Reflecting on Heritage

TU/e; the Built Environment; Unit Architecture Urban Design and Engineering // Seminar Urbanism and Architecture ir. M. W. Musch

ABSTRACT TUTOR: Dhr. M. W. Musch STUDENTS: Linda de Groot,Yves Heddema, Stefanie Li, Enrico Mancadori, Erwin Muhlstaff, Sophie Peters, Anwar Bahir Saifullah, Martha Seitanidou, Olga Pershina YEAR: 2018

REFLECTING ON HERITAGE / INTRODUCTION We all know an old building in our neighbourhood. One that has been decaying for some time and desperately needs attention. Now imagine an architect’s view of this building, when it was built there was put a lot of care and thought in it. This can not be lost, not under your watch. However the building is no longer fit to work or live in, not in its state of decay, but also not in the changed world, higher isolation demands, desired integrated technology, changed environment and so on.

How to deal with this dilemma, the problem of heritage in architecture? This is the question which forms the core of the seminar “Reflecting on heritage”. In order to gain an insight in the possible answers to this question we have analysed renovation projects by known architects. To get an image of the possible “right” and “wrong” in renovation a number of texts are read. These texts include the words of Violet le Duc, John Ruskin, Alois Riegl, Camillo Boito and Françoise Chaoy.

The analysis consist of a brief contextual analysis, to get an insight in the social, economical and political backgrounds of the projects. This analysis is complemented by a morphological change of the building, containing the main elements of the intervention. The purpose of the intervention will be explained in the architect’s intention. At the end the project will be summarized and linked to historical texts on renovation architecture.

INDEX

PROJECT MUSEO DI CASTELECCHIO VERONA

Li, S. (Stefani)

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CULTURE CENTRE TOLEDO

Pershina, O. (Olga)

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CAIXAFORUM

MADRID

Heddema,Y.V. (Yves)

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THALIA THEATER

LISBON

Bahir Saifullah, A. (Anwar)

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NEUES MUSEUM

BERLIN

Peters, S. (Sophie)

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FRAC MUSEUM

DUNKIRK

Muhlstaff, E. (Erwin)

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FONDAZIONE PRADA

MILAN

Seitanidou, M. (Martha)

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NEWPORT STREET GALLERY LONDON

Mancadori, E. (Enrico)

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ARCHITECTURE FACULTY

TOURNAI (ADDENDUM)

De Groot, L. (Linda)

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SOURCES

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PROJECT: Museo di Castelvecchio FUNCTION: Art Museum ARCHITECT: Carlo Scarpa LOCATION: Verona,Italy CLIENT: Licisco Magagnato YEAR: 1957-1964

DISTINGUISHING ARCHITECTURAL TECTONICS OF DIFFERENT PERIODS Museo di Castelvecchio

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INTRODUCTION Museo di Castelvecchio is situated in the heart of Verona, on the southern bank of the Adige river. Presently a museum that showcases historical paintings and sculptures of the city, it was used as fortification in the earlier years. Prior to Scarpa, the building had undergone four phases of construction.

The Communi wall was built in the 12th century as means of fortification when the area became an independent commune. It was rebuilt higher in 1239 when it was destroyed by a flood.

In the 14th century the lords of Verona, the Scaligeri family built the Castelvecchio and the bridge connecting across to the Adige in 1354, with the Reggia residence on the western side of the Commune wall and the military training ground on the eastern side. The military courtyard was open to the river, acting as the first line of defense as the castle was designed to defend itself against the citizens rather than for them, in case of revolt, iwht moats dug around the castela dn adjacent to the eastern side of the Communi wall. Scaligeri closed the gate in the Communi wall to allow the construction of a ramped road running to the bridge, providing an alternative escape route. They made a new opening protected by a tower.

In 1797,Venetian Republic fellunder the Napoleon rule. They destroyed the battlements and the tops of towers when the people revolted in 1799. They occupied the castle soon after, fortifying it against the Austrians on the other side of the river. The military ground was enclosed with the construction of a wall along the river, placing gun embrasures along the eastern and the new northern facade. In 1806, a grande staircase in the north-western corner of the courtyard was constructed, connecting it to the battlements along the north wall, and the L-shaped barrack block.

Years later, between 1923-1926, the director of the city’s art museum Antonio Avena converted Castelvecchio into a museum. The clock tower was completely rebuilt further to the north. The facades of the Napoleon wing facing the courtyard was completely remodeled with only few small square barrack windows that remained.

The new facade had a symmetrical composition, comprised of gothic windows salvaged from demolished houses after the Adige flood in 1882, and a centered three-arched loggia as entry.

Fig. 1: Communi Wall Fig. 2: Scaligery Family Fig. 3: Napoleon Barracks Fig. 4: Avena’s Museum Fig. 5: Masterplan of Verona, 1:10000 (opposite page)

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THE CONTEXT BEFORE THE INTERVENTION When the Castelvecchio was converted into a museum, the Napoleon facades were entirely redesigned into a symmetrical gothic composition. The layout of the courtyard also reinforced the symmetry through guiding visitors straight from the main entrance to the central Napoleon entrance.

The gun embrasures on the northern Napoleon wall were closed and hidden by placing fake chimneys and fireplaces, and the interiors of the museum were decorated with 16th and 17th domestic styles.

The eastern wing of the Napoleon barracks were converted into the theatre and the exhibit was held in the northern wing and in the Reggia residence on the other side of the Communi wall.

Fig. 6: Ground floor context plan of past situation (1926), 1:1000

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PROJECT DESCRIPTION Museo di Castelvecchio is an art museum exhibiting Medieval, Renaissance and modern art up till the 18th century. Its holds not only exhibition rooms, but also administrative offices, photo library, handicraft workshops, general archive and a temporary exhibition room. aOn the western side of the Communi wall is the Reggia residence and on the other side of it, the L-shaped Napoleon barracks. Today these areas are where the permanent exhibition is located. The eastern part of the barracks are the offices.

Entry into the museum is through the entrance central to the great courtyard, where visitors follow the paved ground into another entrance in the north-eastern corner.

Fig. 7: Ground floor context plan of current situation, 1:1000

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THE INTERVENTION Museo di Castelvecchio is a site where architecture from multiple historical periods meet. The building itself is an exhibit of the history of Verona.

Rather than a complete restoration, the interventions are alterations and additions to Avena’s version in 1926. The main interventions were executed on the Napoleon wing which sits on eastern side of the complex. Smaller interventions were made on the interior of the complex.

Step 1: Removal of Napoleon stairs and the north-western end of the Napoleon wing attached to it Step 2: Cutting out battlements on either end of the northern wall of the Napoleon wing Step 3: Excavating the Scaligeri moats and redesigning the garden Step 4: Reconstructing the north western end and creating bridge to connect first floor of Napoleon wing to the Reggia residence through the tower

Fig. 8: Removal of north-western end of Napoleon wing Fig. 9: Trimming the top ends of northern wall Fig. 10: Re-excavating the Scaligeri moats and redesigning the courtyard Fig. 11: Redesign of the intersection point of Napoleon wing to Communi wall

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ARCHITECT’S INTENTION Through demolitions, Scarpa wanted to reveal and clarify the history embedded within Castelvecchio. The removal of the Napoleon stairs and the whole end bay was to emphasize the distinct boundaries between the architecture of the Napoleon wing and the Commune Wall. He also asymmetrically cut the ends of the northern Napoleon wall to distinguish it separately from the rest of the Scaligeri fabric. These measures were made to clarify the distinct separations between architecture built in different historical periods.

When Avena converted the Castelvecchio into a museum in 1926, he completely remodelled the whole two facades of the Napoleon wing facing the inner courtyard, to be both perfectly symmetric with gothic windows, and decorated the interior with a domestic style from the 16th and 17th century.

Scarpa did not agree with Avena’s alterations, ‘At Castelvecchio everything [the facade] was fake... I decided to adopt certain vertical values to breakup the unnatural symmetry’.

He wanted to demonstrate its fake quality initially through moving and adding windows, but resorted to leave the facade as it was. Instead he came up with other solutions to convey the idea, through disrupting the symmetry of the facade.

1. Demolishment of the north-western end of the Napoleon wing, violently expressed with the raw cut of the roof and facade 2. Previous central entrance blocked, removing the symmetry within courtyard and instead moved to the eastern end of the facade 3. A glass screen moves geometrically independently behind the existing facade

Fig. 12: 1700s Napoleon Facade Fig. 13: 1926 Avena’s Facade Fig. 14: 1964 Scarpa’s Facade

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CONCEPT The concept behind the intervention is to distinguish and clarify the different architectural segments constructed during different historical period. Through careful construction and demolition, and creating gaps where appropriate, Scarpa allows the visitor to easily read the distinct boundaries between each period.

The plan of Castelvecchio prior to Scarpa’s intervention shows that the Napoleon wing is directly attached to the Commune wall. Through the removal of the stairs in the great courtyard the demolition of the north-western end, there becomes a distinguished separation between the Napoleon wing and the Commune wall.

Scarpa wanted to remove Avena’s additions that were constructed in a style that did not correspond to the time of constructing the addition.

These additions obscured the historical context of the building and it

Fig. 15: North-western end of Napoleon wing showing the Cangrande statue

only made sense to remove these additions in order to clarify its history.

‘Monument loses all or almost all of its importance when the scholar can reasonably doubt that the restoration has more or less altered its forms or added forms that seem original’. In this quote, Boito expresses that when the additions are seemlessly original, it loses its importance. He labels the excellent restorer who constructs as if it was the original, as a liar, cheater and forger. His idea of preserving heritage is to conserve rather than restore.

In the case of Avena’s restoration, he did not restore the Napoleon facade in the original manner, but instead constructed an entirely new facade in a fashion not correspondent to his time. The result of this renovation leaves the assumption that the Napoleon wing had always appeared in that manner as there were no indications of otherwise.

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LITERATURE Avena’s restoration is completely against the ideas of Boito, as the latter emphasizes that one should not deceive its neighbour. In order to do so, there must be a distinguished difference to reflect its different context of time.

Boito’s ideas were more aligned with those of Scarpa, as his intervention were centralised around the conservation of its historical context through architectural clarification and distinguishment.

He also did not see the value in Avena’s remodelling of the Napoleon facade and wanted to portray its fake quality, so that visitors would not mistake it as part of the original building.

Riegl determines monuments’ importance by two factors: historical, and artistic value. He describes historical value is based on the ‘very specific individual stage the

Fig. 16: Construction stages of Avena’s design with the Napoleon stairs in view

monument represents in the development of human creation’.

Similar to Boito and Scarpa, he would have not deemed the new Napoleon facade to have had any value, as it is not representative of its time, or rather a false representation of it.

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DETAIL The most obvious moment in Castelvecchio showing the concept of clarifying history is the nothern-western end of the Napoleon wing.

The north-western end of the Napoleon facade was demolished along with the staircase which formally separated architecture of different times. The uneven cut made it evident that it had been cut, and emphasize the distinct formal boundaries between the Napoleon wing and the Commune wall.

He also asymmetrically cut the top ends of the northern Napoleon wall to separate it from the rest of the Scaligeri fabric.

After the removal of the Napoleon stair, Scarpa found the Scaligeri moats underneath. He only fully excavated the moat that lied directly underneath the demolished end.

It was evident that this area in the building was a point of intersection between the architecture of different parts of history: the Scaligeri moats, Commune wall, Napoleon wing.

The open facade allows entering visitors to have a fully view of this intersectional point, making it clear that this complex were composed of different architectural segments, and of different times.

The placement of the Cangrande statue on an elevated level heightens its visibility and draws emphasis to the Scaligeri influence behind Castelvecchio.

The additions that Scarpa made were constructed out of different material and architecturally expressed its differences to the original parts of the building.There were deliberately made 10 inch gaps between the floors to the original walls, which further reinforces the distinct separation of the tectonics of his architectural additions. Hence distinguishing again the separate layers of history architecturally.

Fig. 17: Isometric view of the North-western Corner of Napoleon wing

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CONCLUSION Through careful construction and demolition, Scarpa distinguishes the formal boundaries between elements of different times, and therefore conserving the historical context of the building by clarifying it.

Fig. 18: Detail of balustrade Fig. 19: First floor of Napoleon wing Fig. 20: External view of the Cangrande statue area Fig. 21: Fountain in countyard Fig. 22: View from across the Adige Fig. 23: Ground floor of Napoleon wing

PROJECT: Municipal archive & Cultural Center in Toledo ARCHITECT: Mendaro Architects LOCATION: Toledo, Spain CLIENT: City Concil of Toledo YEAR: 2000

OLD BUILDING FOR NEW ART & NEW BUILDING FOR OLD DOCUMENTS Cultural Centre & Municipal archive in Toledo

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INTRODUCTION The former church of San Marco located at Calle Trinidad, 7 in the historic district of Toledo at the highest point of the city. The church which belonged to Trinitarian order dates from the 17 century and as a typical ecclesiastical structure of its time an example of early Baroque Spanish Architecture. The building is large and has three naves that are separated by round arches. The central nave is the highest and belonged to an earlier church. The architect was Jorge Manuel Theotocopuli and the entrance was done by Juan Bautista Monegro. The building stood unused for many years. Recently, at the end of the 20th century, the church was modified and extended by the architect Ignacio Mendaro Corsini to house the Toledo Municipal Archive and the Arts Center of San Marcos, with all the inherent services.

Municipal archive of Toledo occupying a space which had previously was a part of the site of the old Monastery (Convento de la Trinidad). The Monastery was found in 1220, later destroyed, and subsequently rebuilt in the middle of 16 century. By the middle of 20th century, the danger of the imminent collapse of the monastery led to its demolition, leaving an empty site beside the church which, with no aspiration to becoming a square, was occupied by cars.

Now Municipal archive is in the center of the city, very close to the Provincial Historical Archive, the Archive of the Cathedral and the Diocesan Archive. It is also communicated with the City Council, and, in particular, with the municipal Fig. 1: View of the archive entrance offices of Urban Planning, which are the documents that produce and request Fig. 2: View of the archive facade Fig. 3: Masterplan of the City of Toledo, 1:10000 the most.

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THE CONTEXT BEFORE INTERVENTION The civil war left the destructions in the structure of the San Marco church.

Statues of the founding saints that were in the niches that still remains in the main facade disappeared, the deterioration and the abandonment of the building extended to its desacralization and devoid the church of any content.

It`s last uses were are a municipal workshop of carpentry and warehouse of equipment and floats.

The Convent of San Marko was demolished, because of the danger of the imminent collapse. Empty space was occupied by cars. The site was dominated by the unavoidable view of the stretch of bare walls of the church, an unprecedented perspective of the building, cluttered and wasted by an improvised and anarchic occupation as a car park.

Fig. 4: Ground floor context plan of past situation (1980), 1:1000

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PROJECT DESCRIPTION The aim of the project to redesign the square and the construction of the Municipal Archive building is to rescue the space hijacked by cars and to provide a building base that can order and highlight the volumes of the nave and dome of the church. It will also give the whole group a scale which is easier for passers-by to assimilate from the square.

The Archive has its main entrance through the street of Trinidad. The archaeological remain, mostly medieval, exhibited to passers-by through a series of walkways suspended above the site structures, laying out a sequence of courtyards that provide entrances to the archive or a return to the square through another, smaller one. Here the memory of the place rises up from the ground. A vaulted area provides an enter the facilities of the Archive. The

Fig. 5: Ground floor context plan of urrent situation, 1:1000

archives located one floor below the cultural center, half buried in the ground. large space of the building, almost rectangular, delimited by the walls of the church of San Marcos of the seventeenth century and by the Archive deposits.

The concrete roof is more than ten meters high gives a feeling of spaciousness.

Also, the project provides a consolidation of the ruin of the church building to avoid its collapse. Despite the treatment to which the facades were subjected, the image of a church remains. The nave has been transformed into an auditorium with fixed seating, while the two aisles are used for exhibitions.

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THE INTERVENTION In general, this intervention involves consolidation of the ruin of the church to avoid its collapse; creating a Cultural Center in its building; construction of the new building of Municipal Archive; creating of a public square.

New use of the church building, satisfy its requirements so completely that there is no need to make big changes in its space organization.

The new building of Municipal Archive is an example of contemporary architecture and demonstrates a will to the future. Architecture of the building allows us to distinguish clearly the ancient from the modern part of the complex. An immense and simple wall of Archive, like a basement of the church, underlines monumental volume of the building. large gaps in this wall evaluate the transparencies of interior patios and provide a mixing of old and new facades.

The new construction, conceived and built in reinforced concrete flat walls, takes advantage of the traces of the old cloister to reclaim its directions and foundations.

Fig. 6: Isometric view of the past situation Fig. 7: Isometric view of the present situation

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INTENTION OF THE ARCHITECT The transformation that affects the old church of St. Mark in Toledo restores an urban balance through the attainment of a new architectural unity.

Intervention express close look at the place, its earlier existences and its memory. Noticeable to mention, that in the new building of archive architect implemented a patio, which is typical fo historical part of the city, where complex is located. The volumetric rhythm of the buildings supports an existing relief and structure of the city.

Architect makes an effort to merge old and new buildings. Elements of Archive embraces the elevations of the Cultural Center. Entrances to the buildings located next to each other and designed in the same way.

Materials, used for the new building provides a difference of style between the new and the old buildings. The architect uses elements of thick steel sheets, wood, toned concrete, pigmentation of the cement derived from the traditional block material of the existing building.

Fig. 8: Isometric Section Fig. 9: Sections of the intervention

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THE CONCEPT The joint project for the Cultural Center, public square, and the archive has been resolved in such a way that the whole of the public space is clearly strengthened and enhanced. Starting from the old traces of the demolished cloister, the archive is designed as a building backing onto a wall set in the space that acts as the foundation of the improvement of the prospect of the church from the distant points of the square.

The wall-building acts as a perforated screen which separates and relates public spaces which differ in size and perception. It acts as a backdrop that emphasizes the serenity of the volumes of the church building and allows a different approach to the newly laid out spaces on the different sides.

With simple restrained means, the new architecture has been carefully integrated into the existing fabric. Old and new are nevertheless distinguished through the choice of materials.

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PROJECT: CaixaForum Madrid FUNCTION: Modern Art Gallery ARCHITECT: Herzog & de Meuron LOCATION: Madrid, Spain CLIENT: laCaixa foundation YEAR: 2001-2008

CARVED OUT, LIFTED AND FILLED CaixaForum Madrid

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INTRODUCTION Strolling along the main street of Madrid, the Paseo del Prado, one perceives an imposing row of buildings. Imagine an old gas station in front of an even older powerhouse among these buildings. Not just along the main street, but right across the botanical garden of Madrid. Industrialisation and the upscaling of the power grid introduced a big industrial building now vacant. After the realisation cars should be minimized in the city the gas station also lost its function. The city government decided to redevelop the site. Together with the architects Herzog & de Meuron the government choose a public function, not just any public function, but an art gallery. To get even more people inside the building this was supposed to be added with a restaurant, library and a presentation auditorium. The Caixa Forum strikes as a very special building. At the same time it doesn’t seem out of place.The design doesn’t hide the enlargement of the building, adding more than 1.500 square metres floorspace, but still seems to fit in the original building fabric. How did the architects achieve this without demolishing the site’s historical influence?

The architect compares the site to a vineyard in his description: “Like a vineyard that could never develop its full potential because it was planted with the wrong grape, this prominent location could not develop its full potential.” This is how he explains the demolishing of the gas station. He deems the old powerhouse “reminiscences of the early industrial age in Madrid.” This can be explained when a closer look is taken of the old building. At first glance it seems rather dull, straight forward a brick warehouse. If zoomed in however, the ornamentation of the roofline and the windows become more apparent. These ornamentations show the care used to build the building with. This is the memory of the industrial age the architect wants to preserve. By reading the architect’s explanation the striking design can be understood better. Lifting the building Fig. 1: Overview from the south-east up one story, creating a covered public area the architects clearly wanted to invite the Fig. 2: Approach from the south-west before the intervention (2001) Fig. 3: Masterplan of the City of Madrid, 1:10000 (opposite page) public in their building.

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THE CONTEXT BEFORE THE INTERVENTION Situated in the cultural district of Madrid, very close to the Museo National del Prado and the Retiro Park, the building’s main façade is at the end of the public square created by the architect. This part of the building is one of the few possibilities of sunlight entering the building, this is why this façade contains three of the four windows designed within the old brick wall. Another impact is the sloping landscape, on the main façade (east) the building is lifted one floor, about three metres. On the other side (west) this lift is only one metre to one and a half. This combined with the difference in lift makes the public square only accessible from the north and east approach, but still visible from the south and west.

The buildings surrounding the project have many differences in height on their roofs.

The average height is about nine to ten metres, This made the original structure

Fig. 4: Ground floor context plan of old situation (2001), 1:1000

rather low (six metres). The architect not only sought unity in the height of the new complete picture, but also in the variance on the roof, joining with the odd shapes of surrounding buildings. This shape was contrasted with the unity of the material in the new roof, while the surrounding buildings use different colours and materials.

The new roof was made of one material, corrugated steel. The steel had holes and covered the windows, this made the new shape in one uniformity, not even showing its perforations.

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PROJECT DESCRIPTION The former powerhouse was described as a memory of the early industrial age. The building was a brick structure with a natural stone plinth. Two rows of windows in the façade with rather big window openings. On the top level a lot of windows were already closed with brickwork, a third type of stone. On the inside the building was divided in two long halls, with entry points on both sides. There were two different approaches of the building, from the side, looking two a well ornamented roofline and head on, looking at the ornamented pitched roof.

The site had a slope of about one and a half metre. This was an aspect to keep in mind for the architects when creating a public area. The architect brought back the original material use to one type of brick, removing the plinth and window infill that was existing. Still wanting to close every opening in the original façade the architect used the same type of brick as in the façade. This contrasted with the original due to

Fig. 5: Ground floor context plan of new situation (2008), 1:1000

weather influences and colour differences. The added part was made in corrugated steel, both to keep a red-tone material and to reference the industrial history.

The underground part, or as the architect describes it the “underworld”, houses the auditorium and extends far beyond the original building. By covering this part of the building with topographically landscaped elements the public area only seems to have a new pavement, completely hiding the theater below.

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THE INTERVENTION The project embraces the industrial history and showcases it in a manner perfectly suited for the cultural quarters.

The finished building raises questions of identity, unity and contradiction and structural possibilities.This invites not only art-lovers to the building and the area, but all inhabitants of Madrid.

The first two aspects have been explained in the project description and the context.

The latter however is an issue that originated when the architect tried to create a covered public space by lifting the building. The building only seems to rest on three points. These three points carry the weight of the four floors above, the existing brick façade and the new metal façade. This could be done because the architect had to design a completely new structure for the building, since the existing one was demolished.

Another aspect contributing to this issue is the way the existing brick façade is carried. This construction seems very slim from the outside and is covered by a metal plate from the “inside”. Because the construction is that slim the old façade seems to float where it was once carried by a stone wall.

Fig. 6: Isometric view of the past situation (south-east) Fig. 7: Isometric view of the present situation (south-east)

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ARCHITECT’S INTENTION The architect’s first thought was to create a public square. This is due to the density of the neighbourhood of the project. The buildings are very high (about 6 or more stories) and are surrounded by very narrow streets. The architect wanted to create a public square entering the building, this is why the building was lifted and the ceiling here heightens towards the centre of the building. Another reason to create this public square is to make the building function as a magnet. By providing a covered outdoor space to shield from the sun, the architect wants to get the people below the building and eventually inside.

On the inside the old building is almost forgotten. A very futuristic entrance with a shiny metal staircase imposes the visitors.

The gallery is public with an entrance fee, this meant the architect had to keep in mind the different traffic flows in the building.

The architect describes his building to be “an urban magnet attracting not only artlovers but all people of Madrid and from outside.”

The transformation showcases the old structure transforming into something much larger than the original. This is due to a new function, both on the inside and outside. It also shows the size of the underground world created by the architect. The public might not even know the theatre just below their feet.

Fig. 8: Old situation Fig. 9: Removing of the roofs, floors, inner wall, plinth and addition Fig.10: Remaining historical part Fig.11: Added floorspace, 2 floors below ground level and 4 above Fig.12: Added shape Fig.13: Completed project

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REFLECTION Reflecting on the project we can conclude the tools the architect used and the influences it has had on the building and the public area.The amount of use of the historic building in comparison with the newly added elements almost seems a Ruskin approach. However if looked closer how the architects handled the precious history they do not fit the hands-off or destroy principle.

The use of the original façade as a part of the new façade seems to be in order with the new completeness Violet le-Duc describes in his “Defining the nature of restoration”. If investigated further Le-Duc’s perception of contextual truth however the architects have only been truthful in the present architectural context and less in their historical context.

The use of the materials added to the building is not only in the way Le-Duc described it, but also as one of the eight points of Boito about how to be a true renovator. If we were to look at Herzog & de Meuron through the points of Boito they fall partly out of place. They are learned restorers trying to be honest in their expression but in the eyes of Boito they are not respectable enough to the history. This because they do not refer or expose any of the removed elements of the building.

Morphological shape

New floors

Public square

Old brick façade

New bricks

Sloping landscape

New floors

35 Fig. 14: Isometric exploded view showing the intervention (opposite page) Fig. 15: Approach of plaza (east) Fig. 16: Morphological shape on top of old bricks Fig. 17: Approach plaza (south) Fig. 18: New staircase Fig. 19: Heightened old situation Fig. 20: Covered plaza

PROJECT: Thalia Theatre FUNCTION: Multifunction Building ARCHITECT: Goncalo Byrne & Barbas Lopes LOCATION: Lisbon, Portugal CLIENT: the Ministry of Education and Science YEAR: 2008

THE NEW LAYER OF COMPLETENESS Thalia Theatre

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INTRODUCTION Located next to the Lisbon Zoo. Teatro Thalia was built by the bacchanalian Count Farrobo in 1842 as a theatre exclusively for satire. It was built on the grounds of his palace on the outskirts of the Lisbon. The original building consists of four different elements: the foyer, the audience, the stage, and the wing building. Later, the building was suffered a fire damage in 1862, and remained as ruins for 150 years before it restored. Before the restoration, the building was in a bad condition, with the risk of collapsing. Where, all the elements, such as decorations, chandeliers, roof and wood structures were gone, only the walls that remain.

In 2008 the building was commisioned a study to restore it. The 2.7 million restoration project was carried by two lisbon architects, Goncalo Byrne and Barbas Lopes. Initially there was only Barbas Lopes, but later Goncalo Byrne, which had experience in restoration , joined the project.

The objectives of the restoration was to restore the three main elements of Thalia theatre: The foyer, the audience, and the stage and use it as a part of the new building.

Besides the client, Ministry of Science, Technology, and Higher education, also wanted to convert the private theatre into a flexible multipurpose space that can be used for different type of public activities.

Fig. 1: Thalia Theatre before reconstruction Fig. 2: Ruins of stage structure Fig. 3: Ruins of theatre structure Fig. 4: Masterplan of the City of Lisbon, 1:10000

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THE CONTEXT BEFORE THE INTERVENTION Thalia Theatro was built in a suburban property owned by Count Farrobo.The building was located next to the palace and in between the gardens that and Laranjeiras road.

Originally the building was a theatre for stage plays, opera, and lavish parties. In 1940 the complex was bought by the portuguese ministry of colonies, since then several ministries have been headquartered in the complex. In 2004 the area occupied by the minister of Science, Technology, and High Education.

Before the intervention Thalia Theatre consisted of four different elements: The foyer, Audience, Stage, and wing building. The foyer, with its neoclassical facade, was placed next to the garden, facing the old palace. The wing building was located on Larajeiras road as a respone to urban area. However, it wasnt well connected to the urban area around it. Since the wing building was functioned more as a service back building.

Fig. 4: Ground floor context plan of old situation(2008’s), 1:1000

Today, the complex is located in between green area that belongs to the Lisbon Zoo and the busy Laranjeiras road.The road is modest road, with two way traffic and pedestrian side walk on each side. The area is full of residential and commercial buildings like; shops, cafes, drug store, and other type of commercials.

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PROJECT DESCRIPTION In the past Thalia Theatre was a small private theatre, but after the restoration the building is changed into a multipurpose room that can be used for different types of activities: such as confrences, seminar, work meeting, or even a concert.The owner of the building, the Ministry of Science, technologies, and higher education, used the building for different internal public activities like, Universities events, research centers, scientific and cultural initiatives, and community exchanges events.

After the restoration the building consists of the foyer, multi-purpose room, and support pavillion. The audience and stage building is connected and converted into a multipurpose space that can be adjusted for different uses and the old wing building is replaced with a L shape one storey glass pavillion.

Fig. 5: Ground floor context plan of actual situation (2017), 1:1000

the exterior of the building is completely covered by a concrete structure layer that forms a monolithic body of the original building’s volume. In contrast, within the interior the old walls is being kept. It is left untouched as a ruins to become a spectacle of its own. The new wing building is a pavillion that functioned as a support building that consists of receptions, toilet, services, and cafetaria. It acts as a respone to urban area which connects the building with its surrounding.

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THE INTERVENTION The objective of the restoration is to retain the old structures of the original building that consisted in scenic spaces: Foyer, Audience, and Stage, and restore it into a complete condition to be used for a multipurpose building.

The architect proposed a demolition of the old wing structure in order to meet the building’s technical requirements and reveal the monumental size of the original building volume. Moreover, the removal of wing structure also strengthens the axial composition of three building elements: the foyer, audience, and the stage. Which makes the three elements arranged in a perfectly symmetrical composition.

As an objective of the restoration is to keep the original structure of the building and strengthen the old structure, therefore the external reinforcement by the concrete wall is chosen for the intervention. The ruins are embedded in the new concrete structure. The concrete structure becomes a new structure of the building that strengthens the construction and preserves the ruins from the outside.

With terracotta finishes, the new structure enclosed all the exterior surface of the audience and the stage building.

The old wing structure is replaced by a single story glass building, that is used as support pavilion.The building’s glass facade establish a new relationship between inside and outside, it connects the theatre with the busy Laranjeiras road. Besides, its L shape of the building also creates a courtyard that connects the theatre with the green space of Lisbon zoo.

Fig. 6: Isometric view of the old situation Fig. 7: Isometric view of the present situation

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Fig.8 Fig.9 Fig.10 Fig.11

: : : :

Demolition of Wing Building Axial Composition Reconstruction Concrete Structure Layer Urban Context Wing

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ARCHITECT’S INTENTION “The new construction would preserve the existing, but we thought it would be senseless to mimic the original materials. We used a deactivated concrete that would provide the strength we needed and has a tactile quality, but would not appear too new.” - Barbas Lopes

Suspended Roof

The architect’s concept of the restoration is to express a clear relationship between the new and old part of Teatro Thalia. The ruins of the old building’s wall are seen as an autonomous entity that separated with the new terracotta concrete structure which is preserved and protected it from the outside.

“The lower wing was about the urban condition,” “We wanted the glazing to be reflective, acting like a chameleon and drawing the context on to the facade.” - Barbas Lopes

Concrete Layer

The new wing building, with its glass facade, is intended to establish a relationship between the building and the surrounding. The one way mirror glass allow people inside the building see what happens on the street, while the glass facade mirrors the activities of Laranjeiras road.

Old Building

Courtyard

New Pavillion Fig. 12: Exploded Isometric of building’s element

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REFLECTION The reconstruction concept of thalia theatre is a combination of the new and the old of the building. The new concrete layer reinstates the building into a complete condition and gives a modern appearance from the outside. From the inside, the new layer keeps all the ruins and reinforces it with a new concrete structure.

The intervention of Thalia theatre gives a new identity to the building, strengthen its structure and reconstruct it into a complete condition. While in the same time it also preserves the old parts of the building. In the other word, it revives its existence by bringing back the memory from the past with a new form.

Refers to Viollet Le Duc’s Definition, that ‘restoration’s objective is not to preserve, to repair or rebuild a building; restoration is to reinstate a building into a condition of completeness that could never have existed at any given time’ (1858) The intervention of Thalia Theatre is an attempt to restore the ruin to its complete condition. However, instead of restoring the ruins of thalia theatre with its own style, like what Viollet Le Duc suggested, the architect makes an intervention in a completely new style as what Boito stated in his essay First Dialogue (1893). The intervention shows a clear distinction between the new and the old structure. The old walls layer provides a scenic space inside the building. while the new terracotta concrete layer reveals the monolithic volume of the building that strengthens its presence as an urban marker. In the other way, the age and historical value of the building is kept inside, preserved by a new structure on the outside that shows the building the new state of completeness. in restorations, there is an essential condition that must always be kept in mind in terms of construction and the utility of the building (Viollet Le Duc, 1858). In the Thalia theatre restoration, the new concrete structure used to strengthen the building with better material and in a stronger and more perfect way. Besides, in terms of use, the restoration proposed a new use of the building as a multi-purpose space, in order to make the building with its scenic space usable for many activities.

Fig. 13: Elevation drawing Fig. 14: Section drawing Fig. 15: Plan drawing

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DETAIL As a concept of the restoration which is a combintation of the old and new part of the building. The architect placed a new concrete layer on the old wall structure in order to reinforce the ruins and make the building complete again. The old wall is embedded into a new concrete layer, makes the old wall no longer a structural elements that sustain the building’s load Moreover, the new concrete layer is covered by teracotta texture color to gives the same impression with the old Thalia theatre. The yellowish color of terracotta considered has similar characteristic with the brick that was used by the building. It is used to make the building doesnt appear too new and mimic the original material. The objective is to relate the old and the new part of the building.

Also to meet the requirements of the new building’s function as multi purpose room, which has to be flexible.The building uses a suspended roof in order to make the space as open as possible, where there is no collumn in the middle of it. The suspended roof , that consists of a metal beams, is supported by the new concrete layer. Leave the old wall untouched to minimize the risk of damaging it in the future.

Fig. 16: Concrete layer details Fig. 17: Interior of Thalia theatre Fig. 18: Scenic interior of old walls Fig. 19: Concrete Strucutre layer Fig. 20: Exterior view Fig. 21: Wing support pavillion Fig. 22: Connection to the busy road

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PROJECT: Neues Museum Berlin FUNCTION: Egyptian, Prehistory and Early History collections ARCHITECT: David Chipperfield & Julian Harrap LOCATION: Berlin, Germany CLIENT: Bundesamt für Bauwesen und Raumordnung YEAR: 2009

IN DIALOGUE WITH THE PAST Neues Museum Berlin

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INTRODUCTION Berlin – February 3rd 1945 The capital of the Third Reich has to endure one of the greatest attacks of World War II. The city, which had already suffered from extensive bombing from 1943 on, is torn apart and left in ruins. Among the victims of this bombing are both the notorious Nazi judge Roland Friesler and the beautiful building of the Neues Museum. War is inexorable and bombs seem to play an impartial part.

Berlin – November 9th 1989 With the fall of the wall of Berlin, the city welcomes a new era of rebuilding and reconnecting as a whole. The cease of the wall also shows the mediocre attempt of reconstructing the Neues Museum to its exact pre-war state. Along with the few badly reconstructed elements, the building radiates in decay.

From 1843 to 1855, the Neues Museum was built as an extension of the Altes Museum, using outstanding techniques for that time. Aside from the modern iron structures, the museum was characterised by the abundant decorated interior. In a way, the building and its decoration were part of the collection of the museum itself, since the images and representations of the decoration connected with the collection. Located on an island in the river Spree, the area expended in the following years towards the northern border, and later became known as Museumsinsel (Museum Island). Together with the other museums on the island, the Neues Museum took part in a unique ensemble. In this, all buildings individually were designed to be powerful, sophisticated and elegant on their own, while simultaneously forming one harmoniously corresponding entity.

The cultural and symbolic value of the island along with the reference to the classical architecture made it functioning as the Acropolis of Berlin.

However, the glorious days of the cultural island did not last for too long; only nine years after finishing the last museum on the island, the museums closed down and the art was stored in safe places due to the beginning of the Second World War. Although all buildings on the island got damaged, the Neues Museum had to undergo particular suffering; amongst others the characteristic and majestic staircases completely disappeared and the entire north-west wing was damaged. Even though most buildings on the Museumsinsel were restored to their old glory in the following years, the Neues Museum remained a ruin for decades.

This notion leads to a curiosity; why was the Neues Museum left in decay for so long?

Even before World War II, the general view on museums as some sort of overblown ‘art experiencing theme park’ was already a bit outdated.As one of the oldest museums on the island, the Neues Museum was founded on this type of exhibition and therefore the question arose on how to reconstruct the building.Why would you reintroduce an old-fashioned type of museum, if the public is not interested in it anymore? Moreover, aside from the lack of will to re-establish, the absence of capability to restore played an even bigger part, since many of the original rooms and artefacts had vanished. Yet, Fig. 1: Aerial view of the bombing of Berlin eventually this extremely difficult task was assigned to David Chipperfield and Julian Fig. 2: The damaged dome of the Neues Museum Harrap, finally finishing the restored Neues Museum in 2009.

Fig. 3: Masterplan of the City of Berlin, 1:10000

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THE CONTEXT BEFORE THE INTERVENTION During the Enlightenment the interest for science and cultural education erupted, along with the rise of the bourgeoisie. With this development, the concept of taking amusement and pride both in viewing and exhibiting knowledge, science and art arose. The first museums were built, with the Altes Museum as one of the first of its kind in Prussia. Due to the great success of the museum and the rapid increase of the collection, the Neues Museum was built as an expansion according to plans of Friedrich August Stüler.

Over the years, the Alte Nationalgalerie, Bode-Museum and Pergamommuseum followed and the area of the Museum Island was filled with magnificent classical buildings and beautiful gardens. The collections in the museums, accumulated from archaeological sites throughout the ancient Greece and the former Roman Empire,

Fig. 5: Ground floor context plan of the past situation (pre World War II), 1:1000

focussed on the development of civilization. This cultural centre, somewhat isolated (and therefore elevated) because of the location on an island, became the pride of the city as the ‘Acropolis of Berlin’.

However, the proud Acropolis had to endure a lot of suffering during the Second World War. Although most buildings on the island were restored after the war, the Neues Museum remained a ruin as a symbol of war for a few decades.

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PROJECT DESCRIPTION The Neues Museum is part of the ensemble on the Museumsinsel.With the initiation of a new masterplan in 1999 the connections between the buildings are reinforced with an underground entry network. This way, the connection becomes visible and palpable in a way it had never been; highlighted rooms of different buildings that only used to be part of the sequence within their own building are now added to a new network. The two courtyards of the Neues Museum are added to this new sequence, which asked for a small change in floor plans; the entrance level of the courtyards moved from the first floor to ground level. Aside from the new network, the James Simon Gallery and the colonnades are key in the urban structure. The gallery, facing the Neues Museum on the south west faรงade, is the new main entrance of the Museumsinsel and re-established the pre-war urban layout.The colonnades are a recurring and connecting element between the buildings, reassuring the continuity.

Fig. 4: Ground floor context plan of the current situation (2017), 1:1000

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THE INTERVENTION With the intervention, the original shape and mass of the Neues Museum are reinstated and the damaged remaining parts are repaired. Schematically, it does not seem as the new building differs much from the original building aside from the roofs above the atriums and the removal of the walking bridge. However, although the rhythm, volumes and spatial sequences of the rooms are revived, the execution of this replication is done with slightly different materials, colours and level of decoration. Yet, these differentiations are specifically chosen to correspond to the brightness and surfaces of the remainder.

There was never the purpose to imitate or to compete. This way, old and new are distinguishable in a balanced way and the building can show a glimpse of its history of war and before war.

Inside the building, there are three notable spaces that particularly show the interesting interaction between old and new: the Greek and Egyptian courtyard and the grand staircase hall. Within the new implementation, the large white concrete stairs surrounded by a bare brick wall form the central point of the building, invoking a similar sensational majesty as the pre-war hall without any of the heavily decorated frescos. The two courtyards give a similar perception; the paradoxical defencelessness of the exposed and recycled brickwork makes for a powerful feeling, as looking an old, fragile but fierce war veteran right in the eyes.

Fig. 6: Isometric view of the past situation Fig. 7: Isometric view of the present situation

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ARCHITECT’S INTENTION In an online lecture of Colombia University (GSAPP), Chipperfield explains his intentions with the intervention. The main theme of the intervention emphasizes the different dialogues that the building is involved with. He both explains the dialogues with the context and history of the building and the dialogue of the public opinion and emotions. Both dialogues are inevitable and equally important for the end result of the building, whereas they were used to reflect on during decisions in design.

Aside from the emphasis on dialogues, Chipperfield compares the principle of restabilising the Neues Museum with the restoration of an old Greek vase. Individually, the broken pieces might have in interesting story to tell, but they lack the context of shape. With the pieces glued together, even with white gypsum replacing the missing parts, the vase regains a shape which makes it possible to reintroduce qualities that got lost.

In the Neues Museum, Chipperfield uses this ‘vase principle’ on many different levels.

First of all, it is one of the tools to show the traces of war. By using slightly different materials, colours or decorations for filling up the damaged gaps, the architect creates a clear distinction between old and new and is able to show the traces of war in and on the building. Even though it is particularly visible on the exterior where the mass of the building is rebuilt, this approach also leads to the reestablishment of the spatial plans and sequence within the building. Secondly, the principle has a symbolic connotation, as the white concrete staircases in the main hall symbolize the gypsum that is used for fixing excavated vases. Lastly, the vase principle is also practiced for the reconstruction of the art and frescos, even on a level of astonishing detail. Every single scratch on an art piece is observed individually, in order to determine what strategy of reconstructing fits best.

Fig. 8: Isometric view of the damage Fig. 9: Isometric view of the differences between pre-war and current situation Fig.10: Diagramatic drawing from the architect

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REFLECTION One of the notable aspects of the Neues Museum is that the building has lived through different stages, all with their own glory. Before the ill-fated bombing, the building was an impressive and pompous symbol of progressiveness and pride for knowledge and art. After the bombing, the Neues Museum had been left untouched in a damaged condition for decades. While being unprotected from the elements, the building matured as a ruin. This state showed a completely different symbolic: the power and destructiveness of war and the beauty of nature swallowing weak and injured elements. According to Ruskin, there are qualities in destructed ruins since the buildings stay true to themselves and their destiny. Ruskin advocated for preservation without restoration, with only adding the bare minimum of support to prevent the building from collapsing and to preserve it. Therefore, according to Ruskin, the Neues Museum had been in a perfect condition before the intervention.

With the completion of the volume, Chipperfield introduced the building to a new stage. This intervention created a new wholeness using modern techniques and materials, which is a more preferable option for restoration according to Violetle-Duc.

Fig. 11: Isometric exploded view showing the stairs

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DETAIL One of the unique features of the Neues Museum before restoration was that almost all different degrees of damage were present: the bombs ruthlessly ripped entire sections of the building, the years of neglect enabled for water damage and rust to penetrate deep through the building and the bad quality of attempted restoration ultimately destroyed some details that did survive the previous disasters.

These different levels of damage all asked for different levels of restoration. The largely destroyed parts such as the north-west wing, the dome and the grand staircase had a more general approach of recompletion, but the art within the different rooms asked for a more detailed procedure of repair.

Therefore, every individual detail of the remaining art was analysed on the possible options of restoration and the most suitable execution of restoration.

This approach resulted in countless separate decisions, that all had to stay true to the principles and include all dialogues within.

Fig. 12: Analysis and repair of damaged frescos

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In short, with both subtle and strong design on all levels of detail and scale, Chipperfield re-establishes the Neues Museum, while not forgetting about its role in context, history and public sentiment.

Fig. 13: Internal view of the Greek courtyard Fig. 14: Internal view of exposition space Fig. 15: The new staircases Fig. 16: The old staircases Fig. 17: Internal view of the Egyptian courtyard Fig. 18: External view of the Neues Museum as a ruin

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Fig. 1: Front facade (opposite page)

PROJECT: FRAC museum FUNCTION: Public collections of contemporary art ARCHITECT: Lacaton & Vassa LOCATION: Dunkerque-France CLIENT: Communauté Urbaine de Dunkerque YEAR: 2013

DUPLICATE IMAGE ARCHITECTURE FRAC museum - Dunkerque-France

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INTRODUCTION Office: Lacaton & Vassal Architects 206, RUE LA FAYETTE F-75010 PARIS Architects: Anne LACATON (France in 1955) Jean Philippe VASSAL (Casablanca, Morocco in 1954) Location: 503 Avenue des Bancs de Flandres, 59140 Dunkerque, France Size : 11.129 m2 net : 9.157 m2 new building 1.972 m2 existing hall Cost : 12 Mâ‚Ź net Artworks: 1.500 For the new area, the halls are maintained in their entirety, that is the starting point of the project. To achieve this, a second hall of the same dimension is placed, against the existing building. The new part, a subtle confrontation, without competing with the existing structure. Which now looks out to sea and contains the program of FRAC (Regional Collection of Contemporary Art - Frac). Under a light frame construction and the polycarbonate materials, a bioclimatic architecture was sought and a fast and flexible structure was chosen for a free program. These halls will be available for (temporary) exhibitions, activities, large-scale works, for the most common events such as, concerts, fairs, shows, circus, and sports.

Fig. Fig. Fig. Fig.

2: 3: 4: 5:

Shipbuilding workshop and storage site Before the intervantion Intetervantion Masterplan of the City of Dunkerque, 1:10000 (opposite page)

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PROJECT DESCRIPTION The existing warehouse was built in 1949, also known as the AP2 hall at the location of the port of Dunkerque. This was one of the many buildings of the port, directly located at sea, for easy accessibility for import and export.

The AP2 all so served as a workshop for the shipyard for maintenance and storage.

Finishing of the warehouse is minimalist with concrete outside walls and few openings in the faรงade, that are covered with plastic wave plates. That provide more work light and protect against the elements, but there was no any isolation materials used.

Concrete construction meant to be able to carry the walking crane.

The roof is made out of a steel frame construction and plastic corrugated sheets which makes it column free space area.

Fig. 6: Ground floor situation of past situation (1945), 1:1000

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THE CONTEXT BEFORE THE INTERVENTION FRAC museum of Dunkerque has a rich history, which create a lot of employment for the city. Through the years, there was a great interest for the area. This industrial area was easy accessible for employees.

The idea was, to give the monument one or more function(s). In this case is chosen for a museum with multiple activities, as exhibitions, small and big art, meetings conference and events. For the largest part the new building remains a storage space for art. This also includes the office, administration and even a workshop for maintenance on the art projects.

The new part is a modern version of the original building, that was designed in 2011 and completed in 2013. Inner structure is a concrete core, with a light steel construction, covered corrugated polycarbonate roof and faรงade cladding. In 2013 a pedestrian bridge was added, to connect the building to the beach, for hobby moderately used port and connection with the new museum.

Fig. 7: Ground floor situation of past situation (2014), 1:1000

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THE INTERVENTION The architect treated the existing shipyard with respect, this is for the most obvious choices, since there are no permanently visible traces of the added building.

Something is added in a way, that the original building remains in its original state and is not touched. A copy is made of a mirror image of the original shape.

There is something added that also can be remove later again. As can be seen in Fig. 28. The new roof construction has been laid on the original concrete structure.

In the new part, there is a concrete center core, that is separate from the facades. In other words the same core could also fit in its original building without this affecting the character of the building. There is no difference from both inside or outside and it will still be possible, to view the inside and roof construction of multiple eye points. This made it possible for these details to remain visible. The visitors can still experience, the same original appearance from 1955.

(Fig. 9)The color diagram shows that three steps which been taken to redevelopment the shipyard. The part that was built in 1949 had as purpose, a workplace and storage. The new part is a copy of the original dimensions, that was designed in 2011 and completed in 2013. The third part is the pedestrians walk bridge.

Fig. 8: Isometric view of the old situation Fig. 9: Isometric view of the present situation

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ARCHITECT INTENTION Light weight steel construction

Polycarbonate cladding

Concrete inner core

Steel framework

This is most obvious, because the existing building lost, because of several reasons, his function. Then it is possible to replace one function for the other without to make it permanent. It will not have a big influence on the use, because it can immediately adjust to the situation and still can be used as museum while the original character remains unaffected. In this way the monument remains flexible in use after re-use.

It is good to see how one has acted with regard to leaving the building as a shipyard, as it was once in use. Since the building suffered from concrete rot and rusting steel doors, it was properly conserved.

The building has been almost completely restored, to their original state. If you take a good look at the faรงade, you can still see the places, that were treated at the time of preservi ng the building. The slightly translucent paint, still betrays an original piece of history maintenance.

Concrete facade

Storage Office Exhibition

Exhibition big art Meethings Events Fig. 10: Isometric exploded view of the additions Fig. 11: Isometric the intervention

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ARCHITECT INTENTION Due to the fact that the outer wall is made of polycarbonate, it does not have a good insulating effect. That is why there will be a difference in temperature with the concrete inside core. When you go from one space to another, you have to walk around the inner core and you will experience the clear contrast.

The different proportions of the spaces, enable us to respond well to the exhibited art designs.

This shows a clear difference between the contrasts of the spaces since they all have their own unique identity.

In the Isometric exploded view the layout is clearly visible in red fore the exhibition halls, with different folumes and there can present the art forwerp in different ways.

Dark gray is for the storage of the art objects are store under the right climber conditions. And the Light gray is there for Office, atelier, maintenance of the art works.

Fig. 12: Isometric exploded view of the floor plan

69 Fig. Fig. Fig. Fig. Fig. Fig.

13: 14: 15: 16: 17: 18:

Model Model Model Model Model Model

east facade west facade north facade south east view south east view south facade

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Fig. 19: 1e +5.25 Fig. 20: 2e +8.75 Fig. 21: 3e +10.50 Fig. 22: 4e +15.75 Fig. 23: 5e +21.00

Floor Floor Floor Floor Floor

plan plan plan plan plan

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Fig. 24: North Fig. 25: East Fig. 26: West Fig. 27: South

facade facade facade facade

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THE DETAIL The existing building consists of a concrete outer core and the rest of the elements are made up of a steel roof construction, corrugated skin, doors and steel frames. The new building consists of a concrete inner core and a steel exterior wall construction. With a facade finish of a transparent polycarbonate material. It is clearly visible that the existing building has been treated with respect. What has been added also can be removed at any time, without having the feeling that something is missing, since the new construction rests on the existing structure, which remains without permanent damage.

CONTEXT

Cohesion of the bridge brought everything all close together, due to the easy accessibility. Now everything is accessible on foot, the city, the beach, the museum and the public harbor. Now is everything connected by the new pedestrian walkway.

It has gained greater added value as the public space is now used daily by the community. As a guide between the old center and the newly developed public port.

Fig. 28: Isometric exploded view of the additions Fig. 29: Section

73 Fig. 30: Fig. 31: Fig. 32: Fig. 33: faรงades Fig. 34: Fig. 35:

Facade Staircase Werehouse AP2 Spae between the two Storage Top floor museum

PROJECT: Fondazione Prada FUNCTION: Multifunctional Art Centre ARCHITECT: OMA LOCATION: Milano CLIENT: Fondazione Prada YEAR: 2008-2015

ART AND ARCHITECTURE ENSEMBLING THE FRAGMENTS Fondazione Prada

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INTRODUCTION The project includes the transformation of an industrial building into a multifunctional cultural centre.The client is Fondazione Prada which was founded by Miuccia Prada and Patrizio Bertelli in 1993 as a non-profit organisation focussed on contemporary art. The building complex of Fondazione Prada is located in an industrial area in Milano, Italy and it is big scale project since the total area of the project is 22.680 m2. The project was carried out by the Dutch architectural office OMA. Regarding the time context of the project it was commissioned in 2008.The design development started in 2009 and the Construction documentation took place in 2014. Finally, the PreOpening happened in 2015. Fondazione Prada Milan is now an exhibition space dedicated to contemporary art and culture. It includes: Multifunctional space, permanent art collection, temporary exhibition space, cinema, auditorium, offices and cafĂŠ-restaurant.

The project consists of seven existing buildings, and three new structures: Podium, a space for Fig. 1: General view of the compex temporary exhibitions; Cinema, a multimedia auditorium; and Torre, a nine-story permanent Fig. 2: View from one of the complex axis exhibition space for displaying the foundation’s collection and activities.

Fig. 3: Masterplan of the City of Milano, 1:10000

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THE CONTEXT BEFORE THE INTERVENTION The complex is located in the Largo Isarco industrial area on the southern edge of Milan. More specifically, the area between Via Orobia, Via Lorenzini and Via Adamello was from the early 1900s to the 1970s the site of the distilleries and warehouses of the SocietĂ Distillerie Italiane, later known as SocietĂ Italiana Spiriti.The complex that now accommodates Fondazione Prada, was a gin distillery dating from 1910. It developed by the railway and was enclosed by a fence in 1909 and expanded on several different occasions over the coming twenty years.The layout of the site did not change radically due to the modification made after that time.

Fig. 4: Ground floor context plan of past situation, 1:1000

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PROJECT DESCRIPTION Fondazione Prada is now a combination of new and regenerated buildings including warehouses, laboratories and silos, as well as new buildings forming the boundaries of a large courtyard.The idea of having an enclosed complex remains the same after the intervention. The connection between the complex and its surroundings remains minimum since there is only one main entrance and the rest of the buildings shaping the frame of the complex are in their original position. The addition of the tower although implements a change because it becomes a kind of symbol and it stands out from the surrounding due to its significant height. Another change is the fact that the railway on the north is not operating any more and is turning into a green area. Most of the buildings of the close urban context remain the shame but on the south of the complex the pre-existing buildings have been demolished and the area is under construction.

Fig. 5: Ground floor context plan of actual situation (2017), 1:1000

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THE INTERVENTION During the intervention seven buildings were renovated and three new ones were designed to accompany them. Within the perimeter of the site existed two freestanding structures.

One was demolished, enabling the courtyard to become a significant element for open-air use.

Regarding the new buildings, the Podium forms the center of the compound, sitting at the intersection of the two perpendicular axes through the site. This addition combines two volumes of very different qualities: a fully glazed, column-free podium on the ground floor. Resting on top is another gallery space clad in aluminum foam, with a bubbled pattern.

Both galleries provide large, multi-purpose areas for temporary exhibitions and events.

The Cinema acts as an autonomous cell within the compound. With large bi-fold doors, it can be instantly connected to the courtyard. The Tower due to its height reveals the presence to the complex from a distance and creates an interesting contrast with the rest buildings of the complex.

A building that has changed only externally is ‘Haunted House’ as its exterior was covered entirely in gold leaf.

Fig. 6: Isometric view of the past situation Fig. 7: Isometric view of the present situation

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ARCHITECT’S INTENTION The intervention intents in creating contrasts and oppositions in order to define the identity of the complex.

“New, old, horizontal, vertical, wide, narrow, white, black, open, enclosed - all these contrasts establish the range of oppositions that define the new Fondazione. By introducing so many spatial variables, the complexity of the architecture will promote an unstable, open programming, where art and architecture will benefit from each other’s challenges.” - Rem Koolhaas Regarding the connection of exhibited art and the building the architects intent to create a relationship between them.

“We thought that art should not be considered as a sacral entity to be admired based on a generic/pre-organized set up, but considered it as a factor which will be engaged by the architecture (existing and new).” - Federico Pompignoli

Fig. 8,9,10,11: Interpretational diagrams Fig. 12: Architects’ model

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CONCEPT - REFLECTION IN LITERATURE The project cannot be characterized as preservation or new architecture. These two conditions that are usually separated are in a state of permanent interaction. The result is an ensemble of fragments that comprise the image of the complex. The variation of proportions and volumes creates an instability which causes a tension inside the complex.

What is more, the project has connotations with modern art and fashion. The choice to cover an existing building with gold leaf and can be seen as a reference to the relation to the superficial character of fashion. There is an analogy between the way cloths dress human body and the way the new material covers the existing building.

Another factor in the analysis if this project is the investigation on the connection between the literature of restoration and the intervention in Fondazione Prada. According to Boito, after the restoration of the building there should be a visible distinction between the old and new part. The reason is that the observer should not be deceived. In the case of Fondazione Prada the newly added buildings are easily recognizable. The golden tower however misleads since it is not a completely new construction but an old building with a new thin external layer.

demolished buildings new buildings transformed buildings

Fig. 13: Isometric view of the past situation Fig. 14: Isometric view of the present situation Fig. 15: South elevation Fig. 16: Functions diagram - photographs of the complex SOUTH ELEVATION SCALE 1:500

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1

2

12

6 4

5 11

9

8

1 10

4 7

3 2

3 5 6

1 Archive - Galleries 2 Offices 3 Entrance, cafe, bookshop 4 Ideal Museum - Temporary Gallery 5 The Haunted House - Private Gallery 6 Foyer 7 Canopy 8 Cinema - multimedia auditorium 9 Installations 10 Galleries 11 Gallery and storage 12 Permanent Gallery

PROJECT: Newport street Gallery FUNCTION: Modern Art Gallery ARCHITECT: Caruso & St. John LOCATION: London,Vauxhall CLIENT: Daniel Hirst YEAR: 2015

THE DISCREETE CHARME OF FIVE BUILDINGS’ INDUSTRIAL PROFILES Newpor t Street Galler y

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A NEW ART GALLERY IN LONDON A silhouette of a factory stands out from the Waterloo railway line. Apparently it could be one of the many industrial site present in London southbank: the pitched roof, masonry walls and steel framed windows give the idea to any curious train passenger of having a strangely beautiful piece of industrial architecture. Indeed the building holds the art gallery of Damien Hirst, the British artist famous for his outrageous art pieces.

Newport St. Gallery is not representative at all of the provocative attitude of the client, it represents a smooth attempt to revalue the industrial attitude of this workaholic area of London, by a modern interpretation of industrial modules, forms and typologies.The building itself is peculiar in its materiality and slightly represents an historical forgery of what an industrial plants may have looked like.

Architects Caruso and St. John were so that able to cooperate with a very gentle touch in order to create a multifunctional space occupied not only by exhibitions but also commercial and leisure. The requalification of this old set of Victorian scenery workshops has been reorganised with a precise choice of materials and forms.

The whole silhouette of the complex has a subtle industrial character and creates a new glance from the railway conduct. The façade is continuously changing in its plasticity and re-interpretation of industrial-like typological elements, giving “a very slight emphasis towards the front in order to make it more lively from outside” as St John says.

This ability of the building to capture the attention from the linear yet different outcome of the façade is really the first step of a process which leads into the complete knowledge of the spaces beneath it. As the external appearance suggests, the interiors look coherent in their sequence, despite a very complex organisation of volumes, openings and vertical connections through the beauty of the hand-crafted staircases.

The complexity of the building therefore lays into the precision of the details, the meticulousness of the assembly of each brick wall, from the four different types of masonry of the façade to the white plastered bricks of the staircases the quality of the Fig. 1: View of the gallery from the south end detail makes the difference and is able to forge a new reinterpretation of what once Fig. 2: How the warehouses looked before the intervention in 2010 were industrial stilema.

Fig. 3: Masterplan of the City of London, 1:10000

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THE INDUSTRIAL VOCATION OF THE PLACE

Fig. 4: Ground floor context plan of actual situation (2017), 1:1000

Located in Vauxhall district, close to London’s Southbank, the building was deeply inserted into the industrial vocation of the south ward of river Thames, whose industries, activities and spaces were shaped in wide blocks’ areas. Once the industrial driving force declined, the district started to be converted into residential and commercial spaces, able to communicate with the rest of the city and England thanks to several bridges and the Waterloo train station.

drivers is able to give London the status of multifaceted city. The capacity of London to switch from the industrial vocation of that place to a more comprehensive and dynamic character is the reason why projects like Newport St. Gallery are important.

Their slight beauty and ability to fit into a bulky industrial past make this splendid design shine even more into London’s complexity.

In this scheme of ongoing revaluation of the district, the building represent an attempt to create a modern art centre able to make different functions coexist.

The building itself once followed the orientation of the railway, but presented a very different appearance and spaces: the northern building had a more linear development, creating a sort of funnel towards the southern block. Also the internal space opened up towards south: the warehouses developed on two and three level, creating 10 mt high spaces which later got divided into a divided series of floors able to cooperate more with the unvaried position of the windows and openings.

The conversion of this block of warehouses and workshops, which are dated back to the 20th century industrialisation of the area, highlights once again the south bank of River Thames, whose ability to shape its attitude according to different decades

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A NEW SILHOUETTE TOWARDS THE RAILWAY Newport Street Gallery in regards therefore the conversion of a block of warehouses date back to the late 19th century industrialisation of the area. The Gallery is directly facing the Waterloo rail line and forms the whole length of the street, having indeed the possibility to reshape the appearance of the whole block.The three listed Victorian buildings are flanked at their ends by new buildings.

The new front façade are made with hard pale red bricks that even in the differences matches strangely altogether.The five buildings’ blocks stand next to each other, giving a sense of continuity which is indeed broken by the ongoing diversity of the openings and the direct shapes created by the roof. The elevation from the street is appealing for the coherence and the appliance to the context but also stands as a flowing ‘theatre set’ towards the street.

By facing the railway, the movement of the façade determines stands clearly out as the organisation of the exposition spaces, which are consequentially subdivided inside the

Fig. 5: Ground floor context plan of past situation (1940s), 1:1000

five different buildings carefully jointed together, creating a powerfully coherent set of assembled rooms whose boldness is able to host every kind of show and exhibition.

The fragmentation of the internal space is evidently represented also by the sharpness of the façade along the main street, even if a certain continuity is set to be both inside and outside. The challenge of the intervention sees its main provocative point in the attempt to vertically connect the galleries.

The outrageous virtuosity of the staircases sands out as the conceptual enclosure of the intervention, achieved with a strong sense of traditional craftmanship using contemporary building techniques. The result is evocative and determines the ability of the architects to create plastic shapes able to contain the ideal and material connection between the different spaces. The staircases located in the backside of the buildings are therefore an element of symbiosis between the separated galleries, which challenge their division by this fluid vertical connections.

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THE INTERVENTION The project cannot be qualified just as a renovation of a listed building. Not even as a conversion, as a matter of fact the addition of two new buildings on the side of the project puts in the centre of attention the dialogue between the old and the new.

The new buildings are trying to cope with the old warehouses’ materiality of brick masonry, which simple appearance makes the exploited London attitude of creating a street profile only with the presence of simple shapes on the external façade.

The distinctive façade in brick has a design which is about adding a special character able to stimulate the curiosity even from the railway line. From the street therefore the series of these five buildings is jointed together by the forthright brick treatment which also expresses the individuality of each façade.The usage of familiar industrial elements is evident in the “saw-tooth” roof of the entrance building, in the sky windows with steel frames, in the use of burgundy bricks which recall expressively the backstage of the city of London.

The big spaces of the previous workshops are now separated by the creation of new floors, which make the feeling of each exposition space more liveable and detached from the rest. The internal space is pure in its white surface able to create a serene sequence of gallery gently connected staircases and bridge-like pathways. The simple circulation creates a logical route that connects the different levels, generating a continuous feeling of discovery and curiosity developed with the fine level of playfulness of the different spaces.

Fig. 6: Isometric view of the past situation Fig. 7: Isometric view of the present situation

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ARCHITECT’S INTENTION Caruso and St. John created an art space able to communicate both with the exhibitions inside and the Londoner context surrounding them. Newport Street Gallery takes and reinterpret some of the elements of industrial and postindustrial buildings which made south London recognisable and peculiar. The sew-tooth roof, large and steel-framed windows and brickwork are therefore not only a mere copy of the area’s entity, indeed they are set to be detailed elements whose complexity allows the building to be a smooth receptacle of urban elements wisely crafted to host the elegance of Art. This private gallery in Vauxhall has involved the conversion of an extraordinary terrace of listed industrial buildings, that were formerly theatre carpentry and scenery painting workshops. The gallery forms the whole length of the street, with the three listed Victorian buildings flanked at either end by new buildings.

The ground and upper floors within the five buildings are continuous, allowing them to be used flexibly in many combinations, to accommodate both large and small exhibitions. There are 3 large galleries on each of the two floors, stretching in a line from one end of the building to the other.

The two gallery levels are connected by new spiral staircases and a large lift.

Fig. 8: Isometric exploded view of the additions Fig. 9: Sections of the intervention, before and after, 1:300 Fig.10: Diagramatic section showing the additions

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THE CONCEPT BEHIND THE RENOVATION The renovation project of the 20th century warehouses into a new art gallery under the auspices of Damien Hirst can be appointed as a conversion of the spaces, even though the procedure followed by the architect cannot be limited to the classic theories of restoration developed in the last two centuries. The renovation of these five buildings consists into a complete change of the function by means of the spatial reorganisation of the internal spaces, adding floors and walls, enlarging the areas and rethinking the internal sequence of rooms, corridors and staircases.

The building as it appears now never existed in its past. The architects did not try to reinstate its primal essence, which we can say was of no interest at all because of the modest appearance of the building as it was. Probably the lack of monumentality or historical importance of the warehouses lead the design into an idea of breakout rather than an idea of conservation.

So that the building only keeps few elements of its past -basic- design, such as the position of the windows and some punctual highlights of masonry.

The main idea of preservation indeed can be found not in the design of the project itself, but in its essence, in its potential appearance made out of iconic industrial characteristics. The primal building was not used as a factory. Its faรงade did not have to express the production virtues of the industrialisation of the past centuries.

Indeed it was located in an area where this presence was strong. The pitched roof, the large windows were associated to the collective imagination of the factory and the production means. The state of completeness theorised by Viollet-le-Duc is here stretched to a point where the building embodies the whole area: the building itself finds its completeness not in its own history but in the history of the place itself.

In order to accomplish this final outcome, modern techniques were used for the creation of fluid spaces with beautiful details and materials, able to evoke the spirit of the place but in the same time to take the distances from the its roughness: industrial yet artistic.

This would have not been able without a complete consciousness of modern techniques, maybe the only common point with the theoreticians of restoration, Boito among all, whose idea was to emphasise the materialisation of the intervention, showing clearly the distinction between the old and the new. In this case they are blurred together yet it is possible to recognise the modern materiality opposed to some anachronistic profiles which are able to cope together in order to create a building perfectly inserted in its context with an artistic -therefore provocative- vocation.

93 Fig. 11: Isometric exploded view showing the intervention (opposite page) Fig. 12: Topview of the staircase Fig. 13: Staircase from below Fig. 14: Internal view of exposition space Fig. 15: How it was the internal space Fig. 16: Different masonry on the facade Fig. 17: Backyard plasticity

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SOURCES GENERAL SOURCES • John Ruskin; The lamp of memory; 1849; Smith, Elder & Co • Camillo Boito; Restoration in Architecture: First dialogue; 1893; Translation

Cesare Birignani • Alois Riegl; Modern cult of monuments; 1928; Translated by Karin Bruckner

& Karen Williams • Viollet-le-Duc; Defining the nature of restoration; 1990; MIT press • Françoise Chaoy; The invention of the historic monument; 2001; Cambridge

university press Chapter 1 CASTELVECCHIO: Texts Murphy, R. (1990) Carlo Scarpa and the Castelvecchio. London: Butterworth Architecture.

Theodorakakis,T. (2017) Carlo Scarpa / Museum of Castelvecchio.Accessed 10 March, 2018, from https://issuu.com/tasostheodorakakis/docs/scarpa_comp

Chapter 3 CAIXAFORUM: Texts: https://arcspace.com/feature/caixa-forum/ https://www.inexhibit.com/mymuseum/caixaforum-madrid-herzog-de-meuron/ https://en.wikiarquitectura.com/building/caixa-forum-madrid/ https://www.herzogdemeuron.com/index/projects/complete-works/201-225/201caixaforum-madrid.html https://www.dezeen.com/2008/05/22/caixaforum-madrid-by-herzog-de-meuron/ (Old buildings, New designs; Charles Bloszies; Princeton architectural press; 2012)

Figures: 0. http://www.arqfoto.com/dt_gallery/1665-caixa-forum-madrid- herzog/ 1. http://anythingwelovecanbesaved.blogspot.nl/2009/11/caixa-forum. html 2. http://viajesarquitectura.blogspot.nl/2013/02/caixaforum-madrid- espana.html Figures 3. www.openstreetmap.org 1. t/m 14.

Own drawing 4. https://www.bibliocad.com/library/map-of-madrid_59357 15. https://paigetaff.wordpress.com/2013/04/20/verona/olympus-digital- 5. https://www.bibliocad.com/library/map-of-madrid_59357 camera-309/ 6. t/m 14.

Own work 16. http://en.fbsr.it/fbsr.php/il_paesaggio/Premio_Carlo_Scarpa/luoghi_ 15. http://www.architravel.com/architravel/building/caixa-forum-madrid/ premiati/Castelvecchio_di_Verona 16. https://www.dezeen.com/2008/05/22/caixaforum-madrid-by-herzog- 17.

Own drawing de-meuron/ 18. https://www.flickr.com/photos/aandrex/6975773019/in/photostream/ 17. http://www.architravel.com/architravel/building/caixa-forum-madrid/ 19. http://img.kalleswork.net/Scarpa-Castelvecchio/_IGP8711/ 18. https://www.inexhibit.com/mymuseum/caixaforum-madrid-herzog- 20. http://www.ilgiornaledellarte.com/articoli/2015/1/122629.html de-meuron/ 22. https://www.123rf.com/photo_11502887_castelvecchio-old-castle- 19. https://www.dezeen.com/2008/05/22/caixaforum-madrid-by-herzog- and-the-castelvecchio-bridge-in-verona-construction-of-the-scaliger- de-meuron/ dynasty.html 20. https://www.inexhibit.com/mymuseum/caixaforum-madrid-herzog- 23. https://www.ribaj.com/culture/book-review-carlo-scarpa- de-meuron/ castelvecchio-revisited-richard-murphy Chapter 4 THEATRE THALIO: Chapter 2 CULTURE CENTRE TOLEDO: Texts: Texts: Byrne, Gonçalo & Barbas, Patrícia & Seixas Lopes, Diogo. (2014). Teatro Thalia, Lisboa, http://www.mendarocorsini.es Portugal: Gonçalo Byrne, Patrícia Barbas, Diogo Seixas Lopes, 2008-2012. ARQ http://www.publicspace.org/en/works/b011-plaza-del-salvador (Santiago). 26-29. https://en.wikipedia.org/wiki/San_Marcos,_Toledo Stephens, H. (n.d.). Teatro Thalia. Retrieved from https://arcspace.com/feature/teatrothalia/ Figures: 0. https://panoramabeatrizmartinez.files.wordpress.com/2014/03/8.jpg Figures: 1. http://akhermouch.blogspot.nl/2010/06/day-trip-to-toledo.html 1. http://www.afaconsult.com/portfolio/308521/127/thalia-theater 2. https://www.flickr.com/photos/8488859@N07/531652717/ 2. https://arcspace.com/feature/teatro-thalia/ 3. t/m 10.

Own work 3. https://arcspace.com/feature/teatro-thalia/ 11. http://www.mendarocorsini.es 4.t/m12.

Own work 12. https://viewtheworld.net/ru/spain/cities/toledo/places/23048-cerkov- 13. t/m 22. https://www.archdaily.com/282909/thalia-theatre-goncalo-byrne- sanmarkos architects-barbas-lopes-architects 13. http://www.worldarchitecturemap.org/buildings/archivo-municipal- de-toledo 14. https://upload.wikimedia.org/wikipedia/commons/c/c2/Exterior_del_ Archivo_Municiapal_de_Toledo.jpg 15. http://www.mendarocorsini.es/ 16. http://www.mendarocorsini.es/

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SOURCES Chapter 5 NEUES MUSEUM: Texts: The textual information derived from the lecture ‘What is the future of the past?

David Chipperfield’ at Colombia University Graduate School of Architecture Planning and Preservation (GSAPP). date: February 3rd 2012 https://www.youtube.com/watch?v=RfizDUjvomA ttps://davidchipperfield.com/project/neues_museum

Chapter 7 FONDAZIONE PRADA: Texts: http://oma.eu/projects/fondazione-prada http://miesarch.com/work/3627 https://lovelymilano.wordpress.com/2015/08/27/fondazione-prada-prime-impressioni/ http://www.turismo.milano.it/wps/portal/tur/en/arteecultura/spaziculturali/ fondazioni/fondazione_prada https://www.yatzer.com/fondazione-prada-milan

Figures: 1.

Ownership: Public Domain Website: https://www.omroepgelderland.nl/ Figures: nieuws/2127164/3-februari-1945-de-zwaarste-bomaanval-op-Berlijn-van-de- 0. http://oma.eu/projects/fondazione-prada hele-oorlog 1. http://www.fondazioneprada.org/visit/visit-milan/?lang=en 2.

Ownership: Public Domain (from Zentralarchiv) Website: https://www.

2. http://inspirationist.net/the-new-fondazione-prada-is-a-genuine-collection-of treehugger.com/green-architecture/rising-ruins-war-neues-museum-berlin- architectural-spaces/ mixes-old-and-new.html 3.

Base map from www.openstreetmap.org 3.

Underlayer map: OpenStreetMap Website: http://www.openstreetmap.org/ 4. t/m 11.

Own work search?query=berlijn#map=16/52.5198/13.3989 12. http://oma.eu/projects/fondazione-prada 4.

Underlayer map: OpenStreetMap Website: http://www.openstreetmap.org/ 13. t/m 15.

Own work search?query=berlijn#map=16/52.5198/13.3989 16. https://lovelymilano.wordpress.com/2015/08/27/fondazione-prada- 5.

Underlayer map: OpenStreetMap Website: http://www.openstreetmap.org/ prime-impressioni/ search?query=berlijn#map=16/52.5198/13.3989 http://oma.eu/projects/fondazione-prada 10.

Ownership: David Chipperfield Architects Website: https://davidchipperfield. https://www.archdaily.com/628472/fondazione-prada- com/project/neues_museum oma/554af384e58ece423b00012a-fondazione-prada-oma-photo 12.

Ownership: (Prodenkmal?) Website: https://www.prodenkmal.de/homepage/ https://en.wikipedia.org/wiki/Fondazione_Prada#/media/ index.php/de/projekteplanung/nmu File:Fondazione_prada,_milano,_cortile_02.JPG 13.

Ownership: Christian Richters for David Chipperfield Architects https://www.archdaily.com/628472/fondazione-prada-

Website: https://archello.com/project/neues-museum oma/554af392e58ece423b00012b-fondazione-prada-oma-photo 14.

Ownership: Candida Höfer, 2009 Website: http://www.iheartberlin. https://www.dezeen.com/2018/03/06/oma-rem-koolhaas- de/2012/02/27/the-weekly-art-guide-6/neues-museum-berlin-viii_2009/ fondazione-prada-torre-white-concrete-tower-art-galleries-milan/ 15.

Ownership: Jörg von Bruchhausen for David Chipperfield Architects

Website: https://davidchipperfield.com/project/neues_museum Chapter 8 NEWPORT STREET GALLERY: 16.

Ownership: Public Domain https://www.theguardian.com/artanddesign/2015/oct/08/damien-hirst-newport Website: https://davidchipperfield.com/project/neues_museum street-gallery-architecture-review-caruso-st-john 17.

Ownership: (ArchDaily?) Website: https://www.archdaily.com/127936/neues- https://www.architectsjournal.co.uk/buildings/newport-street-gallery-by-caruso-st museum-david-chipperfield-architects-in-collaboration-with-julian-harrap john/8690735.article 18.

Ownership: Zentralarchiv/Schreiber, 1985 https://www.ribaj.com/buildings/what-lies-beneath

Website: https://www.smb.museum/en/about-us/history.html https://arcspace.com/feature/newport-street-gallery/ http://www.subtilitas.site/post/155634914089/caruso-st-john-newport-street-galleryChapter 6 FRAC MUSEUM: london Texts: http://alanbaxter.co.uk/projects/post.php?s=2016-10-14-newport-street-gallery https://www.ville-dunkerque.fr/fileadmin/user_upload/Les_Mags_de_la_ville/DK_ https://www.architecture.com/awards-and-competitions-landing-page/awards/ribaMag/185-mai2008/DKM185_loisirs.pdf regional-awards/riba-london-award-winners/2017/newport-st-gallery https://www.lacatonvassal.com/index.php?idp=61 https://www.carusostjohn.com/projects/newport-street-gallery/ https://www.archdaily.com/475507/frac-of-the-north-region-lacaton-and-vassal https://www.dezeen.com/2015/10/22/newport-street-gallery-caruso-st-john-damienhttps://www.dezeen.com/2013/12/11/art-gallery-and-archive-by-lacaton-vassalhirst-gallery-architecture-helene-binet-photography/ mirrors-the-former-shipyard-building-next-to-it/ https://www.youtube.com/watch?v=-wShME5WeGY&feature=youtu.be http://www.fracnpdc.fr/?page_id=2321&lang=en https://www.youtube.com/watch?v=Jyfq7uL-NXg http://miesarch.com/work/570 Figures: 1. t/m 4. https://www.lacatonvassal.com/index.php?idp=61 30. t/m 35. https://www.lacatonvassal.com/index.php?idp=61 All other drawings and models are made by the author.