-
HHF architectsAllschwilerstrasse 71 A4055 Basel
Switzerlandwww.hhf.ch
2012
-
The HHF Lookout Point is designed to be an additional loop of
the pilgrimage path.
RUTA DEL PEREGRINO/ HHF LOOKOUT POINTSTATE OF JALISCO/MEXICO
20082010
E Ruta del Peregrino is a pilgrimage route extending 117
kilometers across Jalisco, Mexico. It is traveled every year by
over two million pilgrims from all over Mexico as an act of
devotion, faith and purification. The pilgrims begin in the town of
Ameca from where they walk through the mountain range of Jalisco to
the town of Talpea de Allende to see the Rosario Virgin. The annual
pilgrimage is usually walked during the Holy Week in mid-April. The
pilgrims are of all ages and generally have a low to modest
income.Pilgrimages are an integral part of religion in Mexico. This
religious act of faith and devotion has been carried on for
centuries across the country, and until recently has rarely been
recognized or supported by the government. In an ef-fort to improve
travel conditions and enhance the experi-ence of Ruta del
Peregrino, the project curators invited an international team of
architects to create a series of stations at key points along the
route.The stations are conceived as a series of symbolic
archi-tectural pieces that combine to become an integral narra-tive
along the heart of the pilgrimage route. The stations enhance the
symbolic importance of the route and add a sense of permanence by
providing basic services, such as shelter and look out points. They
provide spaces of seren-ity, inspiration and introspection,
assisting the pilgrims emotional journey. The new infrastructure is
also benefi-cial to the local economy.The Ruta del Peregino is
currently under construction with financial support from the
Government of Jalisco, and the National Tourism Agency. Once
completed it will provide shelter and a series of architectural
monuments and sanctu-aries in the landscape, symbolising the
devotion and perse-verance of the pilgrims that use it.The HHF
Lookout Point is designed to be an additional loop in the pilgrims
path. Its round shape was developed
as a formal anticipation of the pilgrims movement through the
platform ascending to enjoy the great view across the surrounding
countryside. The asymmetric arched openings provide access to an
open hall which is covered by the plat-form above. The inner walls
are a shifted repetition of the primary faade resulting in four
tangential circles, between which the two staircases define a route
up to the platform and back down. The only exception to the curved
shape is a brick wall with a cross-shaped opening in the most
protected part of the building serving as an intimate room for
resting and prayer.
D Im Hinterland des Bundesstaats Jalisco im Osten Mexi-kos
befindet sich die meistbewanderte Pilgerroute Mexikos. Dort treffen
sich jedes Jahr in der Karwoche, der Woche vor Ostern, weit ber 2
Millionen Glubige. Um den Bedrfnis-sen der zunehmenden Anzahl von
Pilgern gerecht zu werden, wurde ein internationales Team von
Architekten und Desi-gnern beauftragt, Versorgungseinrichtungen
sowie Orte des Verweilens zu erschaffen.Der von HHF entworfene, in
den Pilgerweg integrier-te Aussichtspunkt, leitet die Besucher auf
die Plattform hinauf, und gibt vom erhabenen Standpunkt so den
Blick auf die beeindruckende Landschaft frei. Von aussen er-scheint
der Aussichtspunkt als zylindrischer Baukrper, in dessen Aussenwnde
bogenfrmige ffnungen hinein geschnitten sind. Sie bieten Zugang zu
einer offenen Halle von der aus man ber zwei Treppen auf die
Plattform ge-langt wo eine Bank die Mglichkeit bietet sich zu
setzen und etwas zu verweilen.Die Geometrie des Entwurfs beruht auf
vier ineinander liegenden Kreisen, die sich jeweils mit dem nchst
klei-neren Kreis tangential berhren. Die Plattform wurde als
Ortbetonkonstruktion gebaut, einzig die geschwungenen Handlufe der
beiden Treppen sind in Stahl konstruiert.
F Le chemin Ruta Peregrino part de Ameca pour rejoindre Talpa de
Allende dans ltat de Jalisco prs de Guadala-jara, au Mexique.
Durant la semaine sainte, environ deux millions de personnes
empruntent ce chemin de pleri-nage. Les municipalits en charge de
sa gestion ont sou-hait mettre la disposition des plerins plusieurs
aires de repos permanentes. En consquence, ils ont invit une quipe
internationale darchitectes et de designers concevoir diffrents
projets, notamment des abris et des points dobservation. La
plate-forme dobservation ralise par HHF est acces-sible le long
dune boucle supplmentaire partir du chemin de plerinage. Sa forme
ronde a t dveloppe de faon traduire formellement le dplacement des
plerins ou des promeneurs qui montent sur la plate-forme pour
profiter de la vue panoramique exceptionnelle sur les environs. Des
ouvertures asymtriques en arc donnent accs une salle ouverte juste
au-dessous de la plate-forme. Les murs int-rieurs reproduisent la
forme du plateau suprieur constitu de quatre cercles tangents entre
lesquels deux escaliers per-mettent de monter la plate-forme et den
redescendre. La seule exception la forme en courbes rside dans un
mur en brique avec une ouverture cruciforme, situ dans la partie la
plus abrite de la construction pour offrir une pice de repos et de
recueillement.
PROJECT HHFPROGRAM Lookout PointLOCATION Espinazo del Diablo,
Jalisco, MexicoCONSTRUCTION 2008 2010TEAM HERLACH HARTMANN
FROMMENWILER with Alexa den Hartog, Janna JessenPHOTOS Iwan
BaanAWARD Wallpaper* Design Award 2012
-
2.45 m
2.45 m
CENTER
4.90 m
3.16 m
CIRCLE
3
2
Wooden slatswidth 10-15 cm
Profile curve see detail profile curve formwork A
1.34 m
3.56 m
Frames of formwork Ahave to be independent elements, see comic
A-101
1
Formwork
A
r
A
=
9
.
3
0
m
30
30
4.90
1.78
4.90
r
B
=
7
.
6
9
m
2
.
7
8
1.53
4.90
1.53
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1.53
4.90
1.53
4.90
1.53
4.90
1.53
4.90
1.53
4.90
1.53
4.90
1.63
1.45
5.19
1.78
4.90
1.45
5.19
r D = 1.90
m
30
1.36
every of the curved openings is done with framework A
Form
work
A
Formw
ork A
Formwork A
Formwork A
Form
work
A
Form
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Formwork A
Formwork A
Formw
ork A
Form
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Formwork AFo
rmw
ork
A
Formwork A
Form
wor
k A
r C = 4.50 m
4.90
1
.
2
6
1.38
1.11
1
.
9
9
765
1.53
765
30
+/-0.00
Z
Y
X
A9
A5
C1
A6
B2
A8
A7
B3
A2
A1
B1
A3
A4
C4
C3
C2
WALL 1Detail A-301
WALL 4Detail A-302
CIRCLE ACIRCLE BCIRCLE CCIRCLE D
CENTER C
T3
T2
T1
+/-0.00
+/-0.00
CENTER D
CENTER A = 0/0
CENTER B
15
15
15
15
1
.
6
1
Formwork A
A
A
A B
4359
324
1
5
5
5
5
5
5
5
5
5
1
0
1
0
1
0
1
0
1
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1
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0
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0
1
0
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0
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0
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0
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0
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67
68
69
7 71
72
73
74
75
77
78
8 81
83
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87
89
92
94
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10 104
108
112
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125
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72
76
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87
95
105
12 149
237
155
212
79
58
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79
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56
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81
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54
2
2
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5
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1
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1
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x
a
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x
a
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x
a
0
6
x
a
0
7
x
a
0
8
x
a
0
3
x
a
0
0
x
a
0
1
x
a
0
2
x
a
3
6
x
a
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x
b
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x
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x
b
1
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b
0
0
axes x a 00 - x a 37 axes x b 00 - x b 19
y b 01
y b 02
y b 03
y b 04
y b 05
y b 06
y b 07
y b 08
y b 09
y b 10
y b 11
y b 12y b 13
y b 15y b 14
y b 16y b 17y b 18y b 19
y b 00
a
x
e
s
y
b
0
0
-
y
b
1
9
y a 14
y a 15
y a 16
y a 18
y a 19
y a 20
y a 21
y a 22
y a 23
y a 24
y a 25
y a 26
y a 37
y a 03
y a 04
y a 05
y a 06
y a 07
y a 08
y a 09
y a 10
y a 11
y a 12
y a 13
y a 01
y a 02
y a 00
y a 17
y a 35y a 34y a 33y a 32y a 31y a 30y a 29y a 28y a 27
a
x
e
s
y
a
0
0
-
y
a
3
7
y a 36
Formwork A
x
a
3
7
=
x
b
1
9
N
AXONOMETRYFORMWORK A
1:50, 1:25
A-203Explanatory Groundfloor with
Positions of frame works,Detail+Axonometry Framework A
Secondary elements built after the main geometry
SECRETARIA DE DESARROLLO URBANO.Prolongacion Alcalde n 1351
edificio " B " 1er Nivel Col. Miraflores, C.P. 44260 Guadalajara,
Jal. Telefono: 38-19-23-00 ext.47574 Fax: 38 19 23 00
ext.47581.
DIRECCIN GENERALDE PROYECTOS
DE OBRA PBLICA
LMINA:NORTE:
SIMBOLOGA:
LOCALIZACIN:
PROYECTO/OBRA:
NOTAS:
Contenido:
Contrato No:
PROYECTISTA RESPONSABLE
Revis y Aprobo:
Ubicacin:
Fecha:
Colaboradores: Escala:
SECRETARA
DE
DESARROLLO
URBANO
03-12-2008
The author takes no responsibility for any dimensions
obtained by scaling from this drawing. If no dimension is
shown the recipient must ascertain the
dimension specifically from the Architect or by site
measurement and may not rely upon this drawing.
Supplying this drawing in digital form is solely for
convenience and no reliance may be placed on any data
in digital form. All data must be checked against the hard
copy.
HHF Architekten
MIRADOR II
03.12.08
HERLACH HARTMANN FROMMENWILER
St. Johanns-Vorstadt 17 4056 Basel SwitzerlandT +41 61 263 80 80
F +41 61 263 80 90 [email protected]
Brick
Concrete
Espinazo del Diablo, Municipio de Atenguillo
Atenguilloto Talpa de Allende
rive
r Ate
ngui
llo
CERRO EL ESPINAZODEL DIABLO
LOS GUALLABOS
CERRO DE LA CRUZ
PORFILE CURVE FORMWORK A - SCALE 1:25EXPLANATORY GROUND FLOOR
WITH POSITIONS OF FORMWORKS - SCALE 1:50
A
-
2
0
3
E
x
p
l
a
n
a
t
i
o
n
o
f
F
o
r
m
w
o
r
k
1:50, 1:25
Explanatory Ground Floor with Position of Formworks,Detail +
Axonometry Formwork A
A-203N
38 stairs 10.5 / 41.6 cm
24 stairs
16.
7 / 2
9.3
cm
+/-0.00
+/-0.00
+/-0.00
+ 4.00
+ 4.00
+ 5.00
+ 4.00
+ 5.00
+ 4.45
CENTER A = 0/0
CENTER C
CENTER D
CENTER B
SITTING BENCHGeometry follows Circle E and F
A
A
Y
X
Z
CIRCLE F
CENTER E
r E =
3.9
4 m
r F = 5.37 m
T4
S1
CENTER F
S2
3
.
3
4
5.37
1
.
9
7
3.97
CENTER A = 0/0
CIRCLE E
1:50
A-204Top View, Elevations
TOP VIEW - SCALE 1:50
N
ELEVATIONS - SCALE 1:100
P
r
i
n
t
e
r
S
i
z
e
9
0
x
6
6
c
m
84.1 x 59.4 cm
29.11.2008
HHF Lookout Point
Revisions Architects
Brick
Concrete
Drawing Name
Format
Date
Scale
TITLE
SHEET NR.
ANDADOR DEL PEREGRINOPROJECT
NOTEThe author takes no responsibility for any dimensions
obtained by scaling from this drawing. If no dimension is
shown the recipient must ascertain thedimension specifically
from the Architect or by site
measurement and may not rely upon this drawing.
Supplying this drawing in digital form is solely for
convenience and no reliance may be placed on any data in
digital form. All data must be checked against the hard
copy.
HHF architectsSt. Johanns-Vorstadt 17, 4056 Basel,
SwitzerlandTel +41 61 263 80 80, Fax +41 61 263 80 90,
[email protected]
ADDRESSES
Client
HHF architects
Secretaria de Turismo; Gobierno de Jalisco
St. Johanns-Vorstadt 17 4056 Basel SwitzerlandT +41 61 263 80 80
F +41 61 263 80 90 [email protected]
Index Date / Sign Note
Date / Signature
Architect
Date / Signature
38 stairs 10.5 / 41.6 cm
24 stairs
16.
7 / 2
9.3
cm
+/-0.00
+/-0.00
+/-0.00
+ 4.00
+ 4.00
+ 5.00
+ 4.00
+ 5.00
+ 4.45
CENTER A = 0/0
CENTER C
CENTER D
CENTER B
SITTING BENCHGeometry follows Circle E and F
A
A
Y
X
Z
CIRCLE F
CENTER E
r E =
3.9
4 m
r F = 5.37 m
T4
S1
CENTER F
S2
3
.
3
4
5.37
1
.
9
7
3.97
CENTER A = 0/0
CIRCLE E
1:50
A-204Top View, Elevations
TOP VIEW - SCALE 1:50
N
ELEVATIONS - SCALE 1:100
P
r
i
n
t
e
r
S
i
z
e
9
0
x
6
6
c
m
84.1 x 59.4 cm
29.11.2008
HHF Lookout Point
Revisions Architects
Brick
Concrete
Drawing Name
Format
Date
Scale
TITLE
SHEET NR.
ANDADOR DEL PEREGRINOPROJECT
NOTEThe author takes no responsibility for any dimensions
obtained by scaling from this drawing. If no dimension is
shown the recipient must ascertain thedimension specifically
from the Architect or by site
measurement and may not rely upon this drawing.
Supplying this drawing in digital form is solely for
convenience and no reliance may be placed on any data in
digital form. All data must be checked against the hard
copy.
HHF architectsSt. Johanns-Vorstadt 17, 4056 Basel,
SwitzerlandTel +41 61 263 80 80, Fax +41 61 263 80 90,
[email protected]
ADDRESSES
Client
HHF architects
Secretaria de Turismo; Gobierno de Jalisco
St. Johanns-Vorstadt 17 4056 Basel SwitzerlandT +41 61 263 80 80
F +41 61 263 80 90 [email protected]
Index Date / Sign Note
Date / Signature
Architect
Date / Signature
38 stairs 10.5 / 41.6 cm
24 stairs
16.
7 / 2
9.3
cm
+/-0.00
+/-0.00
+/-0.00
+ 4.00
+ 4.00
+ 5.00
+ 4.00
+ 5.00
+ 4.45
CENTER A = 0/0
CENTER C
CENTER D
CENTER B
SITTING BENCHGeometry follows Circle E and F
A
A
Y
X
Z
CIRCLE F
CENTER E
r E =
3.9
4 m
r F = 5.37 m
T4
S1
CENTER F
S2
3
.
3
4
5.37
1
.
9
7
3.97
CENTER A = 0/0
CIRCLE E
1:50
A-204Top View, Elevations
TOP VIEW - SCALE 1:50
N
ELEVATIONS - SCALE 1:100
P
r
i
n
t
e
r
S
i
z
e
9
0
x
6
6
c
m
84.1 x 59.4 cm
29.11.2008
HHF Lookout Point
Revisions Architects
Brick
Concrete
Drawing Name
Format
Date
Scale
TITLE
SHEET NR.
ANDADOR DEL PEREGRINOPROJECT
NOTEThe author takes no responsibility for any dimensions
obtained by scaling from this drawing. If no dimension is
shown the recipient must ascertain thedimension specifically
from the Architect or by site
measurement and may not rely upon this drawing.
Supplying this drawing in digital form is solely for
convenience and no reliance may be placed on any data in
digital form. All data must be checked against the hard
copy.
HHF architectsSt. Johanns-Vorstadt 17, 4056 Basel,
SwitzerlandTel +41 61 263 80 80, Fax +41 61 263 80 90,
[email protected]
ADDRESSES
Client
HHF architects
Secretaria de Turismo; Gobierno de Jalisco
St. Johanns-Vorstadt 17 4056 Basel SwitzerlandT +41 61 263 80 80
F +41 61 263 80 90 [email protected]
Index Date / Sign Note
Date / Signature
Architect
Date / Signature
-
Conveniently located directly at the Spree River Labels Berlin 2
can accommodate approximately 30 different fashion labels and two
event spaces. The faade motif is a modified image of the
load-bearing structure which strongly defines all spaces of the
building.
LABELS 2 FASHION CENTER/BERLIN 20072009
E The fashion center Labels Berlin 2 is a concentration of
showrooms for international fashion brands in one building
including public spaces such as an event hall, a restaurant and a
lounge at the top floor. The design strategy is based on the
adjacent warehouse building Labels 1. The interior spaces of this
historical building are strongly characterized by the repetition of
arched windows used in the faade. This motif became one of the
starting points for the design of the project. The use of two
differently cut sine curves generates a specific aesthetic for both
the supporting structure and in a modified form with the sine waves
for the faade. The result is that the structure and rhythm
establish the formative motif for the perception of the new
building and link it to the existing neighborhood.Connected by a
heat exchanging device, the whole concrete structure of the
building is permeated with water tubes and used as a radiator for
heating as well as for cooling. The energy consumption for heating
and cooling of Labels 2 Ber-lin is reduced by 40% due to this
combined technique of activating the building mass and using water
from the Spree River. HHF architects won the international
competition among selected architects in September 2007. The
building opened in January 2010.
D Der Entwurf des Modezentrums Labels 2 im Osthafen von Berlin
beruht auf der Verwendung von zwei unter-schiedlich geschnittenen
Sinuskurven sowohl fr die Trag-struktur als auch in modifizierter
Form fr die Fassa-dengestaltung. So ist die Struktur und ihr
Rhythmus das prgende rumliche und formale Motiv fr die Wahrneh-mung
des gesamten Hauses.Diese Entwurfsstrategie lehnt sich sehr stark
an jene der un-mittelbar angrenzenden historischen Lagerhalle an.
Auch in diesem Gebude wird der Charakter der Innenrume ge-prgt
durch das fr die Fassade verwendete Motiv von
Korb-bogenfenstern.Die Nutzung von Labels 2 umfasst neben den
namensgeben-den Showrooms fr unterschiedliche Modelabels noch einen
grossen Eventraum, ein Restaurant und eine Lounge auf dem Dach. Wo
dies angebracht ist, reagiert die statische Struktur und damit der
Ausdruck des Hauses auf die unterschied-lichen Anforderungen der
Nutzungen. Das Gebude wurde im Januar 2010 erffnet.
F La conception du centre de la mode Labels 2 situ dans Osthafen
Berlin fait appel deux sinusodes coupes diff-remment, utilises pour
la structure porteuse mais aussi, sous une forme adapte, pour le
dessin de la faade. La structure et son rythme sont ainsi lorigine
de limpression spatiale et formelle remarquable de lensemble du
btiment. Cette stratgie de conception sinspire trs largement de
celle de la halle historique immdiatement contigu. Dans cette
construction, le caractre des espaces intrieurs est gale-ment
fortement conditionn par la structure interne et par le motif de
fentres en anse de panier utilis pour la faade. Le centre Labels 2
offre une concentration de salons de prsen-tation destins recevoir
les collections des grandes marques de la mode (do le nom Labels).
En outre, il propose une grande salle dvnements, un restaurant au
rez-de-chaus-se et un espace lounge sur le toit. Selon les
circonstances, la structure du btiment et, par l mme son caractre
sadaptent parfaitement diffrentes manifestations, outre celles
ddies la mode.
PROJECT HHFPROGRAM Fashion CenterLOCATION Osthafen, Berlin,
GermanyCOMPETITION 2007, 1st PrizeCONSTRUCTION 2007 2009TEAM
HERLACH HARTMANN FROMMENWILER with Cella Hubel and Walter Gloor,
Yujin Hirase, Janna Jessen, Tonja Kersting, Okhyun KimBUILDING
FOOTPRINT AREA 1537 m2SURROUNDING SITE IMPROVEMENTS AREA 590
m2GROSS FLOOR AREA 8191 m2USEABLE FLOOR AREA 6630 m2BUILDING VOLUME
32930 m3CLIENT LABELS Projektmanagement GmbH & Co. KGPHOTOS zgr
Albayrak, Iwan Baan, Uwe Dettmar, Christian Gahl
In the showroom of Puma the curving motif is intensified by a
reflecting white epoxy resin floor.
-
Se itenansicht M1:20
Treppe 126 Stg .175 / 261mm
Treppe 223 Stg .171 / 261mm
Treppe 323 Stg .171 / 261mm
Treppe 323 Stg .171 / 261mm
Handlauf Fl-50x10 St-37
Se itenansicht M1:20
Treppe 126 Stg .175 / 261mm
Treppe 223 Stg .171 / 261mm
Treppe 323 Stg .171 / 261mm
Treppe 323 Stg .171 / 261mm
Handlauf Fl-50x10 St-37
A central steel spiral stairwell connects the four exhibition
levels. The two different sine curve segments of the load-bearing
structure are cut out of the circular form of a plan view of the
stairs and create a sculptural form having different interrelations
between the individual floors.
LABELS 2 FASHION CENTER/BERLIN 20072009
-
MASTERPLAN UNTERFELDBAAR/ZUG 2011PROJECT HHFPROGRAM Residential,
office, services, cinema, hotelLOCATION Baar/ Zug,
SwitzerlandPROJECT 2011 TEAM HERLACH HARTMANN FROMMENWILERwith
Christian Weyell, Tommaso Arnaboldi, Ivana Barisic, Madeleine
Kessler, Benjamin Krger, Laura Sattin, Sabrina WolfAREA 56000
m2GROSS FLOOR AREA 95000 m2CLIENT Korporation Zug, Implenia
Development AG
E HHF Architects had already participated with Topotek 1
landscape architects in several competitions. The master plan for
Unterfeld was their first joint success. And it was at a large
scale: the client Implenia Development AG of Zug sought an urban
design proposal for the nearly 60,000 m2 site straddling the city
limits of Zug and the municipal ter-ritory of Baar. Six established
firms were invited in 2010 to partake in the competition.HHF
architects ventured a great deal with the design and won for that
very reason. The heart of the urban design con-cept for Unterfeld
is a large park that extends across the mu-nicipal boundary between
Baar and Zug. Its unique feature: the borders are imagined away and
the two communities of Zug and Baar are united. This is a marked
benefit for this place, where there is currently no recognizable
urbanity or comprehensive planning. The Unterfeld site is treated
as a single urban spatial unit irrespective of governmental
jurisdictions. The expansive park differentiates between the newly
created urban space and all the surrounding develop-ment, thereby
establishing a unique identity for the adjacent buildings and a
spacious sense of centrality, with Linden-platz as an entre, in the
immediate vicinity of the commuter train station.Two building
heights are specified in the master plan: A pre-cise standard
height of 25 meters results from the high-rise fire code limit,
which also determines the scale of the contem-porary city
throughout Switzerland; here a somewhat vari-able maximum height of
roughly 34 to 56 meters extends above the standard height, creating
an urban silhouette whose culmination is the 56 m high building
directly at the train station. The remaining high-rise buildings
are staggered to create a smooth transition to the surrounding
development. Various architectural solutions are possible within
this urban concept. These are oriented to an overall image that
does not permit a built wasteland, let alone monotony, emerge.The
set of rules established by the master plan serve to assure quality
and includes specifications for the building volume and the design
of the ground floor, but it also defines aspects pertaining to the
environment, sustainability, traffic and cir-culation. The zones
for projecting roofs, cantilevers and set-backs are precisely
defined in the master plan and become an instrument of design for
the public spaces.HHF architects are convinced that Unterfeld must
become a mixed, dense urban district if the master plan is to have
suc-cess. Accordingly, the buildings have a multifunctional mix of
residential, office and commercial uses. Key functions include a
hotel at the Lindenpark train station, a movie theater with
restaurant, cafs, shops, a preschool and artists' studios.
D HHF architekten haben schon an mehreren Wettbewerben zusammen
mit Topotek 1 Landschaftsarchitekten teilgenom-men. Bei der
Gebietsplanung Unterfeld war man erstmals er-folgreich. Und zwar im
grossen Massstab: Die Auftraggeber Implenia Development AG und
Korporation Zug suchten nach einem stdtebaulichen Vorschlag fr das
knapp 60.000 m2 grosse Grundstck auf dem Stadtgebiet Zug und dem
Ge-meindegebiet Baar. Dafr wurden 2010 sechs arrivierte B-ros sowie
HHF architekten zu einem Wettbewerb eingeladen.Mit dem siegreichen
Entwurf haben HHF architekten viel ge-wagt und deshalb auch
gewonnen. Im Zentrum des stdte-baulichen Entwurfs fr das Gebiet
Unterfeld steht ein grosser Park, der sich ber die Gemeindegrenze
zwischen Baar und Zug erstreckt. Die Besonderheit: Die Grenzen
werden wegge-dacht und die beiden Gemeinden Zug und Baar vereint.
Dies ist ein ausgesprochener Gewinn fr diesen Ort, an dem momentan
keine Urbanitt und keine zusammenhngende Planung zu erkennen ist.
Das Unterfeld wird als stadtrum-liche Einheit behandelt unabhngig
von der politischen Zustndigkeit. Der grosszgige Park unterscheidet
den neu geschaffenen Stadtraum von allen umliegenden Bebauungen und
erzeugt damit sowohl eine spezifische Identitt fr die angrenzenden
Gebude, als auch eine grossrumigere Zen-tralitt mit dem Lindenplatz
als Entree, in unmittelbarer Nachbarschaft zur S-Bahn-Station.Zwei
Gebudehhen werden im Masterplan festgelegt: Die Normalhhe von 25
Metern ergibt sich aus der feuergesetzli-chen Hochhausgrenze und
bildet schweizweit den Massstab der zeitgenssischen Stadt; eine
etwas variablere Maximal-hhe von rund 34 bis 56 Meter berragt die
Normalhhe und bildet eine Stadtsilhouette, deren Hhepunkt das 56
Meter hohe Gebude unmittelbar an der S-Bahn Haltestelle bildet. Die
brigen Hochhuser sind so gestaffelt, dass sie ei-nen fliessenden
bergang zur umliegenden Bebauung schaf-fen. Verschiedene
architektonische Lsungen sind innerhalb dieses stdtebaulichen
Konzeptes mglich. Diese orientieren sich am Gesamtbild, lassen
jedoch keine gebaute Einde oder gar Monotonie entstehen.Das
Regelwerk des Masterplans dient der Qualittssiche-rung und umfasst
unter anderem Vorgaben zur Volumetrie und zur Erdgeschossgestaltung
aber auch Aspekte wie Um-welt, Nachhaltigkeit, Verkehr und
Erschliessung werden in ihm definiert. Die Zonen fr Vordcher,
Auskragungen und Rcksprnge sind im Masterplan przise definiert und
wer-den zum Gestaltungsinstrument der ffentlichen Rume.HHF
architekten sind berzeugt, dass Unterfeld zu einem durchmischten,
dichten und stdtischen Quartier werden muss, wenn die
Gebietsplanung Erfolg haben will. So sind die Gebude mit Wohnen,
Bros und Dienstleistungen multifunktional genutzt.
Nutzungsschwerpunkte bilden dabei ein Hotel bei der
Stadtbahnhaltestelle Lindenpark sowie ein Kino mit Restaurant,
Cafs, Lden, Kindergar-ten und Ateliers.
F HHF avait dj particip plusieurs comptitions avec les
paysagistes Topotek 1. Le plan d'urbanisme pour Unterfeld a t leur
premier succs commun.Ctait en plus un projet de grande envergure.
Le client Implenia Development AG, de Zoug cherchait une
proposition de planification pour un site de prs de 60 000 m,
cheval sur la limite entre la ville de Zoug et le territoire
municipal de Baar. En 2010, six agences reconnues furent invites
concourir.HHF a dvelopp un concept audacieux et a gagn pour cette
raison. Au cur du concept d'urbanisme labor pour Unterfeld, figure
un grand parc qui s'tend de part et dautre de la frontire
administrative entre Baar et Zoug. Sa parti-cularit est deffacer
cette frontire et de relier ainsi les deux communes. Cela constitue
un avantage majeur pour ce lieu, o il existe actuellement ni
identit urbaine reconnaissable, ni planification globale. Dans ce
projet, le site dUnterfeld est trait comme un espace urbain part
entire, indpen-damment des ralits administratives. Le vaste parc
spare l'espace nouvellement cr de lensemble de lhabitat
envi-ronnant. Il confre ainsi aux btiments adjacents une iden-tit
commune et cre une impression de centralit tendue,
ayant pour entre Lindenplatz, proximit immdiate de la station du
train de banlieue. Le plan durbanisme prescrit deux hauteurs de
construction : une hauteur standard de 25 m, issue du code de
scurit incendie pour les immeubles grande hauteur, qui dtermine
l'chelle de la ville contempo-raine partout en Suisse ; et une
hauteur maximale quelque peu variable d'environ 34 56 m, standant
au-dessus de la hauteur standard et crant ainsi un profil urbain
dont le point culminant est le btiment de 56 m situ prs de la gare.
Les autres immeubles de grande hauteur sont disposs en quinconce
pour crer une transition en douceur avec lha-bitat environnant.
Diverses solutions architecturales sont rendues possibles par ce
concept urbain. Elles tendent la construction dune image densemble
qui empche lmer-gence dune friche urbaine et encore moins dune
impression de monotonie.L'ensemble des rgles tablies par le plan
durbanisme sert assurer la qualit. Ces rgles incluent les
prescriptions rela-tives au volume du bti et lemprise au sol, et
dfinissent galement les aspects lis l'environnement, au
dveloppe-ment durable, au trafic et la circulation. Les zones de
toit en saillie, de port--faux et dimplantation en retrait sont
prcisment dfinies et deviennent un instrument de concep-tion des
espaces publics.Les architectes dHHF sont convaincus que Unterfeld
doit devenir un quartier urbain dense et mixte pour que le plan
durbanisme soit une russite. Les btiments prsentent donc un mlange
multifonctionnel dusages : rsidentiel, commer-cial et tertiaire.
Les services principaux incluent un htel la gare de trains
Lindenpark, une salle de cinma avec res-taurant, des cafs, des
magasins, une cole maternelle et des ateliers d'artistes.
Mixed use buildings and hotel tower.
Mixed use buildings and sports infrastructure.
426.50
GblibachkanalGblibachkanalGblibachkanalGblibachkanalGblibachkanalGblibachkanalGblibachkanalGblibachkanalGblibachkanalGblibachkanalGblibachkanalGblibachkanal
421.60
424.80
433433433433.20.20.20.20
437.50
-
115m
210m
426.00
425.50
423.50
426.50
424.60
20 km/h
20 km/h
20 km/h20 km/h
temporr
5 km/h
5 km/h
20 km/h20 km/h
Residential
Residential Entry Level
Office
Commercial/Public Space
Cinema
Sports
Hotel
Lake
Water Fountain
Streetlights
Bike Parking
Car Parking
Garage Containers
Populus
Trembling Aspen
Willow
Tree Collection
Baar
Zug
Public Space
Street
Taxi
Bike Path
Garage Entrance
Vegetation
Water Scape Urban Furniture
115m
210m
Boundary and Dimensions
Existing Border Transportation
Program Leveled Courtyard
Section A-ASection B-B
Roof Top Ground Floor
0.00 = 425.50
+ 25.00
+ 4.00
25.00
0.00 = 425.50
+ 7.00
- 3.00
+ 45.00
+ 40.00
- 3.50
- 5.80
LOBBY
TECHNIK
+ 5.80
+ 56.00
BRO
BRO
BRO
BRO
BRO
BRO
BRO
BRO
BRO
0.00
4.00
-1.50 = +423.50
+2.20 = +427.20
7.00
+ 25.00
+ 49.00
+ 16.30
+ 19.80
+ 23.30
WOHNEN
WOHNEN
WOHNEN
WOHNEN
WOHNEN
WOHNEN
WOHNEN
- 3.50
+ 34.00
BRO
BRO
425.50 = 0.00
- 5.80
EINGANGPPPPARKINARKINARKINARKINGGGG
PPARKINARKINGG
BRO
BRO
0 10m
-
HOUSE DNUGLAR 20092011
E The view is one of a kind. You might imagine you're in South
America or upstate New York, and it is really hard to believe that
Basel is just 25 minutes away. As the last house to be built in
Nuglar, in the canton of Solothurn, House D is privileged. It is
oriented parallel to the landscape, thereby making the view a
matter of prime importance. Across more than 180 degrees, you gaze
over unbuilt, verdant land with mature fruit trees. HHF radically
exploits this situation, the-matizes it, and accentuates it even
more with a few simple moves: The main level is an open space with
the kitchen as well as dining and living areas and alongside a
concrete core, the stair to the upper and lower floors. The space
is en-tirely glazed and blends seamlessly with the space outdoors.
The outdoor space itself is an oversized terrace. No more but also
no less. The client, who lives here since the beginning of 2012,
explicitly did not want a garden that he would have to maintain.
And so he got a terrace with wood decking and a pool. Because the
terrain slopes downward slightly, the wood deck is elevated, which
protects the main living space from the curious glances of
passers-by. The large terrace, which is emphasized through a simple
ge-sture, is symbolic for the subtle radicalism with which HHF has
approached the building task. The entire house is kept very simple,
which is also manifested in the three basic ma-terials: glass, wood
and concrete. The simple and straight-forward treatment of the
outdoor space has its counterpart in an equally uncompromising
interior. HHF is interested in working with what is available; they
are not bent on develo-ping elaborate details when industrially
made products can be tailored to their needs. But they submit to
the temptation to develop their own details when the market does
not have something suitable available.
The untreated wood of the ceilings and doors exhibits a raw
immediacy that you would not expect to see in an exclusive home in
a location like this. But any claim that House D is sim-ple would
be toying with the word. The house comprises 241 m2 of usable floor
area on three floors, with three bedrooms, three bathrooms, a gym,
an office, and the living spaces menti-oned at the outset. A
separate garage with space for four cars and direct access into the
house completes the list.
D Die Aussicht ist einmalig. Man whnt sich in Sdamerika oder
upstate New York, und es ist eigentlich kaum zu glau-ben, dass
Basel nur 25 Minuten entfernt ist. Als letztes Haus in Nuglar im
Kanton Solothurn ist Haus D privilegiert. Es steht parallel zur
Landschaft und macht damit die Aussicht zur Hauptsache. Auf ber 180
Grad blickt man ber un-verbautes, grnes Land mit hochstmmigen
Obstbumen. HHF nutzen diese Lage radikal aus, machen sie zum Thema
und heben sie durch wenige Eingriffe noch mehr hervor: Das
Wohngeschoss ist ein offener Raum mit der Kche, die Trep-pe zum
unteren und oberen Geschoss liegt in einem Beton-kern. Der Raum ist
vollstndig verglast und geht nahtlos in den Aussenraum ber. Der
Aussenraum selbst ist eine ber-grosse Terrasse. Nicht mehr aber
auch nicht weniger. Der Bauherr, der seit Anfang 2012 hier wohnt,
wollte explizit keinen Garten, den er pflegen msste. So erhielt er
eine rie-sige Terrasse mit Holzrost und einem Pool. Weil das
Geln-de leicht abfallend ist, ist dieser Holzrost erhht, sodass der
Wohnraum von neugierigen Blicken vorbergehender Spa-ziergnger
geschtzt ist. Die riesige Terrasse ist sinnbildlich fr die subtile
Radika-litt, mit der HHF an die Bauaufgabe herangegangen sind. Das
ganze Haus ist sehr einfach gehalten, was sich in den
drei Grundmaterialien Glas, Holz und Beton ebenfalls
mani-festiert. So schnrkellos wie man mit dem Aussenraum
um-gegangen ist, so kompromisslos prsentiert sich das Projekt auch
im Innern. HHF greifen gerne auf Vorhandenes zurck, indem
industriell produzierte Produkte konfektioniert wer-den, anstatt
aufwendige Details zu entwickeln. Dennoch las-sen sie sich dazu
verfhren Eigenes zu entwickeln, wenn der Mark nicht das Passende
bereithlt.Das rohe Holz von Decken und Tren weist eine
ungeschlif-fene Direktheit auf, wie man sie in einem exklusiven
Haus an dieser Lage nicht erwarten wrde. Wenn man aber be-hauptet,
Haus D sei simpel, so kokettiert man mit dem Wort. Auf 241
Quadratmetern Nutzflche und drei Stockwerken befinden sich drei
Schlafzimmer, ein Gstezimmer mit da-zugehrigen Nasszellen, Gym und
Bro sowie der bereits erwhnte Wohnraum. Eine Garage mit Platz fr
vier Autos und direktem Zugang zum Haus komplettiert das
Ensemble.
F La vue est unique en son genre. On se croirait en Amrique du
Sud ou dans le nord de l'tat de New York, et il est vrai-ment
difficile dimaginer que Ble est seulement 25 minu-tes. Parce quelle
est la dernire maison construite Nuglar, dans le canton de Soleure,
la Maison D est privilgie. Elle est oriente paralllement au paysage
ce qui fait de la vue un lment de premire importance. plus de 180
degrs, on peut contempler un paysage verdoyant aux arbres fruitiers
matures. HHF exploite cette situation de faon radicale, la thmatise
et laccentue encore avec quelques amnagements simples : le niveau
principal est un open space, incluant la cuisine, la salle manger
et le salon, le long dun noyau en bton qui abrite l'escalier
reliant les tages suprieurs et in-frieurs. Lespace est entirement
vitr et sintgre sans rup-
ture avec l'espace extrieur. Ce dernier est en fait une trs
grande terrasse. Rien de plus, mais aussi rien de moins. Le client,
qui vit ici depuis le dbut de l'anne 2012, ne voulait absolument
pas d'un jardin entretenir. Il a donc obtenu une terrasse en bois
et une piscine. Parce que le terrain est lgre-ment en pente, la
terrasse en bois est surleve, protgeant ainsi l'espace de vie des
regards curieux des passants.Lample terrasse, mise en valeur par un
geste simple, est em-blmatique du radicalisme subtil avec lequel
HHF a abord la construction. Lensemble de la maison est simple, ce
qui se manifeste aussi travers les trois matriaux de base : le
verre, le bois et le bton. Le traitement simple et direct de
l'espace extrieur trouve sa contrepartie dans un intrieur tout
aussi intransigeant. HHF aime travailler avec ce qui est disponible
et nest pas enclin au dveloppement de dtails labors, lorsque des
produits industriels peuvent tre ad-apts ses besoins. Toutefois HHF
cde cette tentation lorsque le march noffre pas ce qui lui
convient.Le bois non trait des plafonds et des portes prsente une
im-mdiatet brute laquelle on ne sattend pas ncessairement dans une
maison dexception, dans un tel endroit. Mais toute affirmation
qualifiant la Maison D de simple , signifierait jouer avec le mot.
La maison comprend 241 m de surface de plancher utile sur trois
tages, avec trois chambres, trois salles de bains, une salle de
gym, un bureau et les espaces de vie voqus plus haut. Un garage
spar pour quatre voitures avec accs direct la maison complte cette
liste.
PROJECT HHFPROGRAM Private ResidenceLOCATION Nuglar,
SwitzerlandCONSTRUCTION 2009 2011TEAM HERLACH HARTMANN FROMMENWILER
with Markus Leixner, Anna Smorodinsky, Mio TsuneyamaCLIENT
PrivatePHOTOS Tom Bisig
-
PROJECT HHFPROGRAMME Pavillon for Children in the Jinhua
Architecture ParkLOCATION Jinhua, Zhejiang Province,
ChinaCONSTRUCTION 2004 2006TEAM HERLACH HARTMANN FROMMENWILER with
Tom Strub, Nelson Tam, Chris ThrDIMENSIONS 30 m 4.5 mMATERIAL
Colored Concrete CLIENT Jingdong New District Constructing
Headquarters of Jinhua CityPHOTOS Iwan Baan, Hercli Bundi, HHF
E The Jinhua Architecture Park is an important part of the urban
redevelopment of the citys new so-called Jinhua dis-trict. The park
landscape is designed by the artist Ai Weiwei and its 17 public
structures are designed by 17 international architectural teams and
artists. Considering the difficulties of controlling the
construction over such a long distance, we designed a structure
with very few details.Through its location in the park the Baby
Dragon creates a boundary between an open lawn and a space under
future ev-ergreen trees. The three shelters of the pavilion create
differ-ent conditions of intimacy, control and usage, allowing
dif-ferent ways of interaction between children and grown-ups.The
structure is built completely of colored concrete poured on site.
Only the floor of the pavilion is partly covered by the same grey
brick as used for the paths, which connects it to the materiality
and the circulation pattern of the entire park. The massive wall is
perforated from both sides and children can climb through the wall
from one side to the other. Some of the openings are just big
holes, while oth-ers are tangentially connected. All of the
openings are the result of a system of eleven different shapes
which can be added together in an endless pattern. Various
combinations of complex openings are possible and the result is a
very dif-ferentiated three-dimensional structure.
D Der Jinhua Architecture Park ist ein wichtiger Teil des neuen
Jinhua New District im Osten der Stadt Jinhua, ca. 400 km sdlich
von Shanghai. Der chinesische Knst-ler und Architekt Ai Weiwei
wurde 2004 von der Stadt-verwaltung beauftragt am Sdufer des
Flusses Yiwu einen 2200m langen Park zu gestalten. Darauf hin
planten 17 Architekten und Knstler aus sieben Lndern fr diesen
jeweils einen ffentlichen Pavillon. Auf Empfehlung der Architekten
Herzog & de Meuron wur-den HHF Architekten eingeladen einen der
17 Pavillons zu planen und bekamen die Aufgabe einen Pavillon fr
Kinder zu entwerfen. In Anbetracht der grossen Distanz
entschieden
sich HHF ein Bauwerk mit sehr wenigen Details zu entwer-fen.
Obwohl die gebaute Form in ihrer Geometrie komplex erscheint, liess
sich das Bauverfahren einfach erklren. Das Ergebnis ist ein
geheimnisvolles Objekt ohne erkennbaren Massstab. In der gnzlich
eingefrbten Beton-Skulptur kn-nen Eltern ihre Kinder beim Spielen
beobachten und auf verschiedene Weise mit ihnen interagieren. Der
Boden ist teilweise mit dem gleichen grauen Klinker gepflastert wie
die Fusswege im Park. Fr die ffnungen wurden elf verschie-dene
Formen gewhlt, mit denen nahezu unendliche Kombi-nationsmuster
mglich sind.
F Le site Jinhua Architecture Park est une partie impor-tante du
nouveau quartier Jinhua New District construit lEst de la ville
chinoise de Jinhua, quelques 400 km au Sud de Shanghai. En 2004,
lartiste et architecte chinois Weiwei a reu des autorits de la
ville la mission de ra-liser un parc de 2200 m de long sur la rive
sud du fleuve Yiwu. Pour ce projet, Weiwei a invit 17 architectes
et artistes de sept pays du monde concevoir chacun un pavillon
public. Sur la recommandation des architectes Herzog & de
Meu-ron, le cabinet HHF a t convi dessiner lun des 17 pavillons,
plus prcisment une structure destine aux en-fants. Compte tenu de
la difficult contrler la construc-tion une telle distance, HHF a
choisi de concevoir un ouvrage avec trs peu de dtails.Bien que la
structure construite apparaisse complexe dans sa gomtrie, le procd
de construction est simple expli-quer. Le rsultat consiste en un
objet sans rfrence appa-rente, propice au mystre. La structure de
bton entirement colore permet aux parents de regarder leurs enfants
jouer et dinteragir avec eux de diffrentes manires. Le sol est en
partie recouvert des mmes pavs gris que ceux des alles du parc.
Pour les ouvertures pratiques dans les parois, HHF a choisi onze
formes diffrentes combinables en un nombre quasi illimit de
motifs.
BABY DRAGONJINHUA ARCHITECTURE PARKZHEJIANG/CHINA 20042006
The geometrical, easy to append molded forms relate to a common
motif in Jinhua which when put together create a three-dimensional
playground with hexagonal openings.
Jinhua Architecture Park
TEAM
Nelson Tam, Chris Thr
-
The building becomes an equal member of a collection of
sculptures spread out in the landscape. The white insulation in the
showrooms guarantees a constant climate.
E The Artfarm is located near Salt Point in upstate New York
(1.5h drive from the city) on the site of an existing private
residence built in the 80s. The client is an art col-lector and
owner of Chambers Fine Art, a well known gal-lery located in New
York City and Beijing which specializes in contemporary Chinese
art. The building is designed as a gallery for a professional art
collection. In the interior it is subdivided into different-sized
showrooms, an office space and spaces designated to store art.The
outer shape is a consequence of a pre-engineered and
easy-to-assemble type of steel structure which is often used in
this area for agricultural purposes. With its abstract me-tallic
appearance the structure becomes an equal member of a whole group
of sculptures which are spread out in the landscape.The three
volumes are set on solid concrete slabs, which follow the existing
grade of the site. The different levels are connected through a
continuous cascading ramp on the cen-tral axis. The ramp in the
middle hallway provides access to all spaces, allows an easy way of
moving big pieces of art between storage and showrooms and at the
same time works as a picture gallery.Approaching the Artfarm
building from the outside theres no way of knowing what to expect
in the interior. Even though the only visual connection to the
outside is provided by three windows that are located to the north
at the end of each hall above each ramp the pure white interiors of
the building create an astonishing bright effect. The mas-sive
concrete floor and the white shiny PVC batt insula-tion create a
quiet and cool space. For sensitive pieces, such as paintings and
sculptures, a consistent indoor climate is needed. This is a
challenge in an environement which has extreme fluctuations in
temperature. In accordance with a concept of a hermetic sealed and
insulated envelope, the ex-isting heating and cooling only need to
serve in conserving the climate and supporting it when needed. This
seems to be working well. This cooling has never had to be turned
on during the summer. Even on really hot days it was still
comfortable and cool on the inside.
D Die Artfarm liegt in upstate New York auf dem Anwe-sen eines
Galeristen und Kunstsammlers. Das Gebude ist in mehrere,
unterschiedlich grosse Ausstellungsrume geglie-dert und in
Bereiche, die speziell der Lagerung von Kunst-werken dienen.Die
ussere Form ist eine direkte Konsequenz der verwen-deten
vorfabrizierten Stahlbleche, die in der Gegend oft fr das Erstellen
landwirtschaftlicher Zweckbauten genutzt werden. Durch seine
abstrakte ussere Form und die me-tallisch glnzende Erscheinung wird
das Gebude zu einem gleichwertigen Teil der in der nheren
Landschaft verstreu-ten Skulpturen und Objekte.Nun sollte die an
einer Hangkante stehende Villa (Archi-tekt: John McFayden) um ein
Kunstdepot ergnzt werden Galerie und Lager zugleich. Das Volumen
musste mglichst gross und doch kostengnstig ausfallen, daher
verwendeten die Architekten diese vorfabrizierten Elemente aus
Stahl.
Die auf einem Betonsockel errichtete Artfarm besteht aus drei
durch kurze Zwischenstcke miteinander verbundenen Htten aus
Stahlwellblech, bei denen die Wnde ber ein gekurvtes
Verbindungselement in das Satteldach bergehen. Mit 370
Quadratmetern die Nutzflche entspricht genau jener der Tsai
Residence wirkt der knapp sechs Meter hohe Baukrper beraus
grosszgig, und das, obwohl lediglich drei kleine, nach Norden
orientierte Fenster in der Hhe eine direkte Sichtbeziehung nach
aussen ermglichen. Der tiefer gelegene Teil dient als Showroom, der
obere als Depot, whrend der kleinere Mittelteil separate Rume fr
ein Bro und einen intimeren Prsentationsbereich beherbergt.
Be-tonrampen entlang der Mittelachse verbinden alle Bereiche. Mit
einfacheren Mitteln lsst sich ein Schaulager kaum rea-lisieren.
Gleichwohl integriert sich der simple Nutzbau, der nicht mehr
gekostet hat als umgerechnet 250.000 Euro, per-fekt in das Terrain
mit den verstreut angeordneten Kunstob-jekten. Von aussen bleibt
seine Funktion rtselhaft, im Inne-ren whnt man sich wie in einer
anderen Welt. Dazu trgt vor allem die mit grossen Knpfen wie
gepolstert wirkende Auskleidung der Innenrume bei: Die Hlle wurde
mit Iso-lationsmaterial gedmmt und mit einer weissen PVC-Folie
verkleidet. Sie reduziert nicht nur die Kosten fr Heizung und
Khlung auf ein Minimum, sie isoliert das Gebude auch akustisch. Ein
wesentlicher Faktor fr einen Ort der hohen Konzentration.
F Le btiment Artfarm est situ Salt Point prs de New York. Le
client est propritaire de la Chambers Fine Art, une clbre
galerieimplante New York City et Pkin. Le btiment est conu comme
une galerie dexposition pro-fessionnelle duvres dart. Lintrieur est
compos de plu-sieurs salles dexposition de tailles diffrentes, dun
bureau et despaces de stockage pour les uvres. Les trois niveaux
sont relis entre eux par une rampe en cas-cade situe sur laxe
central. Le couloir central et la rampe permettent daccder tous les
espaces, facilitant le trans-port des uvres dart volumineuses entre
les entrepts et les salles dexposition et sert galement de galerie
aux tableaux.En approchant de lArtfarm rien ne laisse prsager ce
qui se passe lintrieur. Avec seulement trois fentres donnant sur le
nord ( la fin de chaque halle, au-dessus de la rampe centrale, ce
sont les seules vues sur lextrieur et le bois voi-sin), le btiment
avec ses intrieurs dun blanc pur est ton-namment lumineux. Le
massif sol en bton et la brillante isolation blanche en PVC batt
crent une atmosphre calme et froide. Pour de dlicates marchandises
telles que des pein-tures et sculptures qui ont besoin dune
temprature int-rieure constante, ce qui est un vritable dfit dans
une rgion o les carts de tempratures sont normes. Avec ce concept
denveloppe ferme et isole hermtique-ment, le systme de
climatisation est mis en place unique-ment pour conserver et
maintenir la temprature quen cela est ncessaire. Cela semble bien
fonctionner puisque durant lt la climatisation na jamais t
enclenche, mme les jours les plus chauds il faisait toujours frais
et agrable lintrieur.
PROJECT HHF and Ai WeiweiPROGRAMME Gallery and Storage
ArtLOCATION Salt Point, New York, USACONSTRUCTION 2006 2008TEAM
HERLACH HARTMANN FROMMENWILER and Ai Weiwei with Tom Strub, Fumiko
TakahamaUSEABLE FLOOR AREA 383 m2 / 4'122 sq ftMATERIAL Steel
CLIENT Christophe W. Mao / Chambers Fine Art AWARDS 'best
architects 10 gold', Contractworld Award 2010PHOTOS Iwan Baan
ARTFARMSALT POINT/NEW YORK 20062008
-
Ribbons of corrugated metal articulate the building on the
outside, whereas more traditional materials like wood, brick and
gypsum dominate the interior.
FIRST FLOOR PLAN
KITCHEN ATELIER
ENTRANCE HALL
COVERED TERRACE
COVERED ENTRANCE
SECOND FLOOR PLAN
LIBRARY
MASTER BEDROOM
BB
AA
GUEST ROOM
DINING
C
C
D
D
E
E
LIVING ROOM
BB
AA
C
C
D
D
E
E
Tsai - Residence Floors Scale 1:200
HHF architects + Ai Weiwei
www.hhf.ch
0 1 2 3 4 510 ft50 1 2
0 1 3 m205
FIRST FLOOR PLAN
KITCHEN ATELIER
ENTRANCE HALL
COVERED TERRACE
COVERED ENTRANCE
SECOND FLOOR PLAN
LIBRARY
MASTER BEDROOM
BB
AA
GUEST ROOM
DINING
C
C
D
D
E
E
LIVING ROOM
BB
AA
C
C
D
D
E
E
Tsai - Residence Floors Scale 1:200
HHF architects + Ai Weiwei
www.hhf.ch
0 1 2 3 4 510 ft50 1 2
0 1 3 m205
E The Tsai Residence is a country house designed for two young
art collectors. The design reflects their request for a abstract
piece sitting almost without scale on top of the site, which is
located two hours upstate from New York City. The four equally
sized boxes are built as simple wood con-struction covered with
metal panels on the outside and wood and gypsum panels on the
inside. The floor plan is based on the needs of a traditional
country house. The organization of the rooms is only partially a
direct consequence of the rigid outer form.The living room focuses
on the different light conditions needed for an art collection,
while the great view onto the nearby countryside is present without
being dominant. The sequence of the different rooms reflects the
idea of a pri-vate gallery. Natural light comes into the spaces
through the openings in between the outer boxes.Key details that
describe families of conditions help com-municate the projects
logic even if changes occur. In the Tsai Residence, the exterior
corner faade details illustrate four possible ways that the
corrugated metal panels meet ac-counting for the full breadth of
tolerance variations emerg-ing during the construction process. The
same counts for all interior wood details: they have all been
developed with a consistent detailing methodology in order to
achive a stan-dardization which makes it possible to guarantee a
certain quality over a long distance.
D Die Tsai Residence ist ein Wochenendhaus fr zwei junge
Kunstsammler. Der Entwurf basiert auf einer einfachen, ab-strakten
Figur, welche beinahe massstabslos auf der Hgel-kuppe des grossen
Grundstcks sitzt, das zwei Autostunden von New York entfernt liegt.
Die vier Volumen identischer Grsse sind aus Holz konst-ruiert und
aussen mit Wellblech verkleidet. Der Grundriss widerspricht der
strengen usseren Form und lst die vier Krper in Wohn- und
Ausstellungsrume auf, die ber die einzelne Box hinausgehen und
deren Struktur nur als Ryth-mus fr die Lichtfhrung dient. Die
unterschiedlich hohen Rume sind als Enfilade angeordnet, die sich
ber zwei klei-ne Treppenhuser als Schleife durch das Haus zieht.Die
Dominanz des Kamins und die Materialien orientieren sich an den
grossen Vorbildern der amerikanischen Archi-tektur des zwanzigsten
Jahrhunderts.Das Wohnhaus ist als typisch amerikanische ballon
frame construction (Holzstnderbau) errichtet und gliedert sich in
vier Boxen, die ber schmalere Elemente miteinander ver-bunden und
mit Wellblech Verkleidet sind. Das Fassadenmaterial erinnert an
landwirtschaftliche Nutz-bauten, doch die vertikalen Kanneluren und
der schim-mernde Glanz verleihen ihm durchaus einen nobilitierenden
Charakter. Hinzu kommt, dass die horizontalen Kanten der
Wellblechbahnen berlappen und auf diese Weise subtil den Wandaufbau
des Gebudes artikulieren: Sockel, Brstungs- und Dachzone rahmen die
raumhohen ffnungen des Erd-geschosses und die liegenden Fenster des
Obergeschosses.Vieles ist das Produkt radikaler Standardisierung,
die Eckl-sungen der Fassade ebenso wie Details im Innenausbau.
An-ders htte sich die Umsetzung in den USA mit einer lokalen
Bauleitung nicht kontrollieren lassen.
F La Tsai Residence est une maison de campagne construite pour
deux jeunes collecteurs dart. Sa conception rpond une demande de
simplicit, objet abstrait, sans chelle pose sur le haut dune
colline environ deux heures de New York. Reprenant les besoins dune
maison de campagne tradition-nelle, construite sur base dune simple
ossature bois recou-verte dun bardage mtallique. Lorganisation des
pices est directement lie la forme extrieure du btiment. Le salon
se concentre sur diffrents types dclairages requis pour une
existante et future collection dart, au travers des larges baies la
campagne environnante est prsente, sans pour autant devenir
dominante. La disposition des pices rpond aux exigences dune
galerie dart. La lumire natu-relle y pntrant par les ouvertures
amnages entre les dif-frentes boites.Le principe des dtails rpond
galement une demande de simplicit. Lutilisation de matriaux
standardiss et la systmatique de mise en uvre permet une
compr-hension simple mais efficace de lensemble du projet. Les
dtails de la faade extrieure illustrent cette systma-tique avec la
possibilit dassembler les panneaux de tles ondules de quatre
manires diffrentes. Cette standar-disation du projet est possible
grce un concept de base simple facilement communicable dont la
systmatique permet une marge dans la comprhension de celui-ci,
induite par la distance, les diffrents interlocuteurs et les alas
du chantier sans pour autant mettre en pril la qualit de
lensemble.
TSAI RESIDENCE ANCRAM/ NEW YORK 20052008PROJECT HHF architects
and Ai WeiweiPROGRAM Weekend HouseLOCATION Ancram, New York,
USACONSTRUCTION 2006 2008TEAM HERLACH HARTMANN FROMMENWILER and Ai
Weiwei with Tom Strub, Bhavana Hameed, Fumiko Takahama, Magnus
ZwyssigUSEABLE FLOOR AREA 375 m2 / 4'000 sq ftBUILDING HEIGHT 8.5
mCLIENT PrivateAWARD American Architecture Award 2009PHOTOS Iwan
Baan, Nikolas Koenig, Ellen McDermott
-
GUESTHOUSEANCRAM/ NEW YORK 20092011
-
GUESTHOUSEANCRAM/ NEW YORK 20092011PROJECT HHF and Ai
WeiweiPROGRAM Guest HouseLOCATION Ancram, New YorkCONSTRUCTION 2009
2011TEAM HERLACH HARTMANN FROMMENWILER and Ai Weiwei with Mio
Tsunemaya, Madeleine Kessler, Jeff MansfieldCLIENT PrivatePHOTOS
Iwan Baan
GUESTHOUSEANCRAMGUESTHOUSEANCRAMGUESTHOUSE/GUESTHOUSE/GUESTHOUSENEW
YORK ANCRAMNEW YORK ANCRAM/
NEW YORK /
20092011PROJECT HHF and Ai WeiweiPROGRAM Guest HouseLOCATION
Ancram, New YorkCONSTRUCTION 2009 2011TEAM HERLACH HARTMANN
FROMMENWILER and Ai Weiwei with Mio Tsunemaya, Madeleine Kessler,
Jeff MansfieldCLIENT PrivatePHOTOS Iwan Baan
E Three years after completion of the main house, the own-ers of
the Tsai Residence approached the HHF team and Ai Weiwei to
commission a guesthouse. The Tsai Residence is a country house
built for two art collectors on a forested slope in upstate New
York, about two hours by car from Man-hattan. The guesthouse brief
posited three main elements: a bedroom, a workroom and a gallery
for the two collectors art. One simple and highly effective gesture
a Y-shaped ground plan served to link these elements at isolated
points and to define the overall appearance of the guesthouse. The
small bathroom, kitchenette and walk-in closet the latter of which
conceals the staircase to the basement and garage consist of
compact, freestanding boxes that simultaneously constitute the rear
walls of the bedroom and workroom. In contrast to the galvanized
corrugated metal faade of the main house, the guesthouse is a
timber structure clad in cor-rugated corten steel, which rusts over
time and so merges unobtrusively with the landscape particularly in
fall, when the foliage of the trees turns into a riot of red and
gold. The landscape also plays a major role in the interior design
of the guesthouse, for each of the three main rooms offers a
differ-ent perspective of the extensive grounds: the view is
exalted at these points, and thus becomes a part of the house. The
relationship of the Tsai Residence to the guesthouse reflects HHFs
philosophy, namely to use what already ex-ists at a site as a
source of inspiration. HHF sees every commission as an opportunity
to innovate, and to deliver concrete answers to concrete problems
in its signature ar-chitectural idiom. D Drei Jahre nach Vollendung
des Haupthauses trat die Bau-herrschaft der Tsai Residence mit dem
Auftrag fr ein Gs-tehaus wiederum an das Team HHF und Ai Weiwei
heran. Die Tsai Residence ist ein Landhaus fr zwei Kunstsamm-ler
auf einem bewaldeten Hgel in Upstate New York, rund zwei
Autostunden von Manhattan entfernt. Das Raumpro-gramm des
Guesthouse umfasst drei Hauptpunkte: Schlaf-zimmer, Arbeitszimmer
und ein Showroom fr die Kunst der beiden Sammler. In einer
einfachen und sehr wirkungsvol-len Geste, dem Ypsilon-Grundriss,
sind diese Hauptrume nun punktartig miteinander verbunden und
bestimmen die Erscheinung des Guesthouse. Ein kleines Badezimmer,
eine Kche und ein begehbarer Schrank mit dahinterliegender Treppe
ins Untergeschoss, in dem sich die Garage befindet, sind in
freistehenden Boxen konzentriert, die gleichzeitig eine Rckwand fr
Schlaf- und Arbeitszimmer bilden.Wie das Haupthaus besteht auch das
Guesthouse aus einer Holzkonstruktion, die mit Wellblech verkleidet
ist; die Fas-
sade aus Cortenstahl setzt durch die Bewitterung eine
Rost-schicht an und fgt sich gerade im Herbst selbstverstndlich in
die Landschaft der roten Laubbume ein. Die Landschaft spielt auch
im Innern des Guesthouse eine wichtige Rolle, alle drei Rume
blicken auf unterschiedliche Orte auf dem grossen Grundstck, die
Aussicht wird zelebriert und somit Teil des Hauses.Das
Zusammenspiel von Tsai Residence und Guesthouse spiegelt die
Haltung von HHF und Ai Weiwei wider: dass man nicht primr Rcksicht
auf das Vorhandene nimmt, man lsst sich davon inspirieren, schafft
aber bei jeder Auf-gabe etwas Neues und gibt auf konkrete Fragen,
konkrete Antworten in Form einer eigenen Architektursprache.
F Trois ans aprs l'achvement de la maison principale, les
propritaires de la Tsai Residence approchrent l'quipe HHF et Ai
Weiwei pour passer commande dune dpendance. La Tsai Residence est
une maison de campagne construite pour deux collectionneurs d'art
sur une pente boise au nord de New York, environ deux heures en
voiture de Manhat-tan. Le programme imposait la prsence de trois
lments principaux : une chambre, un espace de travail et une
gale-rie pour les uvres dart des deux collectionneurs. Un geste
architectural simple et trs efficace un plan en forme de Y a servi
relier les trois lments isols les uns des autres et dfinir
l'apparence de la dpendance dans son ensemble. La salle de bain, la
kitchenette et les toilettes, tous de petite taille la dernire pice
dissimulant l'escalier desservant la cave et le garage sont des
botes compactes et autonomes qui constituent galement les cloisons
arrires de la chambre et de lespace de travail. Contrairement la
maison princi-pale et sa faade en tle ondule galvanise, la
dpendance est une structure en bois recouverte d'acier Corten
ondul, qui rouille au fil du temps et se fond alors discrtement
dans le paysage, en particulier l'automne, lorsque le feuillage des
arbres se transforme en un festival de couleurs rouge et or. Le
paysage joue galement un rle majeur dans la dcoration intrieure de
la dpendance, chacune des trois pices princi-pales offrant une
perspective diffrente du vaste domaine : de l, la vue est sublime,
et devient ainsi une partie de la maison.Le rapport entre la Tsai
Residence et la dpendance est le reflet de la philosophie de HHF et
plus particulirement le fait dutiliser ce qui existe dj sur un site
comme source d'inspiration. HHF considre chaque mission comme une
occasion d'innover et de fournir des rponses concrtes des problmes
concrets, dans le respect de lidiome architectural qui constitue sa
signature.
-
FIVE HOUSES2009
COLLABORATION ARCHITECT HHFARTIST Ai WeiweiPROJECT
OngoingPRODUCING PARTNER Larry WarshTEAM HERLACH HARTMANN
FROMMENWILER,with Mio Tsuneyama, Kasia Maksel PHOTOS Markus
Tretter
E Five Houses is an architectural proposal created by Ai Weiwei
and HHF architects as the formative component of a larger project
called Ai Weiwei House, a contemporary interpretation of a
residential building as a total work of art. Ai Weiwei will be
collaborating with various specialists in different fields, from
architecture to furniture design, textile design, and ceramics,
among others, to create the individual components that will
constitute the Ai Weiwei House. In order to create a
Gesamtkunstwerk, each part of it is de-veloped within the confines
of a precise field of action and held together by the artistic and
curatorial guidance of Ai Weiwei. The project merges Ais conceptual
art and architec-ture practices in a way and on a scale
unprecedented in his oeuvre.The design of this series of
residential buildings is based on the sequential repetition of a
well-proportioned unit, a ty-pology that can be found in earlier
conceptions of both Ai Weiwei and HHF. Subtle variations in the
configuration of these elements shape both the spatial
configurations of the interior and exterior, and create so-called
axes of privacy, which run perpendicular to a contrasting primary
axis of generosity that transects each of the five structures. In
each house, this principal axis is additionally reflected in other
de-sign features, such as a set of modular tables that can be
ar-ranged to form one large entity running along the full length of
the space to underline the unity of art and architecture at the
core of the project.
D Five Houses ist ein Architektur-Entwurf von Ai Weiwei und HHF
archiekten, der, als grundlegende Komponente zu dem Projekt Ai
Weiwei House, eine zeitgenssische Interpretation des Wohnhauses als
Gesamtkunstwerk dar-stellt. Ai Weiwei wird mit verschiedenen
Spezialisten unter-schiedlicher Bereiche zusammenarbeiten, mit
Architekten und Mbeldesignern, aber auch Keramikern und anderen
mehr, um die einzelnen Bestandteile zu schaffen, die das Ai Wei-
wie House konstituieren. Damit sie zusammen ein Ge-samtkunstwerk
bilden, wird jedes von ihnen innerhalb eines klar abgesteckten
Bettigungsfelds entwickelt, zusammenge-halten durch die
knstlerische und kuratorische Leitung Ai Weiweis. Das Projekt
verschmilzt Ais Konzeptkunst und Ar-chitekturansatz in einer
Dimension und in einem Mastab, wie es sie bislang in seinem Werk
noch nicht gab.Der Entwurf zu dieser Reihe von Wohnhusern basiert
auf der regelmigen Wiederholung einer wohlproportionierten Einheit.
Diese Typologie lsst sich in frheren Konzeptionen sowohl bei Ai
Weiwei als auch bei HHF zurckverfolgen. Subtile Variationen bei der
Konfigurierung der Elemente pr-gen einerseits das Arrangement der
Innen- wie Auenrume und schaffen andererseits sogenannte Achsen des
Privaten, die senkrecht zu den entgegengesetzten, primren Achsen
der Grozgigkeit verlaufen, die ihrerseits jedes der fnf Gebude
durchziehen. In jedem Haus wird diese Hauptachse zustzlich in
weiteren Gestaltungsmerkmalen aufgenommen, wie etwa einem Satz von
Modultischen, die, zu einem einzi-gen groen Tisch zusammengestellt,
die gesamte Lnge des Raums einnehmen und so die Einheit von Kunst
und Archi-tektur unterstreichen, die wesentlich fr das Projekt
ist.
F Cinq Maisons est une proposition architecturale cre par Ai
Weiwei et HHF Architekten en tant que compo-sante formative d'un
projet plus vaste, appel La Maison dAi Weiwei, interprtation
contemporaine d'un btiment d'habitation en tant quuvre d'art
totale. Ai Weiwei colla-borera ensuite avec des spcialistes de
diffrents domaines, de l'architecture au mobilier, le textile et la
cramique, entre autres, pour crer les composants individuels qui
constitue-ront La Maison dAi Weiwei. Afin de crer une
Gesamt-kunstwerk , les lments sont dvelopps individuellement, dans
les limites de champs d'action prcis, et ensuite relis par la
direction artistique d'Ai Weiwei en tant que conser-vateur. Le
projet fusionne la pratique de l'art conceptuel et architecturale
d'Ai d'une manire et une chelle sans prcdent dans son uvre.La
conception de cette srie de btiments d'habitation est base sur la
rptition squentielle d'un lment bien propor-tionn, une typologie
que l'on retrouve dans les conceptions antrieures autant chez Ai
Weiwei que chez HHF. De subtiles variations dans la configuration
de ces lments faonnent les configurations spatiales intrieures et
extrieures, et crent des axes de la vie prive , perpendiculaires un
axe de la gnrosit primaire contrastant, qui recoupe cha-cune des
cinq structures. Dans chaque maison cet axe princi-pal est en outre
reflt dans dautres lments du design, tels qu'un jeu de tables
modulaires qui peuvent tre disposes de manire former un grand lment
unique sur toute la longueur de l'espace, afin de souligner l'unit
entre art et architecture au cur du projet.
SECRET HOUSE
THEATER HOUSE
DOUBLE COURTYARD
OUTWARD VIEW
FACE TO FACE WITH A COURTYARD
RECIPROCATED VIEW FROM AMONG SMALL OPENING
BORROWED COURTYARD
INWARD VIEW ONTO THE HOUSE
LOWER HOUSE
TYPOLOGIES
a a
a a
BORROWED LIGHT
GROUND FLOOR CONTINUITY
DAYLIGHT DIRECTED TO LOW SPACE
VIEW HOUSE
LOW HOUSE [A]
LOW HOUSE [B]
SECRET HOUSE
SOFT HOUSE
THEATER HOUSE
INTROVERTED HOUSE
OPEN HOUSE
REVERSE HOUSE
-
PARC POISSYPARIS 2011 PROJECT AWP + HHFPROGRAM Pavillons and
Follies of the Parc des bords de Seine Carrires-sous-PoissyLOCATION
Carrires-sous-Poissy, Paris, FranceCOMPETITION 2011, 1st
PrizePLANNED 2011 2015TEAM HHF HERLACH HARTMANN FROMMENWILER with
David Gregori y Ribes, Aleris RodgersTEAM AWP: Marc Armengaud,
Matthias Armengaud, Alessandra Cianchetta, Miguel La Parra Knapman,
David PerezAREA 1900 m2 approx.CLIENT Communaut dagglomration Deux
Rives de Seine
E This project is located near the centre of Paris, at the end
station of the RER interurban train line A. The series of
pavil-ions with different public functions and programs is part of
a future 113 hectare public green space along the Seine river in
Carrires-sous-Poissy, close to Le Corbusiers renowned Villa Savoye.
The park, designed by Paris-based landscape archi-tects Agence TER,
will be a public commons and ecological showcase for local
residents as well as a leisure destination for the people living in
and around Paris.The competition brief included the construction of
a visitors center, a restaurant (guinguette), an observatory and
about a dozen smaller infrastructure follies with different uses.
These follies are a collection of pavilions based on a modular wood
system. This approach enables a wide range of possible variations
using a limited number of elements.The site of the project is
exceptional. On one hand, it is lo-
huts and houseboats, which have inhabited the site until now,
has been a powerful source of inspiration. On the other hand, the
sites boundary is characterized by nondescript, suburban detached
housing. The design springs from a process of hy-bridization
between these two existing habitat models: the
people over the entire length of the park, towards the water and
the city. The proposal brings the surrounding city to life by
intensifying certain elements of the landscape, inscribing it
within an urban strategy.
D Ort dieses Projektes ist eine Gemeinde in der Nhe von Paris.
Die Serie von Pavillons mit unterschiedlichen Funkti-onen und
Bespielungen ist Teil eines knftigen, 113 Hektar groen ffentlichen
Grnraums am Seine-Ufer von Carrires-sous-Poissy, am Endbahnhof der
Regionalbahn RER, nicht weit von Le Corbusiers berhmter Villa
Savoye entfernt. Der Park wurde von den in Paris ansssigen
Landschaftsarchi-tekten Agence TER entworfen und soll zum
Musterbeispiel eines kologisch gestalteten ffentlichen Grnraums fr
die Anwohner und Freizeitziel fr Besucher aus Paris und der
Umgebung werden.Die Wettbewerbsvorgaben beinhalteten neben dem Bau
ei-nes Besucherzentrums, einer Ginguette, d.h. eines Biergar-tens
bzw. Ufercafs und eines Observatoriums auch rund ein Dutzend
Pavillons mit unterschiedlichen Funktionen. Diese Lusthuser
entstehen in Serie und beruhen auf einer mo-dularen Holzbauweise.
Diese Konstruktion ermglicht eine groe Bandbreite an Variationen
bei einer kleinen Zahl ver-schiedener Elemente.Der Standort des
Projektes ist auergewhnlich. An einer Sei-te liegt der Park direkt
an der Seine. Flusskhne, Fischerhtten und Hausboote, die es hier
seit langem gibt, waren wichtige Anregungen fr den Entwurf. Zur
anderen Seite hin ist der Park von einem dichten, anonymen Teppich
aus Einfamilien-husern begrenzt. Das Konzept der Pavillons ergibt
sich aus einer Vermischung dieser beiden vorhandenen Wohnformen:
dem Boot und dem Archetyp des Vorstadthauses.Die kleinen,
unaufdringlichen Lustschlsser sollen helfen, den Strom der Menschen
ber die gesamte Lnge des Park-streifens zu verteilen, sowohl zur
Stadt als auch zum Wasser hin. Sie beleben die umliegende Stadt,
indem sie bestimmte Elemente der Landschaft berhhen und diese
Landschaft insgesamt in eine urbane Denkweise einbeziehen.
F Ce projet est situ proximit de Paris. La srie de pavil-lons
aux fonctions et aux programmes varis fait partie d'un futur espace
vert public de 113 hectares amnag le long de la Seine,
Carrires-sous-Poissy, terminus de la ligne A du train interurbain
RER et proximit de la clbre Villa Savoye de Le Corbusier. Le parc,
conu par les paysagistes de lAgence TER base Paris, sera un modle
despace rural communal cologique, aussi bien pour les rsidents
locaux que pour les habitants de Paris et des alentours en tant une
destination de loisir.Le programme du concours incluait la
construction d'un centre daccueil des visiteurs, dune guinguette,
dun obser-vatoire et dune dizaine de folies diffrents usages. Ces
folies constituent une collection de pavillons bass sur un sys-tme
modulaire en bois. Cette approche offre un large ven-tail de
variations avec un nombre limit d'lments.Lemplacement du projet est
exceptionnel. Dun ct, il est situ le long de la Seine. La prsence
de barges, de cabanes de pche et de pniches, qui peuplent le site
depuis longtemps, a t une puissante source d'inspiration. De lautre
ct, la limite du site se caractrise par un tissu pavillonnaire de
banlieue anonyme. Le concept est le rsultat d'un processus
d'hybridation entre ces deux modles d'habitat existants : la
-sonnes sur toute la longueur du parc, vers l'eau et la ville.
Le
-tains lments du paysage, en inscrivant ce dernier dans une
stratgie urbaine.
-
Paris has played an important role in urbanism, improving urban
space and providing residents with amenities and recreation. At the
same time, demand for parks has gradu-ally been changing. This park
will become one of the largest parks in the Paris metropolitan
area. What kind of potential and realities do you foresee in adding
a new park to a me-tropolis nowadays?
SIMON HARTMANN: I think maybe if I try to be very short, if we
talk about Paris... We know Paris for the urbanism in the period
where modernity was awaking and maybe lets say this is the period
of absolute dominance of nature by humanity. I think in the Paris
parks, maybe the old ones, of Le Notre, the tradition of French
landscape architecture is the tradition of dominating nature. The
parks that we know, like Chteaux Luxembourg, and so on these are
parks for popular use, but still only for people. If we talk about
con-temporary landscape and landscape architecture, or
contem-porary park, it's not only for people anymore parks are for
animals, small ones, big ones, for air, for... you know they have
an ecological reason, where the human being is a small part of the
reason for the park, but not the dominant part.If we talk about
large-scale parks, then we talks about Hyde Park in London, we talk
about... I forgot the name of the parks in Mexico City, but there
are beautiful parks... Most of them are based on a pattern which is
the image of nature, but nature as a park. The image of the park is
not nature, it's the pittoresque, it's 'the image of the image of
nature'. So I think today's parks also have to look good. But first
of all they have a lot of reasons for being that are unecological,
and so for a humankind park, maybe the air is fresher, you have
less noise, recreation and so on... and that's ok. But now, if you
just compare ecological value of a small park with a lot of people
to a big park with not a lot of people, it's very clear that size
must be very big if you want to have
a park with a lot of ecological value. So I think in that sense
this project is just... this is the requirement today for an
eco-logical park. There are a lot of parks that are only for human
beings, and this is still the case today, a lot of them are like
that. What we are doing in Unterfeld in Zug is a park for hu-man
beings, and we expressly take out the water and put the water
around the park. You know what is ecologically im-portant if size
is smaller, and by small I mean if it's less than one square
kilometer, so you are forced to choose between human beings and
other things. But in large-scale parks, you do not have to choose,
you can create a mixture without destroying everything else that is
other than human beings.Tilo Herlach: It's also a question of the
density of a city. I mean, a hundred years ago some cities were
very dense but they didn't have the parks, and others were planned,
like New York. Central Park was an essential part of the city, it
was a very important outdoor space and recreational space, and the
city was planned together with it. And in many cases there was just
a city growing, and there was no possibility for people to have a
really close recreational space. And in this particular situation,
the city around is not very dense, so it's more like giving...
making something which is already there more public. The river is
there it's not taken away from something, so it's more like how...
it's also an argu-ment for why you would live somewhere. If there
is an offer the city makes for a very nice outdoor space it's
attractive to live there. So I think it's also a marketing tool
today. You can see this in many cities of China, where they start
to make attractive outdoor spaces as a marketing tool.
SIMON FROMMENWILER: Usually today, if you have the chance to do
a park, then it's something... well if we talk about a 'park', we
talk about a large park. I don't mean a green space like what we
are doing in Unterfeld. And for a large park first of all, it's
outside the existing city and
it's probably something that already exists there, that has to
be transformed into something more attractive. Talking about the
really traditional understanding of a park, and not how the word
'park' is used today to mean anything, where people just connote it
with something attractive and beauti-ful, and suddenly everything
is called a 'park'. But I think your question, if I understand it
right, is about a large public green space, and I think the way
it's used here is quite typi-cal, if I understand your question
right, which I think is also about what it can deliver today. It's
a public infrastructure which at the same time is a destination,
that people go to be-cause it's more interesting, because it's
maybe close to where they are, because they would like to hang out.
And then, of course, it has the sort of Central Park effect where
it's very nice to be living close to that park, close to that area,
maybe to have a view the closer, the more expensive, the more
at-
tractive. So I think in the development of urban planning, it
has different phases. Maybe at the beginning it's more about
bringing something to the people, so that it's interesting as a
destination for local people and also for people from the
metropolitan area so that people can go there, they stay there,
they spend the day there with the kids... This is one thing, and
then once this is established, once this is working and
interesting, I think it can become the heart of something. So that
you say 'ok, there is already an interesting park, there is already
interesting infrastructure', whereas the infrastruc-ture of the
park is only one part of the infrastructure which is needed. In
urban planning, infrastructure is always first, the architecture
and the urbanization somehow follow. And I think this is the
infrastructure of public and daily life which is then interesting
and attractive, and like this you can then gather more interest and
with that more funding.
The pavilion is one of the most characteristic and important
building types in contemporary architecture. Our generation of
young architects designs pavilions as an experiment, to push the
limits of architecture. What kind of architectural aspirations do
you have in the design of the pavilions in this project?
SF: I think it's different things: one is a certain playfulness,
because it's a sort of family destination, so that I think the
pavilions should reflect this playful way of spending a day. This
is one thing, and the other it's somehow modular and not modular,
it's something in between on the one hand it's a very large space
and we won't be able to cover the whole thing so it's obvious that
everything belongs together and that the whole park is somehow a
complete entity. So there has to be a certain resemblance between
the elements. But during the competition we didn't really have an
exact program we had some sort of very generic program like ki-osk
or stages, or spaces where you could do yoga, or spaces where maybe
children can play, a restaurant or a small ex-hibition space. But
it had to be somehow flexible in terms of size, area, for each of
the pavilions, and at the same time it had to be... we know that
the budget is very low, so we had to come up with a very
cost-effective way of building and offer-ing a certain flexibility.
And at the same time this sort of idea of playfulness, and this
idea of working with these wooden frames came out. A little bit
like these wooden building toys which you have, which people can
put together, and they're always somehow looking quite interesting,
and the children play with them and they are all very colorful,
with their very nice wooden surfaces. And then of course once we
have that, we need a little bit more so we can add something or
take something away, it's not somehow depending on the perfect
solution of everything it's more about the adding and tak-ing-away
of these frames. So I think it's quite a simple thing then, because
right now there's not a lot of money, most of the money will go
into the landscaping of the park, and it's not like there will be a
lot of landscaping, more like a little bit cutting out, a little
bit green I mean it's 130 hectares, which is really really big for
something like this... so they could not afford to do a really nice
public park, so they just have this cutting, make up a little bit
the whole thing, and do something to create some paths and tracks
where you see 'here you can go', 'there you can go up'. So I think
the financial part is an important one here. At the same time they
were looking for something that is looking perhaps a little bit
different, a little attractive, so that the people could say: 'Oh,
there's something happening there, there's some-thing nice right in
the trees lets go there! What is there?' I think that if you talk
about what is the architectural aspira-tion there, I would say
that, for me personally, it's this sort of playfulness, open and
closed elements, which can create different types of spaces for the
different types of users, with very little material.
SH: The pavilion, first of all, it's an experiment it's the type
which is made to be something small, strange, and something which
is different. The pavilion is an architec-tural object which does
not want to disturb too much. So I think pavilion is very... I mean
this was not in our inven-tion, maybe you can always do something
else, but it's very obvious that if you want to do a park, and
landscape is not only about sports and how to use every square
centimeter, then pavilions have the force to concentrate people.
It's like with flies people go to the pavilions. Pavilions have a
stra-tegic power like that. You put them there, like we did on the
ground just like that, almost like ships. Then you can say people
who are in the pavilions almost don't disturb the nature at all.
So, maybe it's not so much about... you said
INTERVIEW ON PARK IN CARRIRES SOUS POISSY BY YASUAKI TANAGO
'pavilion as an experimental building type'... Of course we
cannot avoid history, and the pavilion has always been used as an
experimental building type. But I think in that sense, it's not so
much about a formal experiment. In history if you talk about an
experimental type, then maybe you are mostly referring to a type of
formal experiment, and not as much about function. Because if there
is not so much function, form can be very... I think in this
project the pavilion has a very clear function, and so it's really
not experimental on the level of function.
In the past, the house shape was seen as a criticism of
ar-chitecture, an emblem of a folk dwelling, and a symbolic
representation of rhetoric, but it has also been frequently
employed as an operational object of meaning. In this proj-ect, you
form pavilions though different combinations of the house shape.
However it seems to choose the house shape not only as an
operational object of meaning, but also as an operational object of
perception or experience. Why did you choose to use the "house"
shape in this project?
SF: I think the region is such, with very nearby residents. It's
a very simple area, and it's important that there is something that
people can refer to... but maybe, as I said before in a playful
way. I think there is a sort of, I wouldn't say it's a cynical way,
but it's a sort of half-serious way of doing that, because at the
same time you sort of say everybody wants to have his own small 'my
home is my castle' garden, this public garden, part of them are
public gardens, perhaps that's also important as you're saying.
There are some pub-lic gardens where we say ok, each one has a
small house frame where you can say 'this is mine, this is where I
can go into, this is where I keep my stuff, that's where we have a
drink, that's where we have a barbecue', but it's in a way open,
it's just a frame, it's not more than that. The building is just a
frame so it has some sort of reference to 'it's my thing', 'it's my
small home', it has this form people can very easily connect to,
but at the same time it's a very urban thing because it's just a
frame and people can see into it from all sides. Somehow I like
that it's making fun while still being nice, you know?
TH: The idea was that every pavilion has a very unique
sen-sation, like a missing part or something you can just
experi-ence... For example one is like a bridge building, where
na-ture is flowing underneath, but it looks
