Posts tagged with "Germany":
Ribbons of laser-cut metal lamellas envelop a glass curtain wall.J. MAYER H. Architects designed the sculptural anodized aluminum facade of JOH3, a Berlin apartment building located near both the Friedrichstrasße and Museum Island, as a contemporary echo of its historic neighbors. “The project is located in an old part of Berlin, where there are lots of facades with stucco detail,” said project architect Hans Schneider. “We tried to do something as rich with a new design, something like Jugendstil [the German Art Deco movement] but in a modern translation.” The architects settled on floor-to-ceiling glass wrapped in undulating ribbons of laser-cut aluminum lamellas. They explored the general shape using a physical model, but completed the bulk of the design work in Rhino. Early on, said Schneider, the aluminum tubes that give the envelope its texture “were a bit thicker, a different shape,” but had to be adjusted to trim down the cost of materials. From these basic components, J. MAYER H. Architects made strategic subtractions to deliver a three-dimensional effect. “In the beginning there are tubes, and then we cut out the shapes of the lamellas always different,” explained Schneider. “There are nice interferences when you cut it.” In addition to providing aesthetic interest, said Schneider, “these lamellas protect the interior from the outside without really closing it up.” From straight on, the facade is transparent. From other angles, the overlapping aluminum blades produce varying degrees of opacity. Thus the apartment’s occupants benefit from daylighting without sacrificing privacy. “It’s still quite light, that was the idea,” said Schneider, “to have a really light building in the city but still have [protection].” As well as responding to the stucco detail on the older buildings nearby, JOH3’s organic facade, which was manufactured by Rupert App GmbH+Co. (app) and WICONA and installed by app, draws on the idea of incorporating landscape into the city. This theme amplified in the building’s interior courtyard, where the metal ribbons move in and out of plane to accommodate balconies overlooking a grassy circle. It is also present in the interior. “The floor plans don’t have these rectangular rooms, it’s all more organic,” said Schneider. The balconies and folding windows by Saint-Gobain Glass providing seamless transitions from inside to outside, while each apartment’s lounge is below grade, “so you have different levels, types [of spaces] to make it more like landscape.” The dropped floor from the apartment above is visible in the ceiling below. “That’s also very interesting,” said Schneider, “because you can feel how the different stories merge together.” JOH3’s facade initially drew skepticism from some Berliners, who pressed for a more traditional stucco design. “We had to discuss [it] several times with the city, of course, and especially with the preservation people. There were quite a lot of discussions about color, shape, and material,” said Schneider. But the lamellas, which enact historic and natural references in modern materials, eventually won over the naysayers. “They liked the design totally in the end.”
Barkow Leibinger designs a precast folded facade that puts a gentle spin on surrounding traditional architecture.On one of the last urban tracts of available land in Berlin, Germany, local architecture firm Barkow Leibinger recently completed an 18-story tower, Tour Total. Highly visible from a neighboring train station, and the first completed project in the site’s 40-acre master plan, the tower has a raster facade with precast concrete panels that were geometrically computed in Rhino to create twisting inflections, conveying a sense of movement around the building’s four sides. As a load-bearing facade, 40 percent of the surface is closed, and 60 percent is triple-glazed, with every other window operable. In addition to integrated energy management strategies—the first building tenant is French energy company Total—partner Frank Barkow said the firm’s extensive background in digital fabrication and research allowed the efficient development of the dynamic facade. Drawing from the surrounding, traditionally quadrilinear brick facades of the 1920s and 30s, the tower’s lines are imbued with an engrained depth that twists optically to read differently in direct sun or cloudy weather, without actually moving. The design team drew a series of T-shaped elements to create the exterior components, and K-modules for structural stability. “The folding K modules produce an in-and-out for continual diagonals that wrap around the corners,” Barkow told AN. Interior and exterior concrete components sandwich around glazing, windows, and insulation. To test the design, 3D models were fabricated on a CNC router. Many of the profiles in the facade assembly are repeated many times, though 160 are unique. Each cast could be used at least half a dozen times before another had to be fabricated. German fabricator Dressler milled plywood molds and white concrete was poured over an affixed release surface. Once solidified, each section was finished with an acid wash to expose the aggregate and transported to the building site. Steel pins, embedded within the structure’s poured concrete floors, connect the layers of the facade sandwich. Barkow and the concrete contractor had several discussions about eliminating an interior precast layer in combination with an Isokorb thermal break to mitigate expansion but, in the end, opted for the original design. “It’s the next technological step, for the facade to work like an exoskeleton, but we’re a few years away from that,” Barkow said. Despite budgetary and time restrictions, the LEED Gold-equivalent Tour Total was realized successfully, in part, through parametric design and advanced fabrication methods. “We’re taking advantage of northern Germany’s extremely proficient building culture and working with our fabricators here and in Switzerland as early as possible in the design process,” said Barkow. “There’s a lot of back and forth where we push them away from conservancy and they push us towards efficiency.”
Frankfurt’s Zeil gets another facelift with an ever-changing media installationThe Zeil is Frankfurt’s main shopping district, a pedestrian-only street bordered by two large plazas. In 2009, Massimiliano Fuksas’ vortex-clad Mab Zeil mixed-use center brought a new face to the street. Not to be outdone by its neighbor, the Zeilgalerie shopping mall began its own facelift the same year. Designed by Wiesbaden, Germany-based interdisciplinary collective 3deluxe, its LED-illuminated black facade brings a new sense of unity to the street and was recently given the Red Dot 2011 design award in the category of Information Design/Public Space. Originally designed by German architects Kramm & Strigl and completed in 1992, Zeilgalerie was an architectural mix consisting of a glazed semi-cylindrical structure and central entrance tower, to the right of which was a perforated aluminum facade. To make the building read as one structure without losing its original forms, designers at 3deluxe envisioned three all-black facade systems composed of glass and aluminum. The sleek building envelope would be the new canvas for a light installation showing off the latest capabilities in LED technology and multimedia design. The media installation spans the rightmost structure’s entire 2,800-square-foot façade. Double-glazed black glass panels are mounted flush with matte black cladding, behind which a rhomboid grid of 310 LED strips applied to the exterior glass pane creates the computer-controlled lighting display. Each of 19,700 diodes can be controlled separately, allowing the facade to project sharp geometric patterns as well as abstract shapes and the illusion of light and shadow drifting across the building. The facade performs at night (with music). Diagonal lines of light are superimposed by an orthogonal pattern printed onto the transparent film between glass panes. Corresponding to the pattern that is laser-cut into the metal cladding, which itself includes 2,500 LED modules, a dot screen ties the entire display together. The dot screen is repeated in the cylindrical structure to the left, which is clad in horizontal strips of matte-black aluminum outlined on the lower edge with more LEDs. Viewed as a whole, the facades take on a uniformly dark appearance in daylight, but slowly become three pronounced structures at night, each playing off the others’ patterns. Media design firm Meso Digital Interiors created the program to run the lighting display. “The complex layout of the LED fixtures called for a bespoke mapping system, which prepares all of the graphics for the Leurocom-built installation with sub-pixel precision,” describes the team in its design brief. Using graphical programming toolkit VVVV, Meso programmed scenes that would play “hide and seek” in the building’s contours, ensuring that no two performances are ever the same with software that calculates new frames for infinity.
Professor Günter Behnisch passed away in the early morning hours of July 12th at the age of 88. A good three years ago he retreated from professional life. Since then he has lived, weakened by several strokes, in his home in Stuttgart-Sillenbuch, where his family cared for him. His practice in Stuttgart-Sillenbuch, which he founded in 1952 (from 1966 onwards called Behnisch & Partner with partners Fritz Auer, Winfried Büxel, Erhard Tränkner and Carlo Weber; later with Winfried Büxel, Manfred Sabatke and Erhard Tränkner) existed until 2008. In the last years of the practice he worked with Manfred Sabatke in the Sillenbuch office. Günter Behnisch stood for the architectural expression of Germany’s transformation into a democratic, freer, and more social society. As an architect active in the years of Germany’s reconstruction he shaped the appearance of schools and universities. Architectural critics described his buildings and facilities for the 20th Olympic Games in Munich, as well as his buildings for the German Parliament in Bonn, as symbols of the “open democracy” of the “Bonner Republik,” and these buildings found widespread international recognition. As an educator Günter Behnisch had a decisive influence on several generations of architects. Through their work and their daily practices his teachings will no doubt, in the years ahead, continue to manifest themselves in a decidedly freer approach to architecture. Through a permanent questioning of the architectural uniformity of the, as he once put it, “self-opinionated” Berlin Republic and its particular definition of architecture, he eventually realized, after a time and energy-consuming planning process, his last project, the Academy of the Arts in Berlin, in 2005. Acknowledging that he would be unable to complete his last successful competition winning entries, Günter Behnisch entrusted his son Stefan with a number of projects—the “Haus im Haus” for Hamburg’s Chamber of Commerce and the Ozeaneum in Stralsund. […Stefan has his own firm, Behnisch Architekten, which had been working in concert with Behnisch & Partner for a number of years. …] During the years of collaboration projects such as the St. Benno Gymnasium in Dresden, the “Museum der Phantasie” for the Buchheim collection in Bernried, the State Insurance Agency Schleswig-Holstein in Lübeck, the service center for the Landesbank Baden-Württemberg in Stuttgart and the office and exhibition building for VS in Tauberbischofsheim were realised. Today many of the staff employed by Behnisch Architekten were previously either students of Günter Behnisch in Darmstadt, where he was a professor, or they worked with him as interns in his office in Stuttgart-Sillenbuch. Günter Behnisch’s approach to architecture, in particular with respect to his ‘idea of man,’ continue to influence our daily activities.