials regulate the climate of the house, keeping the spaces cool while providing shade. The openings formed between the se fo r m a n e n t r e l a s l o s a s s o n a m p l i a s p u e r tas correderas acristaladas. En las fachadas sur y este del edificio, las zonas acristaladas se retranquean para crear unas terrazas slabs are glazed with large sliding doors. The glass is set back along the south and west elevations of the building creating open decks which, on temperabier tas que , en los días templados, c o n t r i buirán a la ventilación natural. ate days, will assist natural ventilation.

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↑ V i s t a d e s d e e l p u e n t e ( Fac hada Este) / View from bridge (East facade); ↑↑ V i s t a N o r te / Northern view

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↑↑ V i s t a S u r / Southern view

1 2 3 4 5 6

Garaje Zonas de ser v i c i o Entrada Hall Cocina/comedor Aseo

7 8 9 10 11

Te r r a z a / p i s c i n a D o r m i t o r i o i nv i t a d o s 1 D o r m i t o r i o i nv i t a d o s 2 D o r m i t o r i o i nv i t a d o s 3 Estudio

12 13 14 15 16 17

Dormitorio principal Terraza Ve s t i d o r Baño en suite Sala de estar Terraza

1 2 3 4 5 6

Garage Staff areas Entry Hall Kitchen/dining Powder room

7 8 9 10 11

Terrace/pool Guest room 1 Guest room 2 Guest room 3 Study

12 13 14 15 16 17

Master bedroom Terrace Dressing En suite Lounge Terrace

A l z a d o N o r te / North elevation

S e c c i o n e s l o n g i t u d i n a l e s / Longitudinal sections

S e c c i o n e s t r a n s v e rs a l e s / Cross sections 11

12

13

14 15

16

17

Planta alta / Upper floor plan

A l z a d o S u r / South elevation

1

6

7 5

2

Planta baja / Lower floor plan

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3

4

8

9

10

S e c c i o n e s t r a n s v e rs a l e s / Cross sections

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L o n d r e s , R e i n o U n i d o / London, United Kingdom

CONJUNTO RESIDENCIAL EN ATHLONE HOUSE 1996/2002 RESIDENTIAL COMPLEX, ATHLONE HOUSE

V i s t a a é r e a d e l e m p l a z a m i e n t o / Aerial site view M a q u e t a c o n c e p t u a l / Concept model

El emplazamiento de los tres edificios de apar tamentos se sitúa dentro del solar del antiguo hospita l de Athlone House , junto al parque londinense de Hampstead Heath. The location for the apartment buildings lies within the former hospital site of Athlone House and borders London's Hampstead Heath. The new masterplan E l n ue v o p l a n e a m i e n t o p a r a e s t a z o n a c o n t e m p l a l a r e h a b i l i t a c i ó n d e l e d i f i c i o A t h l o n e H o u s e c o m o u n i d a d r e s i d e n c i a l , l a r e c o n s t r u c c i ó n d e l o s e d i f i c i o s s i g n i f i c a t i vo s s i t u a for the site consists of a number of components that include the re-establishment of Athlone House as a single residential entity, the reconstruction of periphd o s a l o l a r g o d e H a m p s t e a d L a n e q u e b o r d e a n e l s o l a r p o r s u l a d o n o r t e , y l a i n c o r p o r a c i ó n d e n u e v o s e d i f i c i o s d e a p a r t a m e n t o s e n s u p a r t e e s t e . To d o s e s t o s e l e m e n t o s , eral buildings significant to Hampstead Lane to the north of the site, and the incorporation of new apartments buildings within the eastern section of the site. l o s n uev o s y l o s r e h a b i l i t a d o s , p a r t i c i p a n d e l n uev o c o n t ex t o p a i s a j í s t i c o q u e s e c o n s t r u y e, a t e n d i e n d o a l a s c u a l i d a d e s ex i s t e n t e s e n e l l u g a r y a l a f u e r t e p r e s e n c i a d e l These new and retained elements reside within a new landscaped context that builds on the existing qualities of the site while responding to the strong presparque situado detrás. ence of the Heath beyond.

Los apar t a m e n t o s s e c o n c i b e n c o m o t r e s e d i f i c i o s i n d e p e n d i e n t e s , tres villas en el paisaje . S u d i s p o s i c i ó n p e rsigue el recuperar las vistas hacia el parque desde Hampstead The apartments take the form of three separate buildings, three villas in a landscape. Their placement is driven by the desire to re-establish views towards the Lane , g enerando en primer término un nuevo jardín entre la Athlone House y el conjunto de los nuevos apar tamentos al este . Heath from Hampstead Lane. This is achieved by a new garden foreground between Athlone House and the new apartment buildings to the east. L a c o m p o s i c i ó n e n vo l u m e n d e l o s e d i f i c i o s e s f u n c i ó n d e l a t o p o g r a f í a y d e l d e s e o d e r e s p e t a r d e t e r m i n a d o s á r b o l e s d e g r a n p o r te . H a c i a e l n o r t e d e l s o l a r l a a l t u r a d e The three-dimensional composition of the buildings is a consequence of the immediate topography and the desire to retain a number of large tree specimens. c u b i e r t a s s e r e b a j a p a r a r e s p o n d e r a l a a l t u r a d e l o s e d i f i c i o s e x i s t e n t e s y a l a e s c a l a s e m i - r u r a l d e H a m p s t e a d L a n e . L o s v o l ú m e n e s m á s a l t o s q u e d a n a l i n t e r i o r d e l s o l a r, Lower roof heights to the north of the site address heights of the existing buildings and the semi-rural scale of Hampstead Lane. Taller volumes are positioned allí donde comienza la pendiente que conduce al Heath. deeper into the site where the ground slopes away to the Heath.

240

← A l z a d o S u r / South elevation ↓ V i s t a d e s d e A t h l o n e H o u s e / View from Athlone House

E n e l i n t e r i o r, l a d i s t r i b u c i ó n d e l o s a p a r t a m e n t o s e m p l e a u n ú n i c o n ú c l e o p a r a s e r v i r a v a r i a s u n i d a d e s e n c a d a p l a n t a . L o s a c c e s o s a c a d a a p a r t a m e n t o s e r e a l i z a n d e s d e Within the buildings, the arrangement of apartments utilises a single core to serve multiple units on a given floor. Entrances to each apartment are reached by e l v e s t í b u l o q u e r e ú n e a s c e n s o r e s y e s c a l e r a s ; y, a s u v e z , l o s a p a r t a m e n t o s e s t á n o r g a n i z a d o s e n t o r n o a u n h a l l c e n t r a l q u e d a a c c e s o a t o d a s l a s h a b i t a c i o n e s . L a s z o n a s a lobby connected to lifts and stairs. Each apartment is organised around a central hall offering access to all rooms. The living and dining areas are located at de estar y de comedor se sitúan en los ex t r e m o s , e incorporan amplias terrazas en las esquinas. El grueso mu ro de fachada se aprov e ch a e n l o s d o r m i t o r i o s c o m o e s p athe extremities of each building with large terraces situated at the corners of the buildings. The thick wall used for the external facade is employed as either cio para armarios o bien para crear huecos retranqueados de suelo a techo a modo de miradores. storage depth within rooms or to generate deep-set floor-to-ceiling windows that provide balconies for bedrooms.

La forma y figura de los bl o q u e s y l a s d i fe r e n t e s c o n d i c i o n e s d e l o s h u e c o s h a c e n e s c u l t ó r i c a l a d i s p o s i c i ó n . El empleo de sillares finamente labrados como único mateThe form and shape of the buildings and the differing window conditions conceive the overall arrangement as a family of three sculptural blocks. Using fine ashrial pretende subrayar esa cualidad de pieza esculpida. La tipología de gran casa, que se ve reforzada por las chimeneas y los retranqueos de los accesos, enraiza el pro lar stone as a single material, the project aims to establish a carved-out quality. A large house typology furthered by chimney stacks and recessed entrances y e c t o d e n t ro de la tradición doméstica de Hampstead y Highgate . places the project firmly within the context of Hampstead and Highgate's long domestic heritage.

241

A l z a d o E s t e / East6 elevation

A l z a d o N o r te / North elevation ↓ M a q u e t a c o n c e p t u a l / Concept model

P l a n t a t i p o / Typical floor plan

A l z a d o S u r / South elevation

242

S e c c i ó n p o r b l o q u e s N o r te y Este / Section through North and East buildings

S e c c i ó n t r a n s v e rs a l p o r b l o q u e O e s t e / Cross section through West building

A l z a d o O e s t e / West elevation ↓ M a q u e t a d e t r a b a j o / Working model

243

L i a n g z h u C u l t u r a l V i l l a g e, C h i n a / China

B ARRIO RESIDENCIAL DE BA I L U J U N 2003- BAILUJUN RESIDENTIAL DISTRICT

E n t o r n o p a i s a j í s t i c o . C a m p o s d e a r roz / Landscape. Rice fields Planta de ord e n a c i ó n / Overall arrangement

B a i l u j u n e s u n b a r r i o r e s i d e n c i a l d e u n a n uev a c i u d a d , L i a n g z h u C u l t u r a l V i l l a g e, s i t u a d a a d o s h o r a s e n c o c he de Shanghai. E l b a r r i o s e u b i c a e n u n t e r r e n o l l a n o l i m i t a d o Bailujun is a residential district of a new town, Liangzhu Cultural Village, located two hours drive from Shanghai. The district is situated on a plain between a por una cadena de colinas al oeste y por un río al este . El concepto urbanístico se basa en las estructuras residenciales predominantes en China: viviendas en hilera según range of hills in the west and a river in the east. The urban motif of the design is developed from the prevailing residential structures in China of north-south orio r i e n t a c i ó n n o r te-sur y un estilo arq u i t e c t ó n i c o r u r a l s o b r e z ó c a l o s d e p i e d r a . Catorce grupos residenciales, a modo de islas, se disponen de forma libre en el terreno llano ented residential housing rows and the rural style of architecture placed on stone bases. Fourteen islands of residential blocks are located freely on the plain ex i s t e n t e e n t r e l a c a r r e t e r a y l a o r i l l a d e r í o . between the country road and the riverbank. L o s g r u p o s r e s i d e n c i a l e s g i r a n u n o s r e s p e c t o d e o t ros, lo que suscita una serie de espacios públicos que ayudan a integrar el paisaje en el barrio. Cada uno de los gruBy turning the residential blocks slightly from one another, flowing public spaces are created, thus integrating the landscape into the district. Each individual p o s c o n t i e n e o cho edificios de apar tamentos, de tres a cinco plantas, los cu ales fo r m a n u n c o m p l e j o c o h e r e n t e , asentado sobre un zócalo común que g enera áreas veciblock incorporates eight 3-5 storey apartment buildings, forming a coherent complex placed on a common base and creating structured and clearly legible n a l e s l e g i b l e s y b i e n e s t r u c t u r a d a s . C a d a g r u p o d e s a r ro l l a a p ro x i m a d a m e n t e 6 0 a p a r t a m e n t o s . E l z ó c a l o - b a s e d e p i e d r a — q u e i n cl u y e u n g a r a j e c o l e c t i vo y q u e c o n fo r m a neighbourhoods. Each block contains approximately 60 apartments. The stone base, which accommodates a common garage and forms a second, private garu n s e g u n d o n i v e l d e j a r d í n d e c a r á c t e r m á s p r i v a d o — e s i n t e g r a d o e n e l d i s e ñ o p a i s a j í s t i c o . L o s e d i f i c i o s s i t u a d o s e n c i m a e nv u e l v e n u n p a t i o c e n t r a l , l o q u e p e r m i t e a l o s den level is integrated into the designed landscape. The buildings placed on this base form a central courtyard, providing the apartments with an attractive view apar t a m e n t o s d i s f r u t a r d e a t r a c t i vas vistas sobre el jardín y reforzar sus relaciones con la naturaleza. into the leafy garden and reinforcing their relationship with nature. L o s e d i f i c i o s varían en altura y posición respecto al perímetro de la base . Unas g enerosas escalinatas recor tadas en el zócalo de mampostería constituyen el acceso prinThe height of the buildings and their positions on the base vary. Wide open staircases cut into the base, provide the main access and introduce a degree of perc i p a l e i n t r o d u c e n u n c i e r t o g r a d o d e p e r m e a b i l i d a d e n e l g r u p o . To d a s l a s h a b i t a c i o n e s d e l o s a p a r t a m e n t o s d i s p o n e n d e p u e r t a s y p u e r t a s - v e n t a n a s d e s u e l o a t e c h o , l o meability to the block. All rooms in the apartments have storey-high doors and French windows, thus creating flowing spaces within the apartments themselves q u e s e t r a d u c e e n u n f l u i r d e e s p a c i o s , t a n t o e n l o s p r o p i o s a p a r t a m e n t o s c o m o e n t r e e l i n t e r i o r y e l e x t e r i o r. and between the interior and exterior.

244

245

S e c c i ó n A A / Section AA

V i s t a S u r e s t e / Southeastern view

S e c c i ó n B B / Section BB

P l a n t a p r i m e r a / First floor plan

A l z a d o O e s t e / West elevation

246

Planta baja / Ground floor plan

V i s t a N o ro e s t e / Northwestern view

A l z a d o E s t e / East elevation

A l z a d o N o r te / North elevation

P l a n t a t e rcera / Third floor plan

A l z a d o S u r / South elevation

A l z a d o S u r ( p r u e b a d e c o l o r ) / South elevation (colour proof)

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E s t u d i o d e f a c hada) / Facade study

C h i n a / China

MUSEO DE LA CULTURA DE LIANGZHU 2003- LIANGZHU CULTURE MUSEUM

S i t u a c i ó n / Site Cro q u i s c o n c e p t u a l e s / Concept sketches

E l M u s e o d e l a C u l t u r a d e L i a n g z h u e s t á s i t u a d o e n l a l a d e r a d e u n va l l e , e n u n e n t o r n o c a r a c t e r i z a d o p o r l a p r e s e n c i a d e l a g u a . L a c o m p o s i c i ó n e n vo l ú m e n e s d e l M u s e o , Liangzhu Culture Museum is situated on the embankment of the valley plain, characterised by water. The composition of the not perfectly parallel bar-formed c o m o b a r r a s d i s p u e s t a s e n p o s i c i ó n n o d e l t o d o p a r a l e l a , ev o c a l a i m a g e n d e u n p u ñ a d o d e l e z n a s , e l r e c u e r d o d e u n a s h e r r a m i e n t a s h i s t ó r i c a s . L a c u a l i d a d e s c u l t u r a l d e l volumes resembles the image of excavated awls, reminiscent of historic findings. On approaching the museum via the road or on foot through the park valley sereno edificio en la topografía ar tificial se revela al visitante a medida que éste se aproxima al museo bien por carretera o bien a través del parque . Las pers p e c t i vas del landscape, the sculptural quality of the building composed in the artificial topography reveals itself to the visitor. The views framed by the plants and water sure d i f i c i o a l o l a r g o d e l v a l l e , e n m a r c a d a s p o r l a v e g e t a c i ó n y l a s s u p e r f i c i e s d e l a g u a , r e f u e r z a n l a e s t r a t e g i a c o m p o s i t i v a. faces in the longitudinal direction of the valley enhance this compositional approach. L o s vo l ú m e n e s e n c i e r r a n e n s u i n t e r i o r d i s t i n t a s s a l a s d e e x p o s i c i ó n i l u m i n a d a s p o r l u z a r t i f i c i a l , q u e p o r s u l o n g i t u d d e v i e n e n e n u n a s e c c i ó n t r a n s v e r s a l d e e q u i l i b r a d a s The volumes allow for artificially lit exhibition galleries, which due to their length achieve a well-proportioned room cross-section in spite of the large floor space p ro p o rc i o n e s , a pesar del alargado espacio en planta de las salas. Las ex h i b i c i o n e s s i g u e n u n a s e c u e n c i a o bvia gracias a la linealidad de las galerías, las cuales terminan of the halls. An obvious sequence of the exhibits is supported by the linearity of the exhibition galleries. At the end of the linear exhibition galleries a belvedere e n u n m i r a d o r d e s d e e l q u e p o d e r d i s f r u t a r d e l a s v i s t a s d e l p a i s a j e q u e r o d e a a l m u s e o . Po r u n s i s t e m a d e i n v e r s i ó n , l a s v i s t a s s o b r e e l p a r q u e s o n a t r a í d a s h a c i a e l e s p a provides a view of the surrounding landscape. Through a form of inversion, the views through the park are brought into the interior of the museum and provide c i o i n t e r i o r, y c o n e l l o a d j e t i v a n l a i l u m i n a c i ó n a r t i f i c i a l d e l m u s e o c o n s u r e f e r e n c i a a l a n a t u r a l e z a y a l a l u z . the artificially lit museum with a reference to nature and daylight. L a d i s p o s i c i ó n d e l o s vo l ú m e n e s p e r m i t e u n t r a n q u i l o d i s c u r r i r d e s d e l a e n t r a d a : p a s e a r p o r l a s g a l e r í a s y t e r m i n a r e n l a s a l a d e e x p o s i c i o n e s t e m p o r a l e s s i t u a d a j u s t o s o b r e The arrangement of the volumes enables a slow ascent from the entrance via the permanent galleries to the temporary exhibition hall above the entrance area. el área de acceso. Las vistas que se tienen a lo larg o d e l r e c o r r i d o g a n a n p ro g r e s i vamente altura y ex p r e s i v i d a d e s p a c i a l . The views gain height and spatial drama accordingly. Los espacios que discurren entre las largas salas de ex p o s i c i ó n a c t ú a n c o m o p a s i l l o s c o n i l u m i n a c i ó n n a t u r a l . El resultado es una complejidad de posible s rutas individuales The interstitial spaces between the long exhibition halls provide day-lit circulation. In spite of the linearity of the museum, a great complexity of possible india tra v é s d e l mu s e o , i n t e r e s a n t e a p e s a r d e l c a r á c t e r l i n e a l d e s u s e s p a c i o s . L a s f u n c i o n e s a u x i l i a r e s s e l o c a l i z a n e n l a b a s e d e l o s vo l ú m e n e s d e e x p o s i c i ó n ; m i e n t r a s q u e vidual routes is created. The auxiliary functions are situated beneath the exhibition volumes, whilst the park with its island continues the museum programme. el parque con su isla, completa el programa del museo.

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249

A l z a d o O e s t e / West elevation

P l a n t a p r i m e r a / First floor plan

S e c c i ó n l o n g i t u d i n a l B - B / Longitudinal section B-B

Planta baja / Ground floor plan

A l z a d o E s t e / East elevation

250

A l z a d o S u r / South elevation

S e c c i ó n t r a n s v e rs a l A - A / Cross section A-A

A l z a d o N o r te / North elevation

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L i a n g z h u C u l t u r a l V i l l a g e, C h i n a / China

C L U B S O C I A L E N BAMBOO FOREST V I L L AGE 2003- BAMBOO FOREST VILLAGE CLUBHOUSE

S i t u a c i ó n / Site Cro q u i s c o n c e p t u a l / Concept sketch

B a m b o o F o r e s t V i l l a g e e s u n b a r r i o p e r t e n e c i e n t e a u n a c i u d a d d e r e c i e n t e c r e a c i ó n , la V i l l a C u l t u r a l d e L i a n g z h u , c o n s t r u i d a a l s u r e s t e d e C h i n a . L a c i u d a d e s u n n uev o Bamboo Forest Village Clubhouse is located in Bamboo Forest Village, a district of a new town, Liangzhu Cultural Village in the southeast of China. The town asentamiento urbano de zonas residenciales, v acacionales y de ocio. Cada uno de sus barrios disfruta de un lugar de encuentro p ú bl i c o . Esta función la cumple en este is a new development with residential, entertainment and holiday areas. Each district of Liangzhu Cultural Village is marked by a public gathering place, in this barrio el Club Social, que se sitúa a orillas de un pequeño lago, en un entorno de bosque de bambú y rodeado por un parque . Las cualidades del lugar alientan la base del case the Bamboo Village Clubhouse, which is on the bank of a small lake, surrounded by a bamboo forest and a landscaped garden. The qualities of the site d i s e ñ o d e l e d i f i c i o . Las vistas del paisaje natural quedan enmarcadas por los g enerosos huecos practicados en la fachada de piedra natural del cl u b , y e s t o s u s c i t a u n form the basis for the design of the building. Views of the surrounding nature are framed by generous openings in the stone façade of the clubhouse, which tenso contraste a lo largo de las superficies de fachada. C o n u n a e s t r u c t u r a s u p e r f i c i a l s u avemente plegada, el edificio sigue la sinuosa línea del paisaje circ u n d a n t e . provide a contrast to the large wall surfaces. As a lightly folded surface structure, the building follows the softly undulating surrounding landscape. El club social se sitúa en la encrucijada entre un paseo que bordea la ribera y un puente peatonal, y c o n s t i t u ye también un lugar de paseo al aire libre para los habitantes The clubhouse is situated on the crossing point between the riverbank promenade and a footbridge, thus providing a transitory, open space for the inhabitants de la zona. E l i n t e r i o r r e ú n e u n r e s t a u r a n t e , u n a c a f etería/salón de té, salas de e x p o s i c i ó n y s a l ó n d e a c t o s . E n l a e n c r u c i j a d a s e d i v i d e n e s t a s f u n c i o n e s e n t r e s vo l ú m e of the district. The building accommodates a restaurant, a tearoom, café, exhibition rooms and an events room. The crossing point divides these functions into n e s p r i n c i p a l e s , l o q u e p e r m i t e a l p a s e a n t e a t r a v e s a r l i b r e m e n t e e l e d i f i c i o s i n t e n e r q u e e n t r a r e n s u i n t e r i o r. U n a s t e r r a z a s s o b r e e l l a g o y u n o s j a r d i n e s a c u á t i c o s r e f u e r three main volumes and allows the visitor to freely traverse the building without entering the interior volumes. Lakeside terraces and water gardens reinforce zan la idea de ser éste un lugar de reunión alegre y bu l l i c i o s o . the idea of a communicative and lively gathering place.

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S i t u a c i ó n e n e l l a g o / Location on the bank of lake

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S e c c i ó n t r a n s v e rsal C-C / Cross section C-C P l a n t a p r i m e r a / First floor plan

S e c c i ó n l o n g i t u d i n a l D - D / Longitudinal section D-D

S e c c i ó n t r a n s v e rs a l A - A / Cross section A-A

Planta baja / Ground floor plan

A l z a d o S u r / South elevation

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S h a n g a i , C h i n a / Shanghai, China

TORRES RESIDENCIALES EN CENTRAL HUAIHAI R OA D 2002 RESIDENTIAL TOWERS, CENTRAL HUAIHAI ROAD

Central Huaihai Road es una de las calles más populares de Shanghai y de las que tienen un desarro l l o m á s r á p i d o , elocuente de la energía y tremenda velocidad de creCentral Huaihai Road is one of Shanghai's most popular and rapidly developing streets, reflecting the energy and the enormous speed at which the entire cimiento de la ciudad. Situada en el corazón del Barrio Francés, esta calle tiene un saludable mestizaje de equipamientos comerciales y residenciales, c o m p l e m e n t a d o c o n city is currently growing. Located in the heart of the French Quarter the street has a healthy mixture of retail and residential facilities enriched by local s e r v i c i o s l o c a l e s . La razón y el programa de este proy ecto, situado al oeste de Central Huaihai Road y del centro de la ciudad, responde a la creciente demanda que hay amenities. The program of this project, located towards the west of the city centre and Central Huaihai Road is predominantly based on the growing de este tipo de equipamientos. demand of these facilities. Tr e s t o r r e s r e s i d e n c i a l e s s e e l e v a n s o b r e u n a s e r p e n t e a n t e b a s e l i n e a l , l a c u a l r e ú n e u n p r o g r a m a d e t i e n d a s y r e s t a u r a n t e s d e l u j o e n v a r i a s d e s u s p l a n t a s , c o n u n g i m Three residential towers rise from a linear 'snake-like' base, which accommodates luxury retail space and restaurants on several floors with a health and leisure n a s i o y u n c l u b d e o c i o e n l a p l a n t a s u p e r i o r, d o n d e a d e m á s h a b r í a , e n e l e x t e r i o r, j a r d i n e s y p i s c i n a s . E n e l l a d o n o r o e s t e , e l q u e m i r a h a c i a C e n t r a l H u a i h a i R o a d , l a b a s e club occupying the top floor, offering roof gardens and outdoor pools. On the north west side, towards Central Huaihai Road, the linear base forms an open lower l i n e a l d i buja un patio de poca altura, que maximiza la superficie de los escaparates de las tiendas; mientras que en el lado sureste un patio más protegido y de carácter courtyard, maximising exposure of the shop front areas, whilst on the south east side a more protected and private residential courtyard provides exclusive access m á s r e s i d e n c i a l y p r i v a d o f a c i l i t a e l a c c e s o e x c l u s i v o a l a s t o r r e s d e a p a r t a m e n t o s . E l p l a n e a m i e n t o t a m b i é n p e r m i t e u n t e a t r o d e v a r i e d a d e s a l s u r d e l s o l a r. to the residential towers. The masterplan also identifies the size and location of a music hall towards the south. L a s t o r r e s p r e s e n t a n t r e s d i f e r e n t e s t i p o s d e a p a r t a m e n t o s — d e 1 5 0 , 3 0 0 y 5 0 0 m 2—, d i s p u e s t o s d e t a l m o d o q u e s ó l o h a b r í a u n a c c e s o a l o s m i s m o s p o r p l a n t a . To d o s l o s The towers house three different apartment types of 150m 2, 300m 2 and 500m 2 area, which are arranged in such a way that there will only be one entrance per a p a r t a m e n t o s e s t á n c o m p l e t a m e n t e a c r i s t a l a d o s , y s e a b r e n a u n e l e m e n t o q u e f u n c i o n a c o m o j a r d í n d e i nv i e r n o . U n a s p e r s i a n a s d e v i d r i o h o r i z o n t a l e s y a j u s t a b l e s , c o n floor. All apartments are fully glazed and open on to a wintergarden space. Horizontal adjustable glass louvers with a semi-transparent print pattern provide u n m o d e l o i m p r e s o s e m i t r a n s p a r e n t e , o t o r g a n p r i v a c i d a d y r e c o g i m i e n t o a l j a r d í n d e i nv i e r n o , a l t i e m p o q u e e n m a r c a n l a s e s p e c t a c u l a r e s v i s t a s d e l s k y l i n e d e S h a n g h a i . shelter and privacy for the wintergarden, whilst still allowing encompassing views onto Shanghai's spectacular skyline. This glass skin wraps in subtle variaE s t a p i e l d e v i d r i o e nv u e l v e c o n s u t i l e s v a r i a c i o n e s t o d o e l c o n j u n t o , s u b r a y a n d o e l c a r á c t e r e s c u l t ó r i c o d e l p r o y e c t o . tions around the entire ensemble, emphasising the sculptural character of the project.

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E s q u e m a d e s e c c i ó n / Section diagram

↓ P l a n t a p r i m e r a / First floor plan ↓↓ P l a n t a b a j a / Ground floor plan

Dia g r a m a s o l a r y p l a n t a t i p o d e v i v i e n d a s Sun diagram and typical floor plan

P l a n t a c u a r ta / Fourth floor plan

P l a n t a t e rcera / Third floor plan

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E s t u d i o d e l r ev e s t i m i e n t o d e f a c hada / Facade detail study

A l z a d o / Elevation

Detalle de fac hada / Facade detail

E s q u e m a d e s e c c i ó n t i p o l ó g i c a / Section diagram

T i p o l o g í a d e p l a n t a s / Plan layout

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APARTAMENTO 1 / APPARTMENT TYPE 1

APARTAMENTO 2 / APPARTMENT TYPE 2

APARTAMENTO 3 / APPARTMENT TYPE 3

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M é x i c o [ C o n c u r s o . Te r c e r P r e m i o ] / Mexico [Competition. Third Prize]

B I B L I OTECA JOSÉ VASCONCELOS 2003 JOSÉ VASCONCELOS LIBRARY

Cro q u i s c o n c e p t u a l e s / Concept sketches S i t u a c i ó n / Site

El proy ecto establece cuáles deben ser las aspiraciones contemporáneas de una bibl i o t e c a p ú blica, al tiempo que favorece la accesibilidad y se ocupa de las habituales The project for the new José Vasconcelos Library sets new ambitions for a public library. The proposal is founded upon the promotion of accessibility, whilst also c u e s t i o n e s r e l a c i o n a d a s c o n e l c o n t rol y la seguridad. C o m o i n s t i t u c i ó n q u e h a b i t u a l m e n t e s o p o r ta una imag en elitista, l a i m p o r tancia de la nuev a biblioteca queda garanaddressing the normal concerns of control and security. As an institution that normally suffers from an image of elitism, the importance of the new library is t i z a d a p o r e l d e s e o d e c r e a r u n l u g a r y u n d e s t i n o p ú b l i c o y p o r a t r a e r a l p ú b l i c o a t r a v é s d e s u u m b r a l . Pa r a a c t u a r c o m o c a t a l i z a d o r p ú b l i c o , s o c i a l y e d u c a t i v o , l a b i b l i o guaranteed by the desire to create a public place and destination and to bring the public across the threshold into it. To act as a public, social and educational t e c a d e b e a s p i r a r a u n n i v e l s i g n i f i c a t i vo de aper t u r a y a c c e s i b i l i d a d , a s i g n a n d o a l e d i f i c i o u n a cl a r a m i s i ó n . catalyst the library must aim for a level of openness and accessibility, giving the building a clear mandate. La relación de la biblioteca con la ciudad —y no sólo la del objeto en sí mismo, el edificio, sino también su diseño y consideración del espacio público— establece la idenThe library's relationship with the city, not just that of the object itself (the building) but also the design and consideration of its public space, defines its ident i d a d d e a q u é l l a c o m o e d i f i c i o p ú bl i c o . En sus límites no se pro d u c e u n e n c u e n t ro brusco entre el espacio público —el caos— y la seguridad y el contro l p ropios de esta tity as a public building. The boundary at the edge of the building is not one of public space and chaos meeting the security and control of the public institution, i n s t i t u c i ó n p ú bl i c a ; a l c o n t r a r i o , c o n s u d i s eñ o s e p rocura difuminar ese umbral entre 'ex t e r i o r ' e ' i n t e r i o r ' . rather the design looks to disperse this threshold by graduating the definition of 'outside' and 'inside'. Ha y d o s d i s p o s i t i vo s q u e c a r a c t e r i z a n d i c h a e s t r a t e g i a . E n p r i m e r l u g a r, l a t e r r a z a d e l a b i b l i o t e c a — q u e f o r m a u n a e s p e c i e d e f r e n t e s e m i - p ú b l i c o — p e r m i t e q u e é s t a s e Two devices characterize this strategy; firstly the library terrace, forming a sort of semi-public frontage, allows the library to spill outside into this protected pubd e r r a m e h a c i a a f u e r a a t r a v é s d e e s t e e s p a c i o p ú b l i c o p r o t e g i d o , o r i g i n a n d o z o n a s d e a c c e s o d e c a r á c t e r i n f o r m a l c o n v i s t a s a l a p l a z a . E n s e g u n d o l u g a r, u n a e s p i n a c e n t r a l lic space and creates informal areas and access overlooking the public square; secondly the creation of a central zone that runs the length of the building. This con carácter de 'calle' —pública en la mayo r p a r te de la planta baja— recorre longitudinalmente el edificio, c r e a n d o u n n ú cl e o i n fo r m a l e n c a d a u n o d e l o s n i v e l e s y o f r e c i e n d o zone, mostly public at ground level and forming the library 'street', creates an informal heart of the building at each level, offering a casual atmosphere of situ n a a t m ó s f e r a d i s t e n d i d a p a r a s e n t a r s e , p a s e a r e i n t e r a c t u a r. E s t a z o n a c e n t r a l q u e d a f l a n q u e a d a , e n s u s l a d o s e s t e y o e s t e , p o r l a s á r e a s d e e s t u d i o y a l m a c e n a m i e n t o . ting, browsing and interacting. This central zone is flanked on the west and east sides by the collections and study areas. L a c a r a c t e r í s t i c a f u n d a m e n t a l d e l a p ro p u e s t a e s s u r e p r e s e n t a c i ó n vo l u m é t r i c a , q u e a t i e n d e a l m i s m o t i e m p o a l a g r a n e s c a l a d e l a b i b l i o t e c a y a l a vo l u n t a d p o r m a t i A fundamental characteristic of the proposal is its volumetric representation. The proposal presents at the same time the large scale of the library and the zarla. L a c o m p o s i c i ó n d e l a b i bl i o t e c a a c t ú a c o m o m e d i a d o r a e n t r e e l i n d i v i d u o y l a c i u d a d . Así resuelve la aparente contradicción de la escala gracias a su ar t i c u l a c i ó n intention to break down this scale. The composition of the library mediates between the individual and the city, resolving this apparent contradiction of scale en mu c h o s vo l ú m e n e s d e m e n o r t a m a ñ o . D e e s a m a n e r a e l e d i f i c i o s e mu e s t r a c o m o u n a e s t r u c t u r a a b i e r t a q u e c u e s t i o n a l a n a t u r a l e z a m o n o l í t i c a a s o c i a d a a l a m ay o r by breaking down the library into many smaller volumes. In this manner the building presents itself as a more open structure, questioning the monolithic parte de las instituciones. nature of most institutions.

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P l a n t a s e g u n d a / Second floor plan

P l a n t a p r i m e r a / First floor plan

S e c c i ó n l o n g i t u d i n a l p o r c a l l e i n t e r i o r / Longitudinal section through interior street

Planta baja / Ground floor plan

A l z a d o O e s t e / West elevation

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P l a n t a t e rcera / Third floor plan

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P l a n t a c u a r ta / Fourth floor plan

P l a n t a q u i n t a / Fifth floor plan

L A ' C A L L E D E L A B I B L I OT E C A ' THE 'LIBRARY STREET' Las colecciones de la biblioteca se disponen sobre la planta baja —que se destina a las The library collections are situated above the ground level— which is given over f u n c i o n e s ' p ú blicas'—. El visitante accede a la 'calle' de la biblioteca, una especie de to 'public' functions. The visitor arrives at the library 'street', a sort of linear v e s t í bulo lineal que se extiende a lo larg o d e t o d o e l e d i f i c i o , y que conduce a las áreas lobby stretching the entire lenght of the building and follows this street to the d e i n fo r m a c i ó n o a l a s z o n a s d e c i rc u l a c i ó n v e r t i c a l . L a c a l l e s e c o n c i b e c o m o u n a v i s i ó n appropriate information area or vertical circulation. The street is envisaged as g eneral de las actividades de la bibl i o t e c a , y a c o g e ex p o s i t o r e s , m o s t r a d o r e s d e i n fo r an overview of the library's activities. Display, information desks and informal m a c i ó n y z o n a s i n formales de lectura. L o s vacíos y las escaleras abren las vistas a las reading areas inhabit this street. Voids and stairs open vistas to the public activactividades públicas que tienen lugar en la planta baja y a las plantas de biblioteca situaities on the ground level and to the library levels above. The street establishes das sobre ésta. La calle establece la organización del edificio como un equilibrio entre the organization of the library as a balance between vertical and horizontal cirl a c i rc u l a c i ó n v e r t i c a l y l a h o r i z o n t a l , entre la grandiosidad y la escala monumental de la culation and between the grand vision and magnificence of the institution with institución y la creación de un lugar íntimo y humano para el estudio y la lectura. the creation of a humane and intimate place to study and read.

Planta sex t a / Sixth floor plan

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P l a n t a á t i c o / Attic floor plan

R e i n o U n i d o [ C o n c u r s o . S e g u n d o P r e m i o ] / United Kingdom [Competition. Second Prize]

CENTR O D E A R TES VISUA L E S D E C O L C H E S T E R 2004 COLCHESTER VISUAL ARTS CENTRE

S i t u a c i ó n / Site Maqueta y cro q u i s c o n c e p t u a l e s Model and concept sketches

E l s o l a r d e l c o n c u r s o e s t á e n e l c o r a z ó n d e C o l c h e s t e r, u n a a n t i g u a c i u d a d r o m a n a s i t u a d a u n o s o c h e n t a k i l ó m e t r o s a l n o r e s t e d e L o n d r e s . E l p r o g r a m a e r a e l d e u n C e n t r o The competition site is at the heart of the ancient Roman town of Colchester, fifty miles northeast of London. The brief was for a Visual Arts Centre to house de Ar tes Visuales capaz de albergar galerías de exposiciones temporales para diversos medios, una galería permanente para exhibir una colección de ar te contemporáneo temporary galleries for a variety of media, a permanent gallery for a collection of contemporary Latin American art and facilities for educational and coml a t i n o a m e r i c a n o y d i v e rs a s i n s t a l a c i o n e s p a r a f u n c i o n e s e d u c a t i vas y comu n i t a r i a s . munity functions. L o s e s p a c i o s p a r a e l a r t e o c u p a n u n a s e r i e d e vo l ú m e n e s s ó l i d o s d e n t ro d e u n a c a j a d e v i d r i o , m i e n t r a s q u e e l r e s t o d e l a s a c t i v i d a d e s s o c i a l e s y c u l t u r a l e s s e d i s p o n e n A series of art spaces are housed in a collection of solid volumes inside a glass box. All other social an cultural activities are to be found between these intere n l o s i n t e r s t i c i o s q u e q u e d a n e n t r e a q u é l l o s y l a p i e l d e l e d i f i c i o . E l a r t e q u e d a ' p r o t e g i d o ' y l a s a c t i v i d a d e s v i s i b l e s . E l e d i f i c i o s e e l e v a s o b r e l a s r u i n a s r o m a n a s d e l s o l a r, nal volumes and the skin of the building. The art is 'protected' and the activity visible. The building hovers over Roman ruins that exist on the site, with parts of si bien par te de estas ruinas queda desvelada y mostrada en el vestíbu l o p ú bl i c o . the ruins revealed and presented within the public foyer spaces. Los principales espacios se sitúan en el corazón del edificio, en la primera planta, y las Galerías Latinoamericanas en la segunda planta. Las galerías tendrían grandes hueThe main presentation spaces are located at the heart of the building on the first floor and the Latin American Galleries on the second. The galleries will have cos que permitirían la entrada de luz natural en los espacios de ex p o s i c i ó n d u r a n t e a q u e l l o s a c t o s e n l o s q u e l a l u z e s d e s e a ble . Las salas tienen una altura de cinco metro s , large windows to allow daylight into exhibition spaces for those events where daylight is desirable. The spaces are five metres tall, and can be configured as a y pueden ar t i c u l a rse como una serie de galerías interc o n e c t a d a s o c o m o g r a n d e s e s p a c i o s a b i e r tos dependiendo de la naturaleza de las ex p o s i c i o n e s . series of interconnecting rooms or as larger more open spaces depending on the nature of the exhibits. E n l a p a r t e s u p e r i o r d e l e d i f i c i o s e s i t ú a u n e s p a c i o p a r a e x p o s i c i o n e s t e m p o r a l e s , c o n v i s t a s s o b r e l a c i u d a d d e C o l c h e s t e r, q u e s e c o n c i b e c o m o u n a c a j a d e v i d r i o q u e e n f r e n t a At the top of the building, a temporary exhibition space is located with views across Colchester. This space is envisaged as a glass box that confronts the artist al ar tista con temas como el de la aper tura y el retraimiento. with issues of openness and enclosure. L a f o r m a y l a u b i c a c i ó n d e l e d i f i c i o p e r m i t e c r e a r y c o n f o r m a r u n a n u e v a p l a z a p ú b l i c a . S e i nv i t a a l o s v i s i t a n t e s a a c c e d e r d e s d e t o d o s l o s l a d o s d e l a p l a z a , y a q u e e n The form and placement of building creates and encloses a new public square. Visitors are encouraged to enter from all sides with the ground floor being perplanta baja el edificio es permeable , v i s i ble y dinámico. El espacio público que se g enera desde el exterior continúa a través del edificio. meable, visible and animated. The public space extends from outside the building and is continued throughout.

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V i s t a d e s d e l a n uev a p l a z a p ú b l i c a / View from the new main square

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S e c c i o n e s t r a n s v e rs a l e s / Cross sections

A c c e s o p r i n c i p a l / Main entrance

Ve s t í bu l o c e n t r a l / Main foyer

S e c c i o n e s l o n g i t u d i n a l e s / Longitudinal sections

A l z a d o O e s t e / West elevation

Planta baja Ground floor plan

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A l z a d o E s t e / East elevation

Planta primera First floor plan

Planta segunda Second floor plan

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C h i n a / China

CENTR O MULTIMEDIA DE LA UNIVERSIDAD DE HONG KONG 2003 CITY UNIVERSITY OF HONG KONG MULTI MEDIA BUILDING

S i t u a c i ó n , m a q u e t a c o n c e p t u a l y c ro q u i s Site, concept model and sketch

L a p r o p u e s t a d e l C e n t r o M u l t i m e d i a d e l a U n i v e r s i d a d d e H o n g Ko n g s i m b o l i z a u n n u e v o t i p o d e a m b i e n t e , a b i e r t o y c o l e c t i vo , p o s i b l e g r a c i a s l a m i n i a t u r i z a c i ó n y a l a p o r The proposal for the Multi-Media building for the City University of Hong Kong represents a new type of open and social environment that has been made post a b i l i d a d d e l a t e c n o l o g í a d i g i t a l . E l p ro g r a m a d e l e d i f i c i o c o m b i n a a c t i v i d a d e s p a r a l a c o mu n i d a d a c a d é m i c a — l a E s c u e l a d e M e d i o s C r e a t i vo s y e l D e p a r t a m e n t o d e I n g e n i e r í a sible by the miniaturisation and portability of digital technology. The building's programme combines the activities of the academic community, the School of Creative I n formática— un Museo Digital y de los Medios, y u n a u d i t o r i o — . La org a n i z a c i ó n i n t e r i o r d e l e d i f i c i o g enera áreas de circ u l a c i ó n y d e e n c u e n t ro de g enero s a s p ro p o rc i o Media and the Computer Engineering Department, a Digital and Media Museum and an auditorium. The interior organisation of the building provides generous n e s : l u g a r e s d o n d e l o s e s t u d i a n t e s , l o s e m p l e a d o s y e l p ú b l i c o p u e d e n i n t e r c a m b i a r i d e a s y s e n t i r s e p a r t e d e u n a c o m u n i d a d c r e a t i v a. circulation, places where students, staff and the public can exchange ideas and feel part of a creative community. La forma del edificio está inspirada tanto en su ubicación, en lo alto de una colina, como en esos grandes bl o q u e s m o n o l í t i c o s d e roca tan comunes en las montañas de The building form is inspired by its hilltop location and the existence of large monolithic stone blocks of the surrounding mountains. The building is the amalgaa l r e d e d o r. E l e d i f i c i o e s l a a m a l g a m a d e c u a t r o v o l ú m e n e s a m o d o d e r o c a s . E l p r i m e r o c o n t i e n e u n a s e r i e d e e s p a c i o s d e a p o y o y s i r v e d e m u r o d e c o n t e n c i ó n c o n t r a l a mation of four rock-like volumes. The first contains a series of support spaces and acts as a retaining wall against the steep adjacent hillside. The other volp e n d i e n t e s i t u a d a t r a s a é l . L o s d e m á s vo l ú m e n e s e s t á n d i s p u e s t o s y e s c u l p i d o s d e m a n e r a q u e s e a n c a p a c e s d e i n c o r p o r a r e l r e s t o d e e s p a c i o s , e n t r e l o s q u e s e i n cl u umes are arranged and sculpted to house the remaining accommodation, which includes the 'black box' spaces, and form the internal hub and circulation spaces. y e n l o s e s p a c i o s d e c á m a r a o s c u r a , ar t i c u l a r l a c o n e x i ó n i n t e r i o r y l a s z o n a s d e c i rc u l a c i ó n . L o s e s p a c i o s i n t e r s t i c i a l e s e n t r e l o s vo l ú m e n e s d e v i e n e n a c c e s o s , t a n t o p a r a The gaps at the intersections of the volumes create the entrances for both students and public. The facades of the building volumes reflect the nature of the l o s e s t u d i a n t e s c o m o p a r a e l p ú b l i c o . L a s f a c h a d a s d e l o s vo l ú m e n e s r e f l e j a n l a n a t u r a l e z a d e l a a c t i v i d a d d i g i t a l q u e s e d e s a r ro l l a e n e l i n t e r i o r d e s u s p a r e d e s . L o s p a n e activity within its walls. Panels of glass vary in opacity according to the requirements of the space behind. The overall sculptural form of the building seeks to les de vidrio varían en opacidad según los requerimientos del espacio situado detrás. La fo r m a e s c u l t ó r i c a g l o b a l d e l c o n j u n t o p r et e n d e h a c e rse eco de las fo r m a c i o n e s echo the dominant rock formations of the surrounding landscape while its animated skin reflects the contemporary digital culture of Hong Kong. r o c o s a s q u e d o m i n a n e l p a i s a j e d e l e n t o r n o , m i e n t r a s q u e s u a n i m a d a p i e l e s r e f l e j o d e l a c u l t u r a d i g i t a l c o n t e m p o r á n e a d e H o n g Ko n g .

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V i s t a d e H o n g Ko n g y Ko w l o o n / View of Hong Kong and Kowloon

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Planta nivel 32.00 m Floor level 32.00 m

Planta nivel 12.00 m Floor level 12.00 m

Planta nivel 06.00 m Floor level 06.00 m

Planta nivel 24.00 m Floor level 24.00 m

Planta nivel 16.00 m Floor level 16.00 m

Ve s t í bu l o c e n t r a l / Main foyer

Planta baja (00.00 m) Ground floor level (00.00 m)

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A l z a d o l a t e r a l O e s t e / West side elevation

A l z a d o l a t e r a l E s t e / East side elevation

A l z a d o f ro n t a l ( S u r ) / Front elevation (South)

S e c c i ó n t r a n s v e rs a l p o r c u e r p o c e n t r a l / Cross section through central volume

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S e c c i ó n l o n g i t u d i n a l p o r p a t i o s u p e r i o r / Longitudinal section through upper courtyard

Wa k e f i e l d , R e i n o U n i d o [ C o n c u r s o . P r i m e r P r e m i o ] / United Kingdom [Competition. First Prize]

MUSEO HEPW OR TH 2003- THE HEPWORTH GALLERY

P l a n o d e s i t u a c i ó n / Site plan Cro q u i s c o n c e p t u a l e s / Concept sketches

E l o b j e t i v o d e l c o n c u r s o e r a l a a m p l i a c i ó n y r e u b i c a c i ó n d e l M u s e o d e A r t e d e Wa k e f i e l d e n u n s i g n i f i c a t i v o m e a n d r o d e l R í o C a l d e r e n l a e n t r a d a s u r d e l a c i u d a d . L a a c t u a l The competition dealt with the relocation and expansion of the Wakefield City Art Gallery to the headland of the River Calder at the southern gateway to the colección del Museo —ubicado en una mansión de estilo victoriano tardío— que comprende obras de impor tantes ar t i s t a s b r i t á n i c o s y e u ropeos —a las que se sumará la City. The Gallery's existing collection contains major British and European artists and will additionally house the gift of thirty plasterworks by the locally born donación de treinta esculturas de escayola de la ar tista local Barbara Hepwo r th— se exhibe en una serie de pequeñas salas domésticas, l a s c u a l e s c o n s t i t u yero n e l p u n t o Barbara Hepworth. The existing Gallery, housed in a late-Victorian townhouse, contains a series of small domestic rooms for the collection that provided the d e p a r t i d a p a r a n u e s t r a s i nv e s t i g a c i o n e s . starting point for our investigations. Pa r a l a n u e v a s e d e s e p l a n t e a u n a s e r i e d e s a l a s i n t e r c o n e c t a d a s d e e s c a l a r e d u c i d a , d e s a r r o l l a d a s e n s e c u e n c i a y c o m p l e m e n t a d a s c o n e s p a c i o s p ú b l i c o s a u x i l i a r e s . The desire to establish a new home for the collection led to the proposal of an internal sequence of small-scaled interconnected rooms for the collection and Pe s e a t e n e r u n c a r á c t e r u n i f o r m e , e s t a s s a l a s d i f e r i r á n e n c u a n t o a p r o p o r c i o n e s y u b i c a c i ó n d e h u e c o s : c l a r a b o y a s p a r a l a l u z n a t u r a l y v e n t a n a s l a t e r a l e s p a r a l a s ancillary public spaces. While maintaining a consistent character, these rooms would differ in their proportion and location of openings; roof lights for natural vistas y orientación. light and side windows to provide views and orientation to the outside. S u u b i c a c i ó n j u n t o a l r í o y e l c a r á c t e r i n d u s t r i a l d e l a z o n a c u a l i f i c a n e l c o n t e x t o d e l n u e v o M u s e o . L a s v i e j a s i n d u s t r i a s t e x t i l e s y d e c e r e a l e s d e Wa k e f i e l d h a n i d o d e j a n d o The River setting and surrounding industrial character provides the context for the new Gallery. The former cloth and grain industries of Wakefield have left a paso a lo largo del río a una serie de edificios de menor escala. En respuesta a esta localización y escala constructiva la organización del edificio se ar ticula en una serie number of finely scaled and positioned buildings along the water's edge. The response to this urban setting reflects this built scale by organising the building de componentes pequeños, los cuales atienden a las condiciones contextuales del nuevo Museo. into a series of smaller components that could respond to different conditions around the new Gallery. La integración de estas solicitaciones externas e internas deviene un conglomerado de objetos. La precisa ag r u p a c i ó n d e e s t o s bloques trapezoidales redefine la nuev a The integration of these internal and external ideas resulted in a conglomeration of objects. The precise grouping of these trapezoidal blocks establish a reder i b e r a e n e s t e t r a m o d e l r í o m i e n t r a s p r o p o n e u n a f a c h a d a m á s o r t o g o n a l h a c i a l o s e d i f i c i o s e m p l a z a d o s a l s u r. L a s c u b i e r t a s i n c l i n a d a s y s u s d i f e r e n t e s a l t u r a s a r t i c u l a n fined bank along the River's informal edge while generating a more orthogonal façade opposite neighbouring buildings to the south. Sloped roofs and different l o s b l o q u e s i n d i v i d u a l e s , v a r i a n d o e l p e r f i l d e c u b i e r t a d e l n ue v o M u s e o e n f u n c i ó n d e s u vo l u n t a d d e c a p t a c i ó n d e l u z n a t u r a l h a c i a e l i n t e r i o r d e l a s s a l a s . heights articulate the individual blocks while manipulating the new Gallery's combined roofline to funnel natural light back to the galleries inside.

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↑ E s t u d i o s d e a l z a d o / Elevation studies ↓ Planta de ex p o s i c i ó n y s e c c i ó n l o n g i t u d i n a l p o r s a l a s / Exhibition level plan and lon gitudinal section through halls

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V i l a n o v a i l a G e l t r ú , B a r c e l o n a , E s p a ñ a / Spain

VIVIENDAS EN V I L A N OVA 2003- VILANOVA APARTMENTS

IN ASSOCIATION WITH B720 ARQUITECTURA

← S i t u a c i ó n / Site ↓ Esquema de los diferentes tipos de huecos de fachada Diagram showing different types of facade openings

E s t o s c u a t ro e d i f i c i o s d e a p a r tamentos en V i l a n ov a i la Geltrú ocupan uno de los frentes de la nuev a Plaza Mediterránea y par te de la Calle Ferrer i Vidal. Ateniéndose a la com The design for the apartment buildings at Vilanova I la Geltru consists of four buildings running from the newly created Placa Mediterrania to Carrer de Ferrer p o s i c i ó n v o l u m é t r i c a d i c t a d a p o r e l p l a n g e n e r a l , u n m u r o d e 9 0 c e n t í m e t r o s d e e s p e s o r u n i f i c a l o s c u a t r o e l e m e n t o s d e l c o n j u n t o , e nv o l v i e n d o l a s f a c h a d a s a l a c a l l e . E s t e I Vidal. Following a given volumetric composition as prescribed by the master plan, a 90 cm thick 'wall' unites the four components and gives a strong archi' mu ro ' s e c o n s t r u ye con paneles prefabricados de hormigón de gran tamaño, e n t r e s t o n o s d i s t i n t o s y c o l o c a d o s c o m o bl o q u e s u n o s o b r e o t ro, lo que les confie re una potente tectural expression. The 'wall' is composed of pre-cast concrete panels in three tones, utilised as large building blocks placed upon one another and createx p r e s i ó n t e c t ó n i c a . E l ' m u r o ' s e p e r f o r a c o n h u e c o s d e d i f e r e n t e s t a m a ñ o s : e n a l g u n a s z o n a s e l v i d r i o s e e n r a s a a l a f a c h a d a p a r a c o n v e r t i r s e e n v e n t a n a , y e n o t r a s , e l ing a tectonic language. The 'wall' is punctuated by openings of various sizes— in some places the glass is flush to provide windows, in others it is recessed vidrio se retranquea para subrayar un vacío. Allí donde las salas de los diferentes apar tamentos vuelcan sobre espacios abier t o s , los elementos de hormigón se adelanto create loggias, and where the buildings face open space the concrete elements project to form balconies. The composition of the building blocks and opentan para formar balcones. La composición de los edifici os y de los huecos se traduce en un juego de vuelos y retranqueos, de luces y sombras. ings establishes a play of projection, creating light and shadow. Co mo p a r te del Plan General del Espai Pirelli , l o s e d i f i c i o s s e s i t ú a n e n u n a p o s i c i ó n e s t r a t é g i c a e n t r e l a nuev a Plaza Mediterránea y el casco antiguo. El 'mu ro' recorre el perí As part of the Masterplan for the Espai Pirelli , the buildings are at a pivotal position between the new Placa Mediterrania and the old town. The 'wall' follows the m e t ro del emplazamiento, a c t u a n d o c o m o m e d i a d o r e n t r e l a r e t í c u l a or togonal que dicta el Plan General y el carácter más frag m e n t a r i o d e l t e j i d o c o n s t r u i d o ex i s t e n t e . perimeter of the site, and mediates between the orthogonal arrangement of the Masterplan and the more fragmented nature of the existing built fabric. Do s d e l o s c u a t ro e d i f i c i o s , con una calle entre ellos, vuelcan hacia la plaza y contribu yen a conformar este nuevo espacio. L o s bl o q u e s d e h o r m i g ó n y l o s g r a n d e s h u e c o s Two of the buildings face the Placa Mediterrania, giving enclosure to the space, with an entrance between them. The concrete blocks and large openings give a confieren a la plaza sentido de escala y pro p o rc i ó n . En un extremo más alejado, d o s e d i f i c i o s s e r e t r a n q u e a n p a r a c r e a r u n nuevo acceso a esta zona desde el casco antiguo. sense of scale and proportion to the Placa. At the far end, two buildings are set back to create an entrance from the old town into the new area.

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P l a n t a t i p o , s e c c i ó n l o n g i t u d i n a l y a l z a d o a l a p l a z a / Typical floor plan, longitudinal section and square elevation

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DETALLES DE LOS HUECOS DE FACHADA FACADE OPENINGS DETAILS

1. H u e c o v i d r i o e n r a s a d o Flush glass opening

S e c c i o n e s h o r i z o n t a l e s / Horizontal sections

S e c c i ó n v e r t i c a l / Vertical section

2. H u e c o v i d r i o r e t r a n q u e a d o Recessed glass opening

S e c c i ó n h o r i z o n t a l / Horizontal section

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S e c c i ó n v e r t i c a l / Vertical section

3. H u e c o b a l c ó n Recessed balcony

S e c c i ó n h o r i z o n t a l / Horizontal section

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S e c c i ó n v e r t i c a l / Vertical section

L o n d r e s , R e i n o U n i d o / London, United Kingdom

A PA R TAMENTO EN POR T L A N D P L ACE 2004 APARTMENT ON PORTLAND PLACE

S i t u a c i ó n / Site Cro q u i s c o n c e p t u a l e s / Concept sketches

E l a p a r t a m e n t o r e s u l t a d e l a a d a p t a c i ó n p a r a v i v i e n d a s d e u n a c a s a - m a n s i ó n d e p r i n c i p i o s d e l s i g l o X X s i t u a d a e n Po r t l a n d P l a c e . L a p i e z a o b l o n g a q u e c o n s t i t u y e l a v i v i e n d a This family home is a converted apartment in an early 20th century mansion block on Portland Place in London. The oblong shape of the existing footprint receives recibe abu n d a n t e l u z n a t u r a l d e s d e l o s p a t i o s i n t e r i o r e s y ex t e r i o r e s . El acceso se sitúa justo en el centro de la alargada planta, y establece una cl a r a d i v i s i ó n e n t r e l a s d e p e n ample daylight provided by light wells and courtyards. The entrance is situated in the middle of this elongated plan and demarcates a clear division between the d e n c i a s p r i v a d a s y l a s c o l e c t i v as. To d o s l o s e s p a c i o s p r i n c i p a l e s r e s u l t a n d e l a o r g a n i z a c i ó n d e u n a s e r i e d e e l e m e n t o s a r q u i t e c t ó n i c o s e n c a j a d o s u n o s e n o t r o s . L a z o n a c o l e c private and the communal quarters. All of the main spaces are organised by a series of architectural elements of built-in joinery. The communal area features t i v a i n c o r p o r a u n a s e c u e n c i a d e e s t a n t e r í a s d e v i d r i o q u e d i v i d e n l a s z o n a s d e e s t a r, c o m e d o r, c o c i n a y e s t u d i o , y q u e a l m i s m o t i e m p o u n i f i c a n t e m á t i c a m e n t e e s t o s e s p a a sequence of glass cabinets, which divide seating, dining, cooking and study areas, yet it unifies the spaces thematically. These glass cases act as wall and c i o s . E s t a s v i t r i n a s a c t ú a n s i mu l t á n e a m e n t e c o m o t a b i q u e s y c o m o e s p a c i o s d e a l m a c e n a m i e n t o , y a l m i s m o t i e m p o s u n a t u r a l e z a t r a n s p a r e n t e p e r m i t e l a c o mu n i c a c i ó n v i s u a l storage space simultaneously, while their transparent nature allows for visual communication between the kitchen and all other areas. Moreover, they encapentre la cocina y el resto de las zonas. Además, en ellas se encierra par te de la estructura del edificio, y s u c o n f i g u r a c i ó n g eométrica consigue dotar a las salas de unas fo r sulate part of the building structure while their geometric configuration forges simple volumetric room shapes out of an irregular floor plan. All of the private m a s vo l u m é t r i c a s s i m p l e s o b t e n i d a s a p a r t i r d e u n a p l a n t a i r r e g u l a r. To d a s l a s á r e a s p r i v a d a s c o n t i e n e n e l e m e n t o s e m p o t r a d o s q u e f u n c i o n a n c o m o b a ñ o s , c a m a s o a r m a r i o s . areas have built-in elements, providing bathroom, bed and storage spaces. E l s u e l o d e l a p a r t a m e n t o s e h a u n i f i c a d o c o n u n a t a r i m a d e r o b l e e nv e j e c i d o a l h u m o q u e p e r m i t e e s t a b l e c e r u n c o n t í n u u m e s p a c i a l . L a s e n c i m e r a s y l a s i s l a s d e l a c o c i n a The entire apartment has been covered with a fumed oak floor, enabling a spatial continuum. Kitchen surfaces and islands are made of white corian, lending son de Corian de color blanco, lo que les da una textura monolítica. La vitrina se realiza mediante una estructura de aluminio lacado que se recubre con vidrio transpathem a monolithic feel. The display cabinet consists of a powder-coated aluminium structure covered with clear glass. The sanitary and kitchenware has been r e n t e . L o s e l e m e n t o s s a n i t a r i o s y d e c o c i n a h a n s i d o e s c o g i d o s d e e n t r e l a g a m a W h i t e a n d S i l v e r, d i s e ñ a d a p o r D a v i d C h i p p e r f i e l d A r c h i t e c t s . selected from the White and Silver range designed by David Chipperfield Architects. El concepto fundamental del proy ecto es la organización de la vida cotidiana de una familia nu m e rosa, r e s p e t a n d o u n o rden aparente aunque sin recurrir al recurs o m i n iThe overriding concept of the project is to organise the domestic daily life of a large family into an apparent order without resorting to the minimalist device of malista de la ocultación. Más bien, el objeto y las actividades de la vida cotidiana son exaltados y dotados de un lugar pro p i o d e n t ro de los límites impuestos por una reduconcealment. Rather the object and activities of daily living are celebrated and given their place within the discipline of a reduced architectural strategy. cida estrategia arq u i t e c t ó n i c a .

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P l a n t a g eneral / Overall plan

P l a n t a d e z o n a c o l e c t i va / Plan of communal area

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