PILLAR TWO:
MUSEUM IN COLOGNE Peter Zumthor / Morgan Library by Renzo Piano
Abstract Lesson 1
The lesson introduces the interpretation of some recent works that have addressed the issue of building in relation to articles background.
It 's the first of a series of targeted communications architectures and architects who have addressed this issue so educationally significant.
What is highlighted is the coherence of the methodology and language and detailed solutions, beyond the specific formal outcome. It will also be a useful exercise to reading and interpreting a work of architecture in relation to its context and the inherent logic of form building.
Siza, Souto de Moura, Moneo, Venice, Piano, Zumthor, Navarro Baldeweg, are just some of the architects that will be taken considered for specific works.
The first lesson is two architectures, respectively, Peter Zumthor and Renzo Piano, is chosen as opposed to the initial conditions of the context, both for design solutions that are made.
is the Museum of Cologne by Peter Zumthor built on top of a triple layering of the site (archaeological ruins, the remains of the late Gothic church of St. Kolombo, G. Bohm chapel of 'Our Lady of Debris' in 1940), and the Morgan Library by Renzo Piano , through architectural complex of the three pavilions Neo-Renaissance Morgan Library on Madison Avenue in New York.
The Museum of Zumthor builds a volume stereometric, articulated in its perimeter, substantially closed, inclusive of all elements from the lot down to the fragments of the Gothic church embedded in the surface of the new brick building.
The Morgan Library instead infiltrates among the three defining twentieth century pavilion with a translucent and transparent structure of the space enclosed.
In Zumthor prevails a sense of continuity, even the subjects, old and new, to point not to provide gaps between the different materials of history. The plant closed also denies the relationship with the city.
In Renzo Piano vice versa is through the architecture, transparent, light. Allowing a glimpse of the skyline of New York high flowing within a space conceived as a great void, and location of public space. Out of all the scores architectural marks the difference between existing and new, without being choppy. Continuity in this case is assigned to the measures and the proportion of spaces and their volumes.
Another reason for difference is the relationship with light, in both works conceived as material for the project. Zumthor writes: "Think how the building was a mass of shadow and only at a later time, as in a process of excavation, position the light to provide light in the darkness"
In the architecture Renzo Piano however, and particularly in the Morgan Library, the light is identified with the space and the slender white structures external envelope filter the light diffusing inside the large foyer: the effect of dematerialisation of the surfaces The presence of trees inside the large space in the garden, set with the context and with the natural elements of a harmonious relationship Enlightenment mold.
As for ' articulation of plants, in both works we have, within the general perimeter, alternating solids and voids, suspended volumes and volumes underground. It 's the case of the Morgan Library laying out the plans below the volume of ancient manuscripts, the auditorium, the technical facilities and air conditioning. An excavation that will free up considerable ground floor on two floors, on a small area (about 2500mq)
the functions provided.
In the case of Museum in Cologne, in continuity with the old building, it also means 'do not tackle questions related to the fracture' but resolve them in a spatial relationship of fluid continuity. From the grand courtyard of the archaeological excavation that overlaps with those of the Roman remains of the late Romanesque basilica, and that runs on top of a wooden walkway that passes through its entire width, with large exhibition areas, the court where the stratification of smaller architectural materials is added to the sculpture of Richard Serra, the space enclosed within the perimeter wall generally divided and in skilfully mixes solids and voids, stages the materials of history without giving up the identification of the current project.
The fluidity of the internal paths , their ability to connect different parts, and also the ability of architects to articulate, within the perimeter of the lot, a microcosm of relationships and shares, always accompanied by an expert in both attention to detail: these items may be considered common to both the Museum of Cologne at the Morgan Library.
(Carmen Andriani)
References and iconographic MINIMUM
Casabella 749 (Morgan Library)
Casabella 760 (Museum, Cologne)
Peter Zumthor ATMOSPHERES - architectural environment. The things that surround us and elective necklace architect architecture / 22
From the book of
Peter Zumthor ATMOSPHERES
we list some of the points considered significant Zumthor
art of design.
-material presence of the architecture: consonance of materials;
-the sound of space-sound materials;
-temperature space, not in the sense 'climate' in the etymological sense of 'temper' as search for the right tuning.
-architecture as an art space, Zumthor's work of art is to 'roam' in space (thermal baths in Vals, museum, Cologne)
-The ratio inside / outside, this gradual transition governed by the element 'face' or shell designed as diaphragm regulator.
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if they should read.
pictures will be posted on the website relating to the lesson
