"To make sure that all sustainability criteria are considered, we coordinate an integrated general planning team with clear communication structures and a customized working process from the first conception until the phase of use." - kadawittfeldarchitekturKadawittfeldarchitektur has built a modern energy efficiency center on the campus of Hochschule Niederrhein in Mönchengladbach, a city in North Rhine-Westphalia, Germany. The zero emission building is constructed to Passive House standards which require thermal bridge free design, superior windows, ventilation with heat recovery, quality insulation and airtight construction. The driving idea behind the project was to unite the science and energy industry with the university in a collaborative effort to share innovative energy technologies with the public. The building accommodates an energy center for NEW, an energy and water utility company, along with an academic library, a startup center for new business ventures, and an energy laboratory for students. The building is designed to be an object in the landscape – a “solitaire” according to Mathias Garanin, Project Manager for kadawittfeldarchitektur. “Due to its conception as a solitaire, it is a building without a rear elevation, a building that faces public space in all directions.” Garanin and the kadawittfeldarchitektur project team say the building volume was based on setback distances from neighboring buildings, creating a compact, five-sided volume clad with oppositely inclined blue tinted glass and photovoltaic panels coordinated with the orientation and incidence of solar radiation. “The NEW-Blauhaus building is kept at a distance in order to establish new relationships.” Benefits to the volumetric shape of the building include a favorable volume-to-surface ratio for energy efficiency and a relatively short interior travel distances to maximize collaboration. While the architects have produced a formally engaging homogeneous skin, loaded with performative features acknowledging insulation requirements, acoustics, durability, and user comfort, perhaps the most important role of the building is to clearly communicate a high performance energy agenda. This is achieved in two ways: in the facade, which is clad with photovoltaic panels, and at the base of the building, where an energy center doubles as a showroom visible to onlookers from the exterior. Here, visitors can engage in displays showcasing sustainable energy, along with a specialized highly efficient reversible heat pump system involving an ice storage tank and chiller plant. kadawittfeldarchitektur says the facade is the building’s most exclusive means of expression. “As a significant part of the advanced energy concept, it communicates the approach to conserving resources to the outside and determines the identity of the architecture and its users in the urban environment.” A 4-foot structural grid establishes stacks of window and photovoltaic units that are variably rotated to most effective solar angles. Soundproofing panes located in front of the widow units work to compositionally complete the building envelopes patterned ornamentation. The window units are operable, providing individualized user comfort as required. The north facade receives enameled glass in place of the photovoltaic panels along the north facade were omitted from the design due to performative issues, and replaced with an enameled glass. The elegance of the envelope system inspired an interior design scheme of clarity and communication through “color blocking.” Based on the activity of the building as an energy generation system from dusk to dawn, the coloration of interior spaces combines hues of a defined color spectrum found in sunset and sunrise conditions.
Posts tagged with "Germany":
The Good, The Bad & The Ugly: Architect builds a shocking pavilion to explore society’s domination of nature
Construction gone awry: crane driver accidentally extricates a house and causes car pile-up—or that’s what the artists will have you believe
"I don't have a lot of confidence that the current plan commission would observe a plan that was adopted back in 2004," he said. Now a surface parking lot, the site is one of only two gaps in the continuous 1.3-mile cliff wall along the west side of Michigan Avenue between Randolph Street and Roosevelt Road. In the early-2000s condo boom, it was the proposed site of a 40-story condominium tower, but developer Warren Barr was hit with a foreclosure suit and lost the property to First American Bank, which still owns it. First American representatives did not respond to requests for comment.If it happens, the project would hardly be the firm's first in their hometown. JAHN (mostly under their prior moniker, Murphy/Jahn) designed the United Airlines terminal at O'Hare and the Ogilvie Metra station downtown, as well as the State of Illinois Center (the Thompson Center), 600 N. Fairbanks, 1 S. Wacker Dr., and others. Yet lately most of the firm's high-profile work has been abroad.
Beyond the focus on food and agriculture, there is also a wealth of eye-catching architecture at the Milan Expo as well. Here is a collection of some of our favorite pavilions from this year's rendition. And be sure to check out our coverage of the Expo here.
a handful of designs...stand out as attempts to rethink the way we build and how it relates to modern agriculture and sustainable food production for the next century. Most of the pavilions use sustainable materials and construction methods that utilize national building techniques. Inside, exhibitions—often interactive—showcase biodiversity, culture, and food traditions of each nation.
A geometric corrugated metal and glass facade integrates industry and nature.Barkow Leibinger's original scheme for HAWE-Werk Kaufbeuren, developed for a competition several years ago, was "a completely crazy origami thing," recalled partner Frank Barkow. But upon winning the commission and learning that the factory's owners wished to build it in a single phase, "we had to be careful not to kill them with the budget," he said. "We really dumbed it down." The architects did, however, hold on to their original pinwheel plan, with production wings rotating around a communal courtyard. Inspired by Le Corbusier's "green factory"—a humanizing alternative to the "black factories" of the nineteenth century, which prioritized the flow of goods over the experience of the workers—Barkow Leibinger's design opens the HAWE plant to the Bavarian countryside with a geometric facade of corrugated metal and glass. In addition to drawing upon Le Corbusier's "green factory" concept, Barkow Leibinger also looked at industrial designs out of northern Italy in the 1960s and 70s, which in turn led them to experiment with a prefabricated concrete frame. "Usually we do steel," explained Barkow, "but in this case the client liked the precast concrete. It's a dirty industry—there's a lot of milling going on." The factory's exposed mechanical systems are integrated directly into the structure, passing through perforations in the horizontal beams. "It's not a very finicky factory," said Barkow. "We just put it where they needed it." Steel-framed shed roofs sit atop the concrete. Skylights look to the north, while the roof's south slopes are designed to accommodate photovoltaic panels. "The north-facing shed is a classical industrial solution," noted Barkow. "It brings in a lot of light, and saves a lot on artificial lighting." The arrangement of solids and voids on the facade emphasizes the resulting sawtooth profile. The architects carved the envelope into a repeating pattern of triangles and trapezoids, clad in glass and corrugated sheet metal, respectively. Most of the building's glazed surface is translucent white channel glass, with vision glass in the sliver of space closest to the ground. At the end of each wing, a broad horizontal window features a larger central section of channel glass framed by floor-to-ceiling panels of transparent glass to either side. "This is a kind of Corbusian idea: large end facades that look into the countryside," said Barkow. The factory wings are designed to be expansible, the end facade deconstructed and then rebuilt after the installation of additional bays. Barkow Leibinger gave HAWE-Werk Kaufbeuren's extra-production facilities distinct treatments. The lobby and office area is "a more blocky structure," said Barkow, with a transparent curtain wall. The cafeteria, too, plays up the connection to the courtyard with plentiful glazing. The architects designed the "edge spaces'" facades to contrast—but not clash with—the factory floor, explained Barkow. "They're adjacent spaces, but quieter and cleaner." HAWE-Werk Kaufbeuren earned a silver rating from the DGNB (German Sustainable Building Council) thanks in part to the architects' emphasis on daylighting and use of triple glazing, plus careful attention to the window-to-wall ratio. "Nothing spectacularly complex" was involved in the sustainability strategy, said Barkow. Indeed, the very simplicity of the design led to its success, practically and conceptually as well as in terms of environmental performance. From a complicated initial scheme to their final, streamlined, solution, Barkow Leibinger pared the plan and material palette to the bare essentials, with an eye to speeding construction while keeping the "green factory" ideal at the fore. "It's a large project in this landscape," said Barkow. "It's at a different scale, and more robust, than the factories we typically work on."
Composite facade brings new row house into harmony with its historic neighbors.Florian Köhler, whose firm, Köhler Architekten, recently designed and built a new row house in Hamburg’s Ottensen quarter, observes a disheartening trend among his fellow architects. When designing for a site rich in historic context, they tend to shy away from all allusions to the past, opting instead for an antiseptic modernism. “Many architects only build cubic forms without reference to their environment, and cityscapes are becoming increasingly similar,” he said. “We deliberately wanted to go a different route.” Ice Loft, which is surrounded by protected properties dating to the mid-19th century, features a tripartite facade that translates familiar historic forms into smooth curves and planes. “Our unusual approach to the transformation of classical qualities into flowing forms seems to be a suitable alternative, at least at this point, in this urban district in Hamburg,” said Köhler. For Ice Loft, Köhler Architekten sought a third way between historicism and anti-referential contemporary design. “We wanted to build and establish an unusual modern building without provocation, which would be intuitively understood,” said Köhler. The streamlined facade distills the iconic ornaments prevalent on the surrounding buildings—including bay windows and dormers—as a series of simple shapes. “We took these elements and formed them as if in one naturally flowing movement of the entire building structure and freezing them at the right moment,” explained Köhler. The architects chose HI-MACS solid surface over a more traditional material like stone. “The inserted HI-MACS panels are organically malleable as well as simultaneously precise and accurate,” said Köhler. “These characteristics fit in well with our idea of frozen material.” Because HI-MACS requires no exterior finish and thus no regular re-painting, he added, the material contributes to the building’s sustainability profile. A bent metal grid distinguishes Ice Loft’s ground floor. “In historic buildings, where the basis of ancient orders were formed by columns, the ground floor was often offset [by way of] material, color, or surface structure,” explained Köhler. The designers’ modern take on this traditional gesture includes a foundation designed as a planter, from which climbing plants will eventually erupt to transform the metal facade into a vertical garden. Besides brightening the building’s exterior, the green wall is intended as a graffiti deterrent. The building’s zinc roof, like the HI-MACS surface, abstracts the conventional dormer profile into an overturned wave. Köhler is impressed by the positive feedback his experiment in contextual design has elicited—especially from within his profession. “An architect from the neighborhood called our building ‘the most beautiful house in Ottensen,’” he recalled. “As architects are usually very critical of new ideas, especially if they relate to historical form, we are particularly pleased with this compliment.”