mediathek
thesis project
media
digital
interactive
center
library
museum
a projection of space
in reality and virtuality
by Andrea Schwappach
1
a projection of space
in reality and virtuality
T h e s i s submitted to the faculty of
Virginia Polytechnic Institute and State University
in partial fulfilment of the requirements for the degree of
Andrea Schwappach
Master of Architecture.
William Brown
chairman
Michael O’Brien
Robert Dunay
Heinrich Schnödt
Blacksburg, December 1998
2
3
“remember the seed-germ”
expositions
The plant grows from its seed.
The characteristics of its form lie concealed in the
potential power of the seed. The soil gives it strength
to grow. And outer influences decide its shape in the
environment.1
Each of us is like the plant.
The abilities of everybody lie concealed in the potential power of one’s personality. The soil named education gives everybody the chance to grow. And outer
influences are shaping everyone’s position in the environment.
It is just a question of how you expose yourself to the
world and time in which you live.
Louis H. Sullivan, A System of Architectural Ornament
To understand life and to conceive form to express
this life is the great art of man.1
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5
table of content
6
table of content
positions
8
important moments in my design decisions
1. belief in intuition
2. translating intuition into intention
3. vision, imagination and knowledge
4. finding and establishing analogies
5. hierarchy of elements
6. haptic sensibility
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10
11
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15
urban context - sense of place
geographic location
urban analysis
urban planning and design
about the city of Kiel
history of the site
the site and its context
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18
22
23
24
26
28
urban planning - city scale
concept drawing
the media center idea
urban proposals
‘gathering the four horizons’
the public realm
twin phenomena
light and shadows
35
36
37
38
41
42
44
46
the project - building scale
paths and axial relations
siteplan
floorplans
elevations and sections
model studies
spatial layering
structural frames
vertical structure - horizon lines
framing the view - the urban window
paths - places of pedestrian interaction
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50
51
52
54
56
58
60
62
64
66
the stepping floor
crossing the retaining wall
the retaining wall
transluscency and the layering of spaces
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69
70
72
shifting ideas - collective nature
how many solutions has a design process?
changing the point of view
mediating the landscape
building concept and organization
the structure and structuring elements
‘rotating geometries’ and spheres
alternative design
75
space, light and material - room scale
mediation of light and space inside the gallery
entering
retaining wall
circulation
walkway to the horizon
intermediate space
ceremonial exhibition walk
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91
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92
92
93
93
a metaphorical reflection
94
camera as a means to see - visual scale
97
selected bibliography
125
notes/ credits
126
acknowledgements
128
vita
129
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82
84
7
positions
The things we perceive as beautiful may
be different, but the actual characteristics we ascribe to beautiful objects
are similar. When something strikes us
as beautiful, it displays more presence
and sharpness of shape and vividness
of color. It stands out, it shines. It seems
almost iridescent compared to the dulness of other objects less attractive. 2
Working as an architect means being able to see the
main issues of a design, examining with objectivity
the possible solutions and finally grasp the technical
means necessary to accomplish the project. I think
that it is important for an architect to be involved in
the entire course of a project, since the process of
‘building’ is a simultaneous rather than a sequential
one. My architectural education and my work experience as an intern in architecture firms in Germany
prepared me well for practice. It covered many technical issues and equipped me with the fundamentals
of architectural assembly. Graduate education in the
United States provided me with the academic environment to investigate my interests more deeply
and to discover my personal strengths. It gave me
the opportunity to formulate a mature and coherent
position in my thinking and making.
I still cannot explain everything intellectually, since
many ideas are intuitively derived or spring from
my sub-consciousness. But my theoretical and practical background combined with sincere feedback
from my classmates and committee members provided the necessary climate to develop and elaborate
architectural ideas.
important moments in my design decisions
1.
belief in intuition
2.
translating intuition into intention
3.
vision, imagination and knowledge
4.
finding and establishing analogies
5.
hierarchy of elements
6.
haptic sensibility
I see life as a continuous course of learning, where
personal growth not only strengthens my confidence,
but also contributes to the discipline of architecture
and to society at large. An architect has a special
responsibility towards society as he/she translates
the spirit of time into the built cultural environment.
8
9
belief in intuition
translating intuition into intention
in·tu·i·tion
Function: noun
Etymology: Middle English intuycyon,
1.
from Late Latin intuition-, intuitio act of
contemplating, from Latin intuEri to look at,
contemplate, from in- + tuEri to look at
Date: 15th century
1 : quick and ready insight
2 a : immediate apprehension or cognition
b : knowledge or conviction gained by
intuition c : the power or faculty of
attaining to direct knowledge or cognition
without evident rational thought and
inference
Synonyms: anschauung, insight,
intuitiveness
Related Word second sight, sixth sense
in·spi·ra·tion
Function: noun
Date: 14th century
1 a : a divine influence or action on a person
believed to qualify him or her to receive and
communicate sacred revelation b : the action or power of moving the intellect or
emotions c : the act of influencing or
suggesting opinions
2 : the act of drawing in; specifically : the
drawing of air into the lungs
3 a : the quality or state of being inspired
b : something that is inspired <a scheme that
was pure inspiration>
4 : an inspiring agent or influence
in·ten·tion
Function: noun
Date: 14th century
1 : a determination to act in a certain way :
RESOLVE
2 : IMPORT, SIGNIFICANCE
3 a : what one intends to do or bring about b
: the object for which a prayer, mass, or
pious act is offered
5 : CONCEPT; especially : a concept
considered as the product of attention
directed to an object of knowledge
belief in intuition
As a designer one is searching for what is not always
explicitly known. Since there is so much information
available in our current society, it is difficult to start any
kind of rational analysis. Therefore improvisation, intuition and imagination are important abilities in the process of designing and decision-making.
It is legitimate to trust your intuition, because everything is coming from something, just sometimes you
don’t know the source. We always feel our environment,
sense the signals, but we do not always know what or
realize why something is happening. Most environmental influences rather affect our senses than our mind. A
smell is in the air, striking our nose. A slight wind is
moving our hair, tickling our skin. Sunlight and shadows
let us differentiate between light and dark, warm and
cool, comfortable or unpleasant. Especially sunlight not
only affects our visual perception, but also our skin
perception reacting to temperature differences. Some
people can even smell the ozone in the air.
Another perception related to light and temperature is
the one of color. Color defines nature, landscapes, settlements, cities, objects, people and moods. Sunshine emphasizes colors, let them vibrate more vividly. An overcast sky emulates the colors. Everything moves closer
together, is more homogenous.
These examples visualize some of the influences we are
sub-consciously exposed to every day. The way we
evaluate these encounters is very personal. In relation
with past experiences and influences they shape our
inner world and inspire a continuous dialogue with the
outside world. This interaction between our inner voice
or spirit and the intellectual reasoning of the mind is
what I call the translation process from intuition to intention.
2.
Intuition is the most exacting sense,
it is your most reliable sense,
intuition stems from the inspiration to live.
Louis Kahn
translating intuition into intention
Theories, rules and laws only record the discoveries of
the past. Laws do not explain, they just describe what
happens. The things in life that truly make a difference
are exceptions and phenomena. Exceptions have major
consequences for our thinking since they confront us
with what we didn’t know up to that point. They address our curiosity to find out more about their relationship to ourselves, which leads us to the discovery of the
future and hence to higher forms of life and thought. The
process of evolution is a sum total of single experiences
and in its entirety the story of our cultural heritage.
Fundamental to all action is the idea of concept and
intuition. While a concept is a rather rational notion about
something conceived in the mind, intuitions defeats every evident rational thought. Concept and intuition are
the placeholders for rational and emotional activities in
our minds. The duality between concept and intuition
initiates the dialogue that eventually becomes the intentional moment. This moment marks the turning point for
an idea to merge from the sub-conscious virtual world of
our imagination into the world of objects in reality. This
process of translation is the most difficult one, since it
requires the ability to visualize and transform the vision
verbally or in form of drawings, models or any other
kind of representation.
...concept drawing
...urban proposals
p.36
p.38
...mediating the landscape
...
p.78
trans·la·tion
Function: noun
Date: 14th century
1 : an act, process, or instance of translating:
as a : a rendering from one language into
another; also : the product of such a rendering b : a change to a different substance,
form, or appearance :
CONVERSION c (1) : a transformation of
coordinates in which the new axes are parallel to the old ones (2) : uniform motion of
a body in a straight line
2 : the process of forming a protein molecule
at a ribosomal site of protein synthesis from
information contained in messenger RNA - compare TRANSCRIPTION 3
con·cept
Function: noun
Etymology: Latin conceptum, neuter of
conceptus, past participle of concipere to conceive -- more at CONCEIVE
Date: 1556
1 : something conceived in the mind :
THOUGHT, NOTION
2 : an abstract or generic idea generalized
from particular instances
synonym see IDEA
source: WWWebster Dictionary
http://www.m-w.com/dictionary.htm
...exposition
...sensing the environment
synonyms INTENTION, INTENT,
PURPOSE, DESIGN, AIM, END,
OBJECT, OBJECTIVE, GOAL
...inspiration
...
10
stone fountain, Harvard University in Cambridge, Massachussetts
11
vision, imagination and knowledge
finding and establishing analogies
vi·sion
anal·o·gy
Function: noun
Etymology: Middle English, from Old
French, from Latin vision-, visio, from
vidEre to see
Date: 14th century
1 a : something seen in a dream, trance, or
ecstasy; especially : a supernatural
appearance that conveys a revelation b : an
object of imagination c : a manifestation to
the senses of something immaterial
2 a : the act or power of imagination b (1)
: mode of seeing or conceiving (2) direct
mystical awareness of the supernatural
usually in visible form
3 a : the act or power of seeing : SIGHT b :
the special sense by which the qualities of
an object (as color, luminosity, shape and
size) constituting its appearance are
perceived and which is mediated by the
eye
Function: noun
3.
imag·i·na·tion
Function: noun
Etymology: Middle English, from Middle
French, from Latin imagination-, imaginatio,
from imaginari
Date: 14th century
1 : the act or power of forming a mental
image of something not present to the senses
or never before wholly perceived in reality
2 a : creative ability b : ability to confront
and deal with a problem : RESOURCEFULNESS c : the thinking or active mind : INTEREST <stories that fired the imagination>
3 a : a creation of the mind; especially : an
idealized or poetic creation
knowl·edge
Function: noun
Etymology: Middle English knowlege, from
knowlechen to acknowledge, irregular from
knowen
Date: 14th century
2 a (1) : the fact or condition of knowing
something with familiarity gained through
experience or association (2) : acquaintance
with or understanding of a science, art, or
technique b (1) : the fact or condition of
being aware of something (2) : the range of
one's information or understanding c : the
circumstance or condition of apprehending
truth or fact through reasoning
4 a : the sum of what is known : the body of
truth, information, and principles acquired
by mankind
...camera as a means to see
...collection of information
...listen to the inner voice
...
12
4.
vision, imagination and knowledge
The things we see around us every day are the generators for our imagination and visionary abilities.
As Gunnar Birkerts states, creativity not only depends
on your intelligence, but is also the result of the ability to
collect information. The more you know, the more variations you can develop on your theme and the more creative you can be.3 The collection and organization of
information becomes our personal source and inspiration for intuition and imagination.
I define imagination as the ability to visualize, recall and
remember. The extraordinary power of visual imagination helps to translate inspirations and ideas into the
physical world of objects. I trust my visual perception
to define proportions and find harmony in the composition. I am finding expression in the process of making
and beauty in the process of expression. The act of making becomes a more important issue than trying to find
explanations and intellectual justification.
The general idea of creativity is to incorporate any kind
of creative energy. The influences of art and technology
as well as the images generated in today’s media environment of TV, movies, commercials and Internet enhance
our haptic and visual perception. The multiplicity of
standpoints and perspectives presented by these media
removes the single person from his/her seemingly fixed
position in order to experience the flow of time and
events in a larger scale.
I experienced that an unfocused vision is sometimes helpful and capable of revealing new realms of vision and
thought. Since every individual is carrying personal influences and images in his/her sub-consciousness, he or
she will automatically only react to certain information
and immediately detect the necessary ones when listening to the inner voice (visionary qualities).
p.97
Notre-Dame-du-Haut at Ronchamp, France
finding and establishing analogies
Everything in this world is interrelated and mutually
influenced. In fact we use more metaphoric language than
straight description and almost every word also has a
synonym. One explanation for this phenomenon might
be the existential human desire to belong to some place
and make oneself part of it. Another aspect is that the
coming into being of any existence in this world is determined by natural reproduction and hence a story about
similarities in appearance, character and personality. The
concept of connectedness and interrelationship establishes the natural laws of life. The search for unifying
factors, harmony and comprehension determines the
questions about this life. Perceiving relationships and
making connections among separate sensations, sensory
data, and events is a way of building up a representation
of the world. Reality then becomes a composite picture
of interrelated events rather than a chaotic sequence of
one thing after another. By making the connection and
finding parallels we define our personal position in the
world.
Within a work of architecture similar processes are detectable. A building has a site or ‘place’, a concept and
ideas as generators, a context to react to and comparisons to initiate or withstand. During the translation and
transformation process of a design it is very helpful to
relate the ideas and images in your mind to existing buildings, objects or events in order to find comparisons and
precedents. It not only helps to visualize the projected
design, but incorporates your own and other people’s
past experiences and achievements in order to elaborate
the art and technology of building and architecture even
further. Shifting the point of view and stepping back
from the work every once in a while helps to eliminate
preconceptions and may elaborate the project to another
level of comprehension. A continuous thought and line
of inquiry is helpful in pursuing a project, but sometimes preliminary ideas change in the process of development.
Inflected Form(s): plural -gies
Date: 15th century
1 : inference that if two or more things
agree with one another in some respects
they will prob. agree in others
2 a : resemblance in some particulars
between things otherwise unlike :
SIMILARITY b : comparison based on
such resemblance
3 : correspondence between the members
of pairs or sets of linguistic forms that
serves as a basis for the creation of another
form
4 : correspondence in function between
anatomical parts of different structure and
origin -- compare HOMOLOGY
synonym see LIKENESS
met·a·phor
Function: noun
Etymology: Middle French or Latin;
The introduction of a metaphoric picture can push the
ideas independently from the function and execution of
the building. I am trying to give every design a personality and character related to the general form or stronghold
of the project. A symbol may unify many diverse elements in a simple and expressive form. On the one hand
an analogy can be a means to picture things in their wholeness and not to loose the sight for the larger scale. The
analogy defines the general boundary condition of the
project and deliberates the view for the smaller scale. On
the other hand an analogy can be the framework to invent
an entire story presented by the single parts of the building. An architectural allegory of interdependencies, interrelations and interdisciplinary excursions projects a message of reflection and experience.
...a sanctuary for memories
...‘gathering the four horizons’
p.33
p.41
...spatial layering - thought layering
...
p.58
Middle French metaphore, from Latin
metaphora, from Greek, from metapherein
to transfer, from meta- + pherein to bear
Date: 1533
1 : a figure of speech in which a word or
phrase literally denoting one kind of
object or idea is used in place of another
to suggest a likeness or analogy between
them (as in drowning in money); broadly :
figurative language — compare SIMILE
2 : an object, activity, or idea treated as a
metaphor : SYMBOL 2
per·cep·tion
Function: noun
Etymology: Latin perception-, perceptio
act of perceiving, from percipere
Date: 14th century
1 a : a result of perceiving : OBSERVATION b : a mental image : CONCEPT
2 obsolete : CONSCIOUSNESS
3 a : awareness of the elements of
environment through physical sensation
<color perception> b : physical sensation
interpreted in the light of experience
4 a : quick, acute, and intuitive cognition
13
hierarchy of elements
haptic sensibility
5.
el·e·ment
Function: noun
Etymology: Middle English, from Old
French & Latin; Old French, from Latin
elementum
Date: 13th century
1 a : any of the four substances air, water,
fire, and earth formerly believed to
compose the physical universe b plural :
weather conditions; especially : violent or
severe weather <battling the elements> c :
the state or sphere natural or suited to a
person or thing <at school she was in her
element>
2 : a constituent part: as a plural : the
simplest principles of a subject of study :
RUDIMENTS b (1) : a part of a geometric
magnitude <an infinitesimal element of
volume> (2) : a generator of a geometric
figure; also : a line or line segment
contained in the surface of a cone or
cylinder (3) : a basic member of a
mathematical or logical class or set (4) :
one of the individual entries in a
mathematical matrix or
determinant c : one of a number of
distinct groups composing a larger group
or community <the criminal element in
the city> d (1) : one of the necessary data
or values on which calculations or
conclusions
are based (2) : one of the factors
determining the outcome of a process e :
any of more than 100 fundamental
substances that consist of atoms of only
one kind and that singly or in combination
constitute all
matter f : a distinct part of a composite
device g : a subdivision of a military unit
3 plural : the bread and wine used in the
Eucharist
synonyms ELEMENT, COMPONENT,
CONSTITUENT, INGREDIENT
14
hierarchy of elements
Elements are the distinct constituents of my architecture. Rather than forcing a building into a pragmatic or
structural envelope, I approach a building design in the
more delicate way of individual reactions. Every project
is unique, since it has to adapt to its setting and location.
The building design should incorporate the active forces
of topography, history and context in order to intensify
the place. Architecture is able to emphasize the strength
of the site. Instead of forcing something akin to the site,
the architect should detect the natural strengths, integrate them into his composition and ‘make places’. Architecture that responds to the geography and respects
gravity becomes not only one with its environment, but
also with the people and culture it serves. As human
beings we appreciate the qualities of an earthbound architecture. Even though technology empowered us to
fly and be without gravity in outer space, we are still
walking on our legs on the surface of ‘planet earth’ and
have not grown wings like birds yet.
There are some tendencies in architecture to idealize technology achievements and question the traditional position of buildings. The questioning of overcome traditions is very necessary in the process of evolution, but
as soon as architecture becomes more and more temporary or structurally ‘light’, the employment of architectural elements with sustaining power over time becomes
a critical issue. The continuous desire for abstraction
will eventually result in the loss of substance and dissolution into temporality. The idea to give at least one
strong architectural element to the project, that defeats
the aspect of time and the tendency of architecture to
turn into ‘weightless’ and ‘worthless’ structures, is a
reaction to meaningless temporality.
The question on what should be permanent and what
could be temporary circumscribes the basic inquiry to
configure the building assembly. The decisions should be
based on tectonic logic in terms of hierarchy of structure
and spatial relations, use of materials and aesthetic value.
6.
An element can achieve permanence through its physical
presence or by capturing the reminiscence of an idea,
thought or event. However, every element should articulate the particularity of its place and give an identity to
the building in its entirety. All parts are in relation to
each other, but some elements are stronger than others
and possess the position where order is derived from.
The order generating members should exhibit a certain
material permanence and preserve the story of the
building’s origin, time, place and context for future generations. In order to understand the present and shape
the future one has to comprehend history. And what
could tell the story of past times better than surviving
genuine artifacts?
...composition and parts
...the retaining wall
p.45
p.70
...structuring elements
...
p.81
Natural materials express their age and history,
as well as the story of their origins and human
use. All matter exists in the continuum of time; the
pattina of wear adds the enriching experience of
time to the material of construction.8
Juhani Pallasmaa
Museum for Contemporary Art in Chicago
haptic sensibility
Like Cezanne’s intention was ‘to make visible how the
world touches us’4 with his art, architecture should have
the experiential depth to invite people for further sensorial exploration. We have a mental need to experience the
reality that we are rooted in the continuity of time, and in
the man-made world it is the task of architecture to facilitate this experience.5 Our desire to experience our being
in the world is strongly linked to sensuous curiosity.
Man’s relation to space and the world in all its complexity and multiplicity is facilitated by a kind of sensuous
perception. In concentration on the present moment we
can experience best the interaction of the senses. The
private senses of smell, taste and touch bring us in direct
contact with the physical world. To at least some extend
every place can be remembered, partly because it is unique,
but partly because it has affected our bodies and generated enough associations to hold it in our personal
worlds.6 The material and spiritual presence of architecture addresses our individual senses. Every touching experience of architecture is multi-sensory; qualities of
matter, space and scale are measured equally by the
eyes, ears, nose, skin, tongue, skeleton and muscle. Architecture strengthens the existential experience, one’s
sense of being in the world.7 The strong tactile and haptic
quality of a building that is incorporating aesthetic sensorial qualities knows to overcome the formal language
communication level. Multi-sensory qualities in materiality, surface treatment, detail, light sensations and color
attractions invite a playful, pleasurable and emotional
experiencing of architecture. A building for the senses
promotes sensation, motion and the joy in improvisation.
...paths - places of pedestrian interaction
...the stepping floor
p.66
p.68
...the retaining wall
...
p.69
hap·tic
Function: adjective
Etymology: International Scientific
Vocabulary, from Greek haptesthai to touch
Date: circa 1890
1 : relating to or based on the sense of
touch
2 : characterized by a predilection for the
sense of touch
sen·si·bil·i·ty
Function: noun
Date: 15th century
Inflected Form(s): plural -ties
1 : ability to receive sensations :
SENSITIVENESS <tactile sensibility>
2 : peculiar susceptibility to a pleasurable
or painful impression (as from praise or a
slight) — often used in plural
3 : awareness of and responsiveness
toward something (as emotion in another)
4 : refined or excessive sensitiveness in
emotion and taste with especial
responsiveness to the pathetic
sen·sa·tion
Function: noun
Etymology: Medieval Latin sensation-,
sensatio, from Late Latin, understanding,
idea, from Latin sensus
Date: 1615
1 a : a mental process (as seeing, hearing,
or smelling) due to immediate bodily
stimulation often as distinguished from
awareness of the process, compare
PERCEPTION b : awareness (as of heat or
pain) due to stimulation of a sense organ c :
a state of consciousness of a kind usually
due to physical objects or internal bodily
changes
2 : something (as a physical object, sensedatum, pain, or afterimage) that causes or
is the object of sensation
3 a : a state of excited interest or feeling
15
sense of place
u
r
b
a
n
c
o
n
t
e
x
t
16
17
geographic location
at the Baltic Sea ( Kiel Firth)
and the Kiel Canal
(connecting Baltic and North Sea)
10°08’01" east of Greenwich
54°19’27" northern latitude
74,2 m highest elevation above sea level
18
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germany germany germany germany germany germany germany germany germany germany germany germany germany germany germany germany germany germany germany germany germany germany germany germany germany germany
world world world world world world world world world world world world world world world world world world world world world w orld world world world world world world world world world world world world world world world world
geographic location
locating Kiel and the site
19
W
point of departure
the site and the urban context
point of departure
I had a personal affinity regarding the site chosen for my
thesis project as I experienced it from my early childhood on
as a place with a magnificent atmosphere. Not only its historic importance, but also its geographic situation in the urban
fabric provided the excitement to found my thesis project on.
The site is situated in Kiel, the capital of Germany’s northernmost federal state of Schleswig-Holstein, with a population of 240,000. It is located on the northern end of the palace
garden and is in its function today as a temporary parking lot
a result of the destruction of Second World War.
The site is located in the area referred to as the cultural center
of Kiel at the edge of the old town center. The site constitutes
the urban nodal point between two important axial connections in the city structure: between the reconstructed palace
and the art museum on the one hand and between the public
plaza in front of the town hall and opera house, and the
waterfront on the other hand. The palace domiciles a concert
hall, exhibition spaces, a national history collection, the national library and a restaurant. The art museum is well known
for its permanent collection ranging from antique sculpture to
contemporary art, and its special exhibitions primarily celebrating contemporary artists.
Unfortunately the spatial relationship between these two institutions is not really present in its current configuration.
The old palace garden that stretches the area between palace
and art museum is fragmented and the art museum can be
easily missed because of its isolated location.
In this setting, my intention is to reorganise the pedestrian
interaction in order to revitalize the public realm.
N
S
the site
Schlossgarten
Kleiner Kiel
Schloss (palace)
old city center
20
Kiel firth
Tadao Ando
city hall and opera
The creation of architecture within a historical context
calls for the discovery and revelation of that which had
been hitherto unrevealed, and the undertaking of both
is dissimilation and assimilation.9
E
21
urban planning and design
urban analysis
1. analysis
organization of the city
history of the site
surrounding conditions
urban context
2. results
characteristic of the place
history
topography
urban context
3. ideas
design of a public building
establish connections to the history of the university and its
function for science, research and theory as well as to adjacent
cultural institutions
rectification of the urban situation
innovative, future orientated planning - flexibility
reorganizing and connecting the single cultural institutions of
the palace and art gallery
public plaza - common place
interaction of the buildings as a mediating instance
new information technology and ways of communication
change from the analog to the digital world
educational process supported through media-analytic and educational work
dialog between static and moving pictures
dialog with past, present and future concepts of media culture
media experiments - interactive exhibitions
didactic approach towards contemporary art
4. mediathek
5. architectural elements
existential human need for orientation, order and meaning
experience of a path - continuity of path and space
abstraction of form and structure
explaining the physical and spiritual structure of a building
references:
existing trees in the palace garden
topographic bluff of the site
visual relationship to the waterfront and
the city center
relation to the surrounding buildings
above all:
closeness to the waterfront
pedestrian interaction in the transition
from urban space to boardwalk on the water
urban intersection - axial relationships
between public buldings
- variety of expression
- new tendencies of today
- new visual experiences
- immediate dialog with the visitor
- artistic confrontation
- connection and continuity
- transparency and mass
- circulation and interaction
the ideas
The characteristics of the place in regard to its
history, topography, urban context and closeness
to the waterfront, initiated the idea to propose a
building which serves the public.
My intention was to improve the urban situation
and pursue an innovative, future orientated planning. Besides the goal to reorganize and connect
the scattered cultural institutions of the palace
and the art museum, I wanted to think about possibilities and opportunities for future architectural
events. As living and working conditions tend to
change more frequently today, the role of architecture becomes even more crucial. The fast pace
of our time asks for an architecture of flexibility
and adaptability to different use. Contemporary
architecture should provide some general qualities of space, light and material, that establish a
redundant environment. The building may be influenced by modern technology, computers and
cyberspace, but the basic elements of architecture
will stay the same. It will always be necessary to
have a floor to step on, columns as structural members, walls to enclose space and a roof protecting
us from climate and outside influences.
- light and shadow
- structural frames
- spatial layering
- retaining wall
- transparency and transluscency
22
23
about the city of Kiel
about the city of Kiel
the history of Kiel
The history of Kiel actually started when the town was founded
by Count Adolf IV von Schauenburg in 1233. During the Middle
Ages ‘tom Kyle’, as the town was named at that time, was a
member of the mighty Hanseatic League and site of a nationally recognized money and commodity market. However, failures in trade, the decline of the Hanseatic League as well as
the ‘Thirty Year War’ resulted in a setback in the towns development. It was not until the second half of the 18th century that
the economy prospered once again under the rule of the Danes.
One hundred years later the Prussians took over the regiment
and, with their navy, provided the decisive upturn. Kiel became an armaments stronghold in two world wars, but was
also the starting point of the “November Revolution” in 1918.
Today Kiel is the capital of the northernmost federal state of
Schleswig-Holstein and enjoys an international reputation as
a university town and center for sailing. In addition to the
annual “Kiel Week”, Olympic sailing competitions have taken
10
place twice on the “Firth”, in 1936 and 1972.
Beside being the biggest sailing event of the world, the Kiel
Week encourages guests from all over the world to participate and contribute to this important cultural, social, political
and community event. The energy brought into the city once
a year during this week is remarkable and advertises the cities’
cultural and economic position all over the world.
view across the “Kleinen Kiel” towards city hall and opera
24
3 satelite picture of Kiel and surroundings
1 scale comparison between the city and cruise ships that determine the waterfront
2 aerial view of the city center from west
5 aerial view after Second World War:
4 aerial view of the city and Kiel firth from south
6 atmosphere of the inner firth
the ruin of the main university building
After the immense impact of Second World War, where roughly
80 percent of Kiel was destroyed, the city was build up again
almost entirely new. Today Kiel presents itself in a fairly contemporary urban structure and with buildings characteristic of
the post war period. Longtime rejected because of this lack of
“tradition and history,” some of the latest urban developments in the city show that Kiel’s inherent qualities are rediscovered.
There is virtually no other town between the North and the
Baltic Sea that has as much physical contact to the water. The
closeness of the city center to the water is visible in a lot of
instances, be it maritime details to be found everywhere or the
chimneys of big cruise ships giving the illusion of ships “driving through the city.” The harbor is right in the center of Kiel,
beaches and sailing areas are nearby.
After the opening of the Oslo Quay at the Schloßgarten in
1961, the city developed into the gateway to Scandinavia and
Eastern Europe. No doubt, the 1.8 million passengers yearly
are an important economic factor for retail, trade and service
businesses situated in the city.
The other most important economic support for the city has
been shipbuilding since 1850. The dominance of the ship cranes
marking the territory of Howaldt Deutsche Werft AG, the internationally known shipyard occupying a vast area of land on
the east bank of the Kiel Firth, compete with the two widely
visible landmarks of the old city belonging to the Sankt Nikolai
church and the city hall.
7 view from the sculpturegarden in front of the art gallery across the Kiel Firth
25
history of the site
history of the site
1 survived the war: big oak tree in front of the palace
2 main university building, damaged during Second World War,
demolished in 1954
At the necessary juncture
of culture and place, architecture seeks not only
the minimal ruin of landscape, but something more
difficult: a replacement of
what was lost with something that atones for the
loss. In the best architecture this replacement is
through an intensification
of the place.11
W.G. Clark
3 linden alley along the waterfront around mid 19th century - southwards the palace is to be seen between the trees
26
the history
Originally the site was part of the “Schloßgarten” which
was remodeled several times during the pass of the centuries. Right after the erection of the palace at the end of
the 16th century, a first modest pleasure garden was
developed. At that time the site was still separated from
the palace hill through a wide moat that connected the
lake like “Kleinen Kiel” with the salt water of the Kiel
firth. The garden was to be accessed over a small wooden
bridge.
In 1695-97, when under duchess Friederica Amalia the
west wing of the palace was built, the garden got its
representative baroque form. At that time the palace moat
was filled with rubble of the demolished old part of the
palace and the whole terrain from the palace hill to the
rising area of the adjacent “Düsternbrooker” hills could
be incorporated into the new design of the garden. On its
long sides the ground of the garden was bordered by the
settlement of the village Brunswik to its west and the
waterfront to its east side. At that point the banks of the
Kiel firth still reached directly to one of the majestic
linden alleys flanking the garden on both sides of its pie
shaped territory.
After losing its function as a crown domain in 1864, the
garden was given to the public. Additional changes occurred as a result of the design of the main university
building in 1873 to 1876 by Martin Gropius and Heino
Schmieden. After considerable damage during Second
World War the building was demolished in 1950.
The park was never restored to its original extends. Rather
than reunifying the disconnected parts of the garden after the demolition of the university building, the remodeling plans of the city took into consideration the growing needs for automobile traffic. A main traffic artery was
cut right through the garden where once the palace moat
was and the part of the former palace garden where the
university building stood, serves now as an unpaved
parking lot for the university hospitals.
Even though the “Schloßgarten” kept its name, today it
represents not much more but the obligatory city park.
27
the site and its context
the site and its context
natural history museum
handicapped accessible entrence of the art gallery
the site
university library
LBS office building
slope towards the street marks the former banks of the firth
pedestrian path bordering the east side of the garden
Steigenberger Hotel
historical walkway lined up with linden trees to both sides
28
29
the site and its context
reading the context
One of the starting points for generating architectural form is the reading of the context.
documentation of the site:
visually
structurally
specifics of the site:
traffic patterns
position of the sun
geology of the site
topographic bluff on the site
existing trees in the palace garden
visual relationship to the waterfront and the city center
pedestrian interaction in the transition from urban space to
boardwalk on the water
relation to the surrounding buildings
urban intersection - axial relationships between public buildings
30
31
student monument
thoughts about the student monument
of G.A. Munzer (1914/18)
light filters through the foliage of the surrounding
trees, creating a mythical atmosphere
within the protected bastion.
out of its center point the sculpture rises
like a sacred relic;
a sanctuary for memories.
the sculpture seeks for the unity with the sky,
carries the crown of thorns
symbolizing the suffering
and transforming the loftiness
of the slender and straight up striving columns.
harmony and continuity
surround and inhabit the sculpture itself.
32
sculpture garden of the art museum
33
city scale
u
r
b
a
n
p
l
a
n
i
n
g
34
35
concept drawing
the media center idea
What is the structure of new Multi Media?
What is space definition in reality and virtuality?
a projection of space beyond reality
implicit organic structure = nature
imagination
expicit cartesian grid structure
organized mesh = technology
continuity
interlocking of nature and technology
organic synthesis - when all the factors affecting
the personality of the building come together in
the right magnitude and the building starts to grow
like a plant.
The first drawing isn’t necessarily pretty, but after
you analyze it you see that everything the building
needs is in it because it was created by your mind,
which was full of everything you needed to know.12
36
c onc e pt draw ing:
just an image, a metaphor
graphic form that begins to
address the plan
The diagram explains how
the building will function,
not how it will look like.
the media center
With the approach of new information technology and ways
of communication our habits and picture of the world will
change. Especially in the situation as it is today, where the
radical change from the analogue to the digital world predominates, it seems important to support the educational process with media analytic and educational work.
Even though derived from the typology of a library and related to cultural ideas, the media center should not only serve
as archive and use of knowledge, but rather invite the visitor
into an interactive world. While a library can only present
and offer what is already there, modern media technology
gives the opportunity to generate media art ever new.
A person moves from the position of a “user” into one of a
“producer”. Not the person in his/her role as a consumer is
involved, but the one that is challenging his personal creativity by critically using the media. In this sense the computer
does not embody the “loss of human nature” of our world,
but on the contrary, an instrument that can virtually support
human communication and exchange of ideas.
The juxtaposition between the existing art museum and the
planned media center should inspire a dialogue between motionless and animated pictures, a dialogue between the generally known art genres sculpture, painting, photography and
design and media art.
Fundamental knowledge about the technical issues of the new
media could be offered with the help of different media experiments. Through a didactic approach contemporary art
could be translated into manifold expressions. In a corresponding ensemble this art multiplication could express new
tendencies of our present time and future and enable new
ways of visual perception. Experience orientated, interactive
installations initiate an immediate dialogue with the visitor.
However it should not be the technical issue itself, not the
presentation of the hardware, but rather a playful artistic confrontation with possibilities of new media.
37
urban proposals
urban proposals
‘site planning’
After the intense analysis
of the city structure and organization, history of the
site, margin conditions
and urban context, I
started to capture my
thoughts and ideas about
the genius loci in drawings
and model studies.
The most important references were the visual relationship to the waterfront, providing a magnificent scenic view, the city
center, the surrounding
buildings, the relation to
the existing trees, the tree
alleys of the baroque garden, and the prominence
of the topographic bluff
between my site and the
sculpture garden of the art
museum.
Especially the patterns of
pedestrian interaction between city and water
promenade provided important information to
structure my proposals.
fan-like proposal
- layering of building parts parallel to the waterfront
- “fingers” reaching into the garden
- garden flows into the spaces inbetween
38
straight cut through the terrain
Geometric line up of cubic elements, emphasizing
the pedestrian path to the art gallery and filtering
interaction towards the waterfront.
building geometry follows the two major path directions:
parallel to existing buildings and pedestrian path to
the art gallery and diagonally across the site, connecting Brunswiker street and pedestrian bridge
reaction and liberation:
building configuration generated out of the urban
context establishes its own autonomy and embraces
a public plaza
39
site relations
‘gathering the four horizons’
‘gathering the four horizons’
like Le Corbusier
respond towards the Schloßgarten, the Martin Gropius
buildings, the art gallery and the waterfront
Schloßgarten - palace garden
constructive means
The expressive potential in architecture lies in how the
roof, walls, and floor relate to the surroundings. In
other words, the expression of the delimitation is visualized in the span between opening and closure. Each
work of architecture must find its place somewhere
between complete closure and complete openness.13
urban response
40
street space defined by the university library
and the natural history museum
facing the waterfront
sculpturegarden and entrance to
the art museum
41
the public realm
abstraction of form and structure
- human desire for orientation, order and meaning - experiencing path connections - continuity of path and space -
the public plaza
As an element of integrative capacity I considered the design
of a public forum with socializing character at the intersection between city center and waterfront. The public plaza
outside the city center, which is mainly ruled by commerce,
should serve the citizen as a forum.
After studying the realm between inside and outside, I established the fundamental relationship between the building and
the plaza as one of interaction, crossing paths and interwoven elements.
Based on the investigations of path relations and the urban
context, I wanted to emphasize the inherent qualities of the
site. On the site the transition takes place between city center,
palace garden and the pedestrian walkway along the waterfront. After crossing the pedestrian bridge that sweeps from
the site, across the street, to the walkway along the waterfront, the first direct encounter and contact with the water
becomes possible. This connection between the urban space
and the waterfront is in its present state underdeveloped. After the plaza becomes the connecting element between the
palace garden and the waterfront, crossing the bridge should
become the special event. Coming from the city side, the path
across the bridge is introduced by the public plaza, and coming from the waterside, the crossing of the bridge celebrates
the arrival to the plaza.
42
Buildings should interact and
become the connecting instance
and reaction to the terrain. The
protecting retaining wall becomes the spine for the plaza.
connection and continuity
circulation and interaction
transparency and mass
43
twin phenomena
composition and parts
twin phenomena
unity · diversity
What has the right-size is at the same time both large and
small, few and many, near and far, simple and complex, open
and closed; will furthermore always be both part and whole
and embrace both unity and diversity.
If a thing is too much and too little the same, it will also be too
much and too little different. Right-size will flower as soon as
the mild gears of reciprocity start working – in the climate of
relativity; in the landscape of all twin phenomena.14
part · whole
small · large
many · few
simplicity · complexity
change · constancy
media center
- repet i t i on of fram es -
order · chaos
individual · collective
Sonsbek Pavillion, 1966
inside · outside
open · closed
People seating concentrically in a hollow, gazing inwards towards the center; and people seated concentrically on a hill
gazing outwards toward the horizon. Two kinds of centrality.
Two ways of being together – or alone. The images, of course,
have ambivalent meanings – though the hill reveals what the
hollow may conceal: that man is both center-bound and horizon-bound (the horizon and the shifting center – the center
and the shifting horizon). Both hill and hollow, horizon and
center, are shared by all the seated concentrically either way;
both link and lure.15
alone · together
old · new
light · dark
large · small
far · near
single · plural
auditorium
- curv ed ret ai ni ng wal l -
simmilar · dissimilar
rest · movement
Complementary or opposing aspects, qualities of notions –
twin phenomena…form a vast network of meaning from which
nothing can be lifted – no twin phenomena (or phenomena
split in two) can be extracted without impoverishment or becoming altogether meaningless – mind-splitting15
order · chaos
space · matter
44
45
light
and shadows
Architecture is the masterly, correct
and magnificent play of
masses
brought together in
l i g h t .16
Le Corbusier
46
47
“diary of a design project”
building scale
“diary of a design project”
I investigated the urban situation, formulated
several proposals and made up my mind, trying to find the ideal solution.
Too many ideas. Explosions. Colorful dreams,
and the desire to translate the forms in my
mind.
Isn’t it most difficult to restrict yourself? I
am trying to do everything at the same time
as if there is no tomorrow. I have to find a
way to channel my energy...and I know the
only solution:
deadline:
goal:
48
December 18, 1997
develop one of the proposals
t
h
e
p
r
o
j
e
c
t
49
paths and axial relations
50
siteplan
51
floorplans
floorplans
stair to the
art museum
gallery - interactive exhibitions
roof terrasse
seminars - workshops
cyberdeck
multi
media
area
auditorium
image and film
projection
screen
media-meditation
exhibitions
media-workshop
service-elevators
serviceelevators
open lobby
media center
kitchen
cafe/ restaurant
public plaza
library
roof terrasse
delivery
parking garage
basement
media center - auditorium - gallery - parking
52
service-elevators
1
1
5
10
10
20
50
30 m
first floor - plaza level
second floor
100 feet
plaza - open lobby - entrance to the multi-media area
cafe - restaurant - media - meditation
1
1
5
10
10
20
50
30 m
third floor
100 feet
library - media workshop - seminar rooms - research
53
elevations and sections
elevations and sections
south elevation
east elevation
- palace garden -
- waterfront forum -
library
restaurant
open
lobby
media
center
parking garage
west elevation
section
- hegewischstasse -
- media center - restaurant - library -
image and film
projection
library
workshops
media-meditation
restaurant
gallery
interactive exhibitions
multi
media
area
open
lobby
auditorium
auditorium
250 seats
section
section
- multi media - exhibition area -
- media center - auditorium -
1
1
54
5
10
10
20
50
30
60
90 m
100
200
300 feet
55
project number x...
model studies
continuation of the ordering
rhythm of pillars, structuring the
university library building
opposing walls and frames define
the new building structurally as
well as functionally
(module, flexibility)
I am not only gaining back the
ensemble impression of the two
existing buildings with a third one,
but also achieve a new dimension
of spatial impressions by layering the facades (superimposition).
relationship to the earth:
retainingwall
structuring walls
building mass
space under ground
56
57
spatial layering
thought layering
layering...
thought fragments
layering of space...
layering and superimposition
complexity, filtering effect,
sensation
Nordic Pavilion at the Venice Bienale by Sverre Fehn: the continuous beam emphasizes a sense
of direction and guides the view - the room accepts its outside as its interior
transparencies: the facade of the university library
building acts as a secondary layer and stays visible
in this way.
layering of images...
confusion of perception,
elaborating the well known to
another level of abstraction
layering of thoughts... interaction, transparency,
continuation of thoughts,
gaining of knowledge
arcades of the Holyoke Center, Harvard University in Cambridge
by Sert, Jackson and Gourley, 1961
58
59
structural frames
structural frames
repetition of frames
the skeleton system
The skeleton system concentrates
support in a primary load bearing
system which frees and lightens the
spatial boundaries and thus opens the
space.
The skeletal system is the very symbol
of open space.
characteristics of a tree:
dynamic, continuous, ever growing,
character of lightness, in contrast to the
heavy and closed characteristics of a
wall.
The structure should support the
17
architecture.
60
61
vertical structure
horizon lines
linear quality of repetition
complexity in the layering
concern for public life
scale relationships
exterior and interior qualities
The terrain in front of the existing building of the university
library is not flat, but slopes up to the area where the
university’s hospitals are located. I experienced this condition as inconsistent in regard to the heavy massiveness of
the yellow-brick library building that wants to rest on a
horizontal rather than a tilted base line.
A newly created platform in front of the existing building
gives back a horizon line and the impression of a base when
seen from the plaza- and waterside. Visual connections and
interrelations will foster different perceptions and unify old
and new.
62
63
framing the view
the urban window
transition of the curve
- combining various visual elements of form and space
- relation between curve and straight line
- radial - linear system
idea of framing the view and the path axis
- idea of framing the view and the path axis
- urban windows
- central connection to the HDW cranes which are
dominating the cityscape
Where is the center area of the radiating structural system?
expose the end condition of the curve
exposing the earth - cut into the ground
reflection - contemplation - art
poetic and mythical dimension
structuring the plaza
many-sided place:
free decision how and where to move and settle
The architecture advertises the function and the
quality of space and frames the visitor.
The element of the crane is translated directly from
the presence of the gantry cranes of the ship wharf
on the opposite waterside.
the “art-crane” should have a temporary character, but
takes over several functions:
It is urban window and gate.
It frames the view relation between palace
and art gallery.
It defines the nodal point at the turning of
the Brunswiker Strasse.
It may be used as an exhibition structure.
It becomes a landmark and orientation point.
It transfers an image of the media center.
spectrum of exhibition possibilities
- from traditional to experimental interactionist architecture - interactive process
- opportunity for exploration -
The roof meets the ground to become a plaza. The plaza is
both the access to the media center and an exhibition space.
64
65
paths
places of pedestrian interaction
interlocking of path and space
dialogue - anticipation
emphasize the movement through
filter for human interaction
the space in which the visitor
spatial and material opportunities
becomes an active participant
dynamics
sensation
alertness
ramp and stair connecting plaza and sculpture garden
Kallman, Mc Kinnell and Knowles:
Boston City Hall, 1963-68
Le Corbusier: carpenter center, Cambridge
ramp through the building
Eero Saarinen: dormitories Yale University,
New Haven
second entrance and exit to the gallery - handicapped access ramp from the plaza
transition space underneath the ramp to the art museum
treshold between inside and outside
66
67
the stepping floor
crossing the retaining wall
‘making places’
Cite de la Musique, Paris
place for the art work
elements ‘making’ the curve
68
69
the gallery
retainingwall
the curved retaining wall:
curve – elipse – circle
The retaining wall follows closely the curvature of the
terrain. It traces the topographic level difference between the parking lot and the sculpture garden of the
art museum. Through its southern exposure, the curve
captures the sunlight and reflects it down into the
gallery.
Bending is the structural mechanism that enables force to
transform a static condition into a condition of tension.
curve:
- play with light and shadow Steps with an invitation to sit take advantage of the
protecting curve. The relation between curve and
straight line is been formulated in several instances.
- transition of the curve -
ellipse: a closed plane curve generated by a point
moving in such a way that the sum of its
distances from two fixed points, the foci,
is a constant
circle:
70
a continuous bending line, without angles
- turn beautifully
- bending of the curve - holding points
- translation of the forces
make the force visible:
- deformations - deflections
- grammar of curves
- definition of boundary conditions
a closed plane curve every point of which is equidistant from a fixed point within the curve
- literal deformation of the circle
- idea of perception of a circle or sphere
- question of origin (not only center)
71
transluscency
and the layering of spaces
dialogue between light and materials
The design of a good place usually
embraces natural light in some way.
incidence:the striking of a ray of light
reflection: the return of light
diffusion: a scattered reflection of light
from an irregular surface or a
dispersion through a translucent
material.
72
glass
opaque:
translucent:
transparent:
impenetrable to light.
transmitting and diffusing light so
that the bodies on the opposite
side are not clearly visible.
capable of transmitting light so
that bodies situated beyond or behind can be distinctly seen.
the stair
The stair does not just serve its fundamental functional means of circulation
and connection. It is a sculptural element within the gallery itself. The stationary architectural element of the stair
promotes human movement and transforms the general circulation issue into
a notion about events. The space between the retaining wall and the
transluscent enclosure walls of the gallery becomes a stage for performance,
display and projection.
experience of place and meaning
Transluscent walls reveal the silhouette
of the flight of steps set back into the
retaining wall.
The visitor of the gallery is not merely
spectator, but becomes the actor upon entering and exiting the interactive museum.
The layering of spaces reveals and conceals actions within sequences. Traditional
borders diminish in an ever changing atmosphere created by light and shadows.
It is intented to provide the visitor with a
spatial experience that further enhances
the educational purpose of this institution.
Reflection, gradations of transparency,
overlay and juxtapositions are employed
to create subtle and changing sensations
of space movement and light.19
73
collective nature
s
h
i
f
t
i
n
g
i
d
e
a
s
74
75
changing the point of view
76
alterating the project
77
mediating the landscape
· sense of movement
· cascades of terraces
· diagonal paths
· ramped walkways
· interwoven green
· echoes of the waterline below
stairs, landings and ramps
as focal points of
a new inner urban landscape
78
building concept and organization
The overall concept of the building is to react with appropriate gesture to its environment and the adjacent buildings. Visually the multi-media part of the building, signified by the
ellipse and the contained spherical auditorium, squeezes itself
in the gap between the two existing buildings of the university
library and the natural history museum.
A hierarchy of elements is established on all levels of the
building design. The retaining wall, being the initial generator,
reacts to the site configuration. It takes over the role of the
strong protector and liberates all other elements from main
structural burdens. The retaining wall becomes the stronghold
that leans against the mass of the earth. It defeats the mass of
the earth, diverts the horizontal load into its vertical structure
and transforms the energy that it holds back. The mass of the
earth resting on the retaining wall is poetically translated into
the structure of the retaining wall. The retaining wall literally
leans against the earth and the leaning gesture increases with
the length of the wall and the deeper it cuts into the ground.
From almost straight, where the curved wall starts its sweep
between the exiting buildings of the university library and the
natural history museum, to fairly sloped where the pedestrian
ramp cuts off the sweep of the retaining wall and redirects the
movement to the entrance of the existing art museum.
The structuring principles of the building are subject to an
ordering geometry. A hierarchy of purification is established
in terms of geometrical complexity. The curve of the retaining
wall that delineates the threshold between nature and manmade building provides the protection for the geometric form
of the ellipse, which itself becomes the shell for the ‘fragile’
egg or centered sphere.
The idea of creating a horizontal base in front of the existing
university library building stays the same as employed in the
preliminary design. Just the vertical density chances as such
that the ellipse stands out as a solitaire, reaching the same
height as the surrounding buildings. The main volume of the
building is set underground and only the plaza surface and
smaller pavilions constitute the connection to the surrounding. These pavilions serve as entrances and independent structures for a cafe, restaurant or other services.
79
structuring elements
the structure
stair continuing the path to the
entrence of the art museum
ramp
retaining wall
service beam
crossing bridges
column and beam structure
deflecting curved wall
interstitial space - atrium
80
structuring elements
The single elements act together to create an ordering system
that spans across the whole site. Instead of constituting single
architectural events, they form a field of architecture.
The retaining wall defines the northern boundary of the site
and becomes the back spine of the design. The ellipse reaches
out of the ground and its verticality marks the center and
pivot point of the project. The strong presence of the elliptical geometry refers to the chimneys of the passing cruise
ships and introduces the project to its environment at a larger
scale. The translucent display facade advertises the function
of the building as a media center, but also allows the building
to become a widely visible sign for arriving visitors.
The main building volume is realized inside a great cavity
below the plaza surface in order to emphasize the transition
between the reality of the everyday environment and the
virtuality of a media generated environment. A place underground especially has the advantage to provide an austere
atmosphere and protect the visitor from the outside noise.
The crucial factor is to introduce natural light into the ground.
Natural light is a precious element, since it can only exist in its
unprecedented immediacy. The task of the architecture is to
generate moments of sensation and discovery, where the visitor can experience the interrelationships between the inside
and the outside world. Mankind can not generate natural light,
but light can be captured by making it visible on surfaces and
it can be consciously employed to originate spatial conditions.
The ordering hierarchy of the structural members is derived in
logical consequence of the building configuration. The curved
retaining wall originates a radiating system of columns and
beams. The curvature of the retaining wall is reflected into
another curved wall that compiles the radiating structure and
deflects it into an orthogonal grid system. The grid system
reacts to the ordering rhythm of brick pillars structuring the
existing buildings of the university library and the natural
history museum. The interstitial space between the radiating
and the orthogonal grid system becomes the negative space or
recessed atrium to experience the vertical relation between
inside and outside and to introduce natural light into the space
underground.
81
“rotating geometries”
spheres
The circle and the sphere are self-sufficient and project an image of permanence, whereas the ellipse, with its two
foci, suggest directionality, that is, a
movement toward the future, and shifts
from one foci (the present) to the other
(the past). Space is to be structured by
this directionality.
1 Claude Nicolas Ledoux: Cementery at Chaux, 1806
Tadao Ando: Suntory Museum, Osaka, Japan
2 Etienne-Louis Boullee: Cenotaph for Newton, 1784
3 Tadao Ando: Inamori Auditorium, Kamgoshima University, Japan
82
4 Claude Nicolas Ledoux: maison des gardes agricoles
83
floorplan and section
84
drawings of the gallery
85
room scale
s
p
a
c
e
l
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g
h
t
m
a
t
e
r
i
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86
87
inside the gallery
mediation of light and space
mediation of light and space
exploring the qualities of building
As an attempt to investigate spatial
relationships in coherence with light
and material, this study represents an
investigation of integrative possibilities between architectural design and
digital modeling.
The study assembles several images
and some explanations in accordance
to the thoughts and ideas that
accomponied the development of a
“special room”.
88
89
mediation of light and space
mediation of light and space
open spaces - physical elements - functional systems
mediating spaces - circulation spaces
narrow spaces - wide openings
openness - enclosure - canopy
One of the main aims of this project is to develop the components as integrated, experimental whole, consisting of open
spaces, physical elements and functional systems. The alternation of narrow spaces, merging into wide openings, mediating
spaces and circulation spaces are responsible for the progressive perception of openness, enclosure and canopy. The development of constructive ideas for a building are similar to that of
an urban idea, since the relationship between the city as a whole,
the site, the building, the rooms and parts and the single elements are making up the sequence of architectural thinking.
entering
retaining wall follows the curvature of the terrain
strong protector for more fragile parts
The retaining wall follows the curvature of the terrain. It traces
the topographic level difference found at the site. Through its
southern exposure, the curve captures the sunlight and reflects
it down into the gallery. The play of light and shadow along
the wall is emphasized through the sculptural treatment of the
construction. The retaining wall has similar properties as a
sheet piling traditionally used in the construction of docks.
Piles are rammed into the ground, making up a structure of
columns which give support to the sheet elements that hold
back the earth. In case of my project this way of construction
is translated in form of concrete columns with concrete sandwich panels between them.
90
retaining wall
91
investigation into light and space
investigation into light and space
continuity of space
layering of spaces
creating gaps to pass through
filter between different spatial conditions
The concrete columns are sloped, referring to the increasing
mass of earth they have to hold back the deeper they cut into the
ground. The concrete panels are straight, reaching out of the
ground to catch the sunlight and reflect it into the gallery space
under ground. To be able to keep the smoothness of the curvature, even though made out of straight elements, and still take
advantage of the resulting alcoves between the piles, every
second field is clad with steel panels. The flexibility of metal as
a material transformates the curve and recalls the presence and
importance of the HDW shipyard right across the water.
circulation
definition of surface
Architectonic space becomes an event and transcends a simplistic notion of utility. In this realm an experiential space for the
visitor provides a sequence of sensations. One of these sensations is the experience of a path. A path can be directional or
non-directional. The path to lead the visitor through the gallery
is mainly directed by a stepping floor and walls. One aspect of
the stepping floor is a ceremonial movement through the rooms,
but it also springs out of the organic landscaping of the surrounding. This part of the historic palace garden was originally
located directly on the waterfront of the Kiel Firth and the
topographic bluff perpendicular to the waterfront marks another natural borderline. Even though the site already went
through several manmade modulations, the topography still
reveals the natural history of the site.
intermediate space
constant flow of innovations
relationships - connections - interrelations
framing the view
urban window - central visual connection
initiate experience
The layering of spaces is an apparent concept of the gallery
design. The circulation happens in a flowing pattern between
shifting walls, creating gaps to pass through. They serve as a
filter between the different spatial conditions. The sensation
to step from one world into another is emphasized through
different lighting and boundary conditions, keeping the curiosity of the visitor alert. Especially in today's world of information overflow, a context creating structure should support
the importance of aesthetic qualities.
walkway to the horizon
92
Beside the three-dimensional modulations of space, another
aspect of circulation and connection is the establishment of
controlled views. Initially a view may arouse curiosity and
initiates the imagination to picture more of what is not seen in
the frame. Likewise, an urban window can screen out elements
like an adjacent street or other objects that are there but undesirable. The urban window works like a picture frame, framing
a specific view, an object, an assembly, the landscape or the
horizon. A piece of surrounding is elevated to consciously
experience it differently than in its usual context. The visual
sense is stimulated by a composition established by an architectural device.
ceremonial exhibition walk
93
noitcelfer
reflection
a metaphorical reflection
How was this book going to look? I was confused. One year
of work; researching, developing, designing, having to review
things, stepping back from what I have done. Changes, millions of ideas and here I had to find the essence within all.
Was there a general idea about everything? Was I able to define myself through the work that by now almost seems like a
stranger, a grown-up leaving home?
It is almost like going back to your childhood. First you have
to understand “the coming into being”, the reason why you
where born to the people you called parents, the country you
called home, the coincidences that shaped your personal development, your way of thinking and your character.
Have you ever thought about what would have happened,
if...? Are you making your dreams coming true? What is the
meaning of life, reality and dream world?
The answers are coming from many different areas of inquiry.
Every day I am discovering new insights in the course of my
life. The difficulty is to bring them together, to connect single
events within a larger vision.
the urban context
the site
the process
the project
shifting ideas
alternatives
reflection
txetnoc nabru eht
etis eht
ssecorp eht
tcejorp eht
saedi gnitfihs
sevitanretla
noitcelfer
I believe that once you become conscious about the coincidences in your life, you start grasping the greater idea that
stands behind everything we call life. I don’t know if I should
call it destination, but for sure it is about opportunities.
And that is what I think this book became. It was my chance
to elaborate my ideas, document some of my thoughts and
test my abilities to present the work that sometime derived
from my very self.
vision
position
opportunities
94
noisiv
noitisop
seitinutroppo
95
visual scale
camera as a means to see
96
97
boy playing in the fountain in front of Navy Pier, Chicago
98
99
gasstation on Prices Fork Road in Blacksburg, Virginia
100
101
‘stairway to heaven’ - tower of the weather station in Blacksburg, Virginia
102
103
Zaha Hadid: Vitra firestation in Weil am Rhein, Germany
104
105
Le Corbusier: Notre-Dame-du-Haute at Ronchamp, France
106
107
Frank Lloyd Wright: Guggenheim Museum in New York
108
109
Franco Moro: house in Ticino, Switzerland
110
111
Daley Plaza with Picasso Sculpture, Chicago
112
113
Eero Saarinen: MIT chapel in Cambridge, Massachussetts
114
115
Louis H. Sullivan: Carson Pirie and Scott department store in Chicago
116
117
Hancock Tower Plaza, Chicago
118
119
Karljosef Schattner: convent Schloß Hirschberg, Germany
120
121
Castel Grande in Belinzona, Ticino
122
123
selected bibliography
Birkerts, Gunnar
Process and Expression in Architectural Form
University of Oklahoma Press Norman and London, 1994
Norberg-Schulz, Christian
Genius Loci - Towards a Phenomenology of Architecture
New York: Rizzoli International Publications, Inc., 1980
Ching, Francis D.K.
A visual Directory of Architecture
New York: Van Nostrand Reinhold, 1995
Pallasmaa, Juhani
The Eyes of the Skin - Architecture and the Senses
London: Academy Editions, 1996
Clark, W.G.
“Replacement”
Modulus 20
Pallasmaa, Juhani
“The Geometry of Feeling - a Look at the Phenomenology
of Architecture”
Arkkitehti, Finnish Architectural Review, no.3, 1985
Cohen, David
The Secret Language of the Mind
San Francisco: Cronicle Books, 1996
Fjeld, Per Olaf
Sverre Fehn - The Thought of Construction
Rizzoli International Publications
Hertzberger, Herman
Lessons for Students in Architecture
Rotterdam: Uitgeverij 010 Publishers, 1991
Hertzberger, Herman, van Roijen Wortmann, Addie, Stauven,
Francis
Aldo van Eyck - Hubertus House
Stichting Wonen Amsterdam/ van Loghum Staterus, 1982
‘poetry of a reject’ in Blacksburg, Virginia
Jones, Peter Blundell
Hans Scharoun
London: Phaidon Press Limited, 1995
Le Corbusier
Towards a new Architecture
New York: Dover Publications, Inc., 1986
(reprint. Originally published: London: J. Rodker, 1931)
Lynch, Kevin
The Image of the City
Cambridge, Massachusetts: The MIT Press, 1960
Mitchell, William J.
City of Bits - Space, Place, and the Infobahn
Cambridge, Massachusetts: The MIT Press, 1995
124
Paravicini, Werner
Begegnungen mit Kiel
Wachholtz Verlag, 1992
Pehnt, Wolfgang
Karljosef Schattner, Ein Architekt aus Eichstätt
Stuttgart: Verlag Gerd Hatje, 1988
Saarinen, Eliel
The Search for Form in Art and Architecture
New York: Dover Publications, Inc., 1985
(first published 1948 under the title “Search for Form: A
Fundamental Approach to Art”)
Thiies Evensen, Thomas
Archetypes in Architecture
Oslo: Scandinavian University Press, 1987
Thomsen, Christian W.
Bauen für die Sinne
München, New York: Prestel, 1996
van Eyck, Aldo
projecten 1962-76 - the wheels of heaven
Johan van de Beek, p/a Akademie van Bowkunst, 1983
Weston, Richard
Alvar Aalto
London: Phaidon Press Limited, 1995
Wilson, Peter, Taki Koji
“Bolles/ Wilson 1990-1994”
el Croquis no.67, p.3-121, 1994
125
credits
credits
images
quotes
Unless otherwise noted, images are reproductions of original
drawings, renderings or photographs by the author.
1 Eliel Saarinen, Search for Form in Art and Architecture, p.5 2
James Redfield, The Celestine Prophecy, p.44 3 Gunnar Birkerts,
Process and Expression in Architecture, p.9 4 Juhani Pallasmaa,
The Eyes of the Skin, p.19, quoting Maurice Merleau-Ponty,
‘Cezanne’s Doubt’, in Sense and Non-Sense, Northwestern University Press, Evanston, 1964 5 Juhani Pallasmaa, The Eyes of
the Skin, p.22 6 Ibid., p.28 quoting Kent C Bloomer and Charles
W Moore, Body, Memory, and Architecture, Yale University
Pree, New Haven and London, 1977, p.107 7 Juhani Pallasmaa,
The Eyes of the Skin, p.28 8 Ibid., p.21 9 Tadao Ando, The
Japan Architect v.64 no.11-12 1989, p.40 10 Bernd Schlüsselburg
and Martina Wengierek, Kiel, p.3 11 W.G. Clark, “Replacement” 12 Gunnar Birkerts, Process and Expression in Architectural Form, p.34 13 Thomas Thies-Evensen, Archetypes in
Architecture 14 Herman Hertzberger, Addie van Roijen
Wortmann, Francis Stauven, Aldo van Eyck – Hubertus house,
p.43 15 Ibid., p.44/45 16 Le Corbusier, Towards a New
Architecture, p.31 17 Thomas Thiies Evensen, Archetypes in
Architecture, p.163 18 p.71, WWWebster Dictionary, http://
www.m-w.com/dictionary.htm, 10/1998 19 Juhani Pallasmaa,
The Eyes of the Skin, p.21 20 Tadao Ando, “The Japan Architect”, v.64 no.11-12, p.34-4
p.4 remember the see germ: Louis H. Sullivan, A System of
Architectural Ornament p.18 the earth: Earth and Moon Viewer,
http://www.fourmilab.ch/earthview/vplanet.html, 12/1998
p.19 germany: http://www.small-munsterlanders.com/map1.html,
BundesLaender.gif, 11/1998 p.24 1 scale comparison: Presseamt
der Landeshauptstadt Kiel, Fritz Brussat, Kiel, 2 aerial view of
the city center: Presseamt der Landeshauptstadt Kiel, Stuttgarter
Luftbild Elsässer GmbH, 3 satelite picture: http://www.kiel.de/
ansichten/luftbild.html, 4 aerial view from south: http://
www.kiel.de/ansichten/luftbild.html, 10/1998 p.25 5 aerial
view after Second World War: aerial reconnaissance picture taken
by the american allied forces, Kriegsschauplatz Kiel: Luftbilder
der Stadtzerstörung 1944/45, Neumünster: Wachholtz Verlag,
1995 6 atmosphere of the inner firth: http://www.kiel.de/
ansichten/hafen.html, 10/1998, 7 aerial view from south:
Presseamt der Landeshauptstadt Kiel, Fritz Brussat, Kiel
p.26 Begegnungen mit Kiel, Neumünster: Wachholtz Verlag 1 J.
Weyh, Kiel 2 Kunsthistorisches Institut der Universität Kiel 3
Schleswig-Holsteinische Landesbibliothek, Kiel p.27 map: Kiel,
Entwicklungen des Stadtgrundrisses, Landeshauptstadt Kiel p.37
map: Deutsche Grundkarte Kiel Nordost, Landesvermessungsamt
Schleswig-Holstein, 1954 p.44 1 Sonsbek Pavilion: Herman
Hertzberger, Addie van Roijen Wortmann, Francis Stauven, Aldo
van Eyck – Hubertus house, p.14 2 people seating concentrically: Aldo van Eyck, 1964, Herman Hertzberger, Addie van
Roijen Wortmann, Francis Stauven, Aldo van Eyck – Hubertus
house. p.44/45 p.59 Nordic Pavilion at the Venice Bienale:
Sverre Fehn, The Thought of Construction, p.117 p.63 The
Henry Moore Institute in Leeds, England: Richard Bryant/
ARCAID, A.D.Architectural Design - Visions for the Future p.68
interior Cite de la Musique, Paris: Christian de Portzamparque,
GA extra no.4 p.83 Colin Rowe, The Architecture of good
Intentions: 1 Claude Nicolas Ledoux, Cementery at Chaux, 1806
2 Etienne-Louis Boullee, Cenotaph for Newton, 1784 3 Inamori
Auditorium: Tadao Ando, GA extra no.1 4 maison des gardes
agricoles: C. N. Ledoux, architecture consideree, Bd.2 5 Suntory
Museum: Tadao Ando, GA extra no.1 p.113 church on the
water: Richard Pare, Tadao Ando - The Colours of Light, p.117
126
Finnish Embassy in Washington D.C.
127
acknowledgements
vita
This work would not have been possible without the sincere
support and encouragement of many...
vita
I want to express my gratitude to everybody who left ‘footprints’ in my life. My work would not have been the same
without the inspiration and influence of all of you!
A n d rea S ch w a p p a ch
I want to express special thanks
August 19, 1970
...to my grandmother Dorothea Blender, who dedicated her
life to her grandchildren. Her optimism and positive attitude
to life in general, even in times of sorrow and pain, shaped my
personal disposition. I owe her all my happiness, trust in life
and belief in myself.
Omi, ich danke Dir für Deinen unerschöpflichen
Optimismus, Deine geteilte Freude am Leben und
alles was Du für mich getan hast.
...to my sister Sonja, who is not only my closest relative, but
my best friend. Without her my life would only be half as
colorful. For everything we share...
...to the Fulbright Commission, who made this journey possible at first. The ‘Fulbright experience’ was and is a unique
gift that contributed not only to my personal growth, but
granted a much bigger involvement in and comprehension of
our culture.
... finally to my committee members William Brown, Bob
Dunay, Michael O’Brien and Heiner Schnödt, for all their
inspiration and insights they shared on the way. Every one of
them was individually supportive, covering my specific needs
and questions during the process. Looking back, I especially
enjoyed the encouragement everybody of them offered me in
respect of my ongoing struggles, trying to find “an even better
solution” for the project. I owe my committee members the
discovery of the non-linear qualities of my work and hence
the continuation of my ‘thesis’.
Dipl. Ing. (FH) Architektur
Fachhochschule Kiel, Germany
July 1998
Master of Architecture
Virginia Polytechnic Institute
and State University
Blacksburg, Virginia
The supposed end already became a new beginning...
128
December 1998
129