Book: The construction of Merveilles
Precisely 1989-90 a turning point appears in the work of OMA. Towards a new synthesis of the principals outlined in Delirious New York, the metaphors and structural conceptions.
This is seen in the competitions projects for the zentrum fur Kunst und Medientechnologie at Karlruhe, the Tres Grande Bibliotheque de France in Paris and the Maritine Terminal at Zeebrugge.
In these projects, Koolhaas tried to safeguard, even in buildings whre the large structural size imposes constraints in the stratification of the floors, the freedoms, the collision of values, layers, the urban voids.
The most significant element, comes from the Vierendeel Beam.
The ZKM is placed carefully on an area adjacent to the railroad, behind the station, symbolically facing towards the outskirts of the city. This makes it another expression of the contextualism of OMA, structured by a system of three perspective axes:
1.an axis connection to the city
2.an axis of circulation within the building,
3.a vertical axis, which delivers the pleasure of seeing the baroque city.
The ZKM is composed of a long volume with a rectangular plan, containing technical space, store rooms, research departments, and a multipurpose hall, arranged accordingly to Koolhaas' strip schemes, and a large, deep prism with a square plan grafted onto one end of the strip, containing a theater, an auditorium, a museum and a restaurant with panoramic terrace.
o
A working sketch for the prism shows a stratification of the floors in which ire-general cavities have been cut out, reflecting the issue of the pursuit of new hierarchies between regular structure schemes and freely configured spaces.
The plan is subdivided into a vast central zone for the main spaces - "rooms" or "inner buildings" - and perimeter bands for physical plant, conducts, technical and service spaces, as well as vertical access elements - "Technical Rooms" of varying depth, derived from Koolhaas, "hollow wall".
The rooms are obtained by layering Vierendeel beams of the height of our floor, so that the lower bands are free of pilasters, with the objective of alternation of beam floors and floors that are completely free of structure.
To host the physical plant rooms and vertical access element, the technical rooms vary in thickness in the four sides, though it remains constant on the different levels, in some cores requiring the insertion of function that might have called for appropriate depths, i.e. the stage of the theater is narrow and extends for the entire height of the building.
The service strips are obtained with cantilevered floors slops on trusses, in the narrowest band, on the eastern facade, which contains staircases, ramps and rest rooms, with structures arranged along the perimeter, or with the addition of a beam inclined to be perpendicular to the ramps.
In this case, the cavity with the vertical connections, created between the enclosures and the "rooms", is similar to that of the North Lobby of the Un Assembly Building.
The band of the greatest depth contained the most important service spaces and is the only one with a non-transparent, windowless outer enclosure.
"Each architecture now embodies two conditions: one part permanent, the other temporary" . Koolhaas wrote.
The sketch for ZKM becomes a source of inspiration for the design of the Tres Grande Biblioteque de France (TGB).
The ideology, ideogram of its two fundamental parts: The Stacks (layering of floors) and the reading rooms (voids cut into the layering)
Book: Rem Koolhaas: Conversations with students.
The museum is to serve as a laboratory, a university and a theater of media.
Main thoughts of Karlruhe was that it's an idyllic baroque city, however its filled wth highways, railways and autobahns. It's site is exactly at the interface of the old city and the new city.
Three axes informed the project: an axis of connection to the city; one of circulation within the building and a vertical axis which delivers the pleasure of seeing the baroque city.
Structure plays an important role.
A system of enormous trusses that could span from wall to wall. These trusses would be so deep that they could include the whole floor.
A floor to be completely determined by structure and for the next to remain completely free.
The trusses could be changed and manipulated for artists affect, to bring about a kind of emotion or empathy, in terms of the structure of he building.
In section, one can seen how the increasingly theatricality of the museum is consummated, to the point that what you have is a single stack of events.
The first is the theater, followed by two floors of laboratories, one floor of a lecture hall, and then two museum floors.
This would happen in one central tower, which is surrounded by four different zones:
1.Public Circulation
2.Office
3.Technology, like a stage tower, extends the full height of the building
4.Series of balconies.
These four zones would simply wrap around the central zone of the building.
The theater is a space where the whole spectrum between classical theater and completely simulated theater will be presented, so it is a space where every single plane can be seen as a surface for projection.
Above this one the labs, which are sometimes completely determinate by structure and at other times completely free.
As in the case of library, this would create enormous variety of spaces.
The following floor is slopped in it's entirety, so there is a natural tendency towards the amphitheater.
The top floors have a classical organization, so the building starts with a vary experimental organization below and becomes almost Scinkelesque at the top.
Another interesting thing about the museum of media is that what is inside can be seen almost as an evasion of public life.
On exterior, one elevation has transparent metallic surface that can serve as a projection screen and can completely transform the building's character.
Some of the activities can be projected on the outside.
On the north side, a system of public circulation that can be projected on the facade, with people climbing to different levels of the museum.
The next side would be the office zone and finally the technical zone.
"There is incredible presume for the media to always change, in term of both its content and it's form. What is difficult about doing a museum for media is that curse of continuously accelerating events, combined with the problems of creating real space as well as space that is virtual, ephemeral or destructible."
No comments:
Post a Comment