1st prize - c4c€¦ · misako murata, brooklyn, ny/ usa professional consultants structural...

Bauhaus Museum Dessauopen international 2-phase realisation-competition for the construction of a museum with outdoor- and parking spaces

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Antoniettenstraße

6.1 Eingangsbereich Außen

6.2 Außenbereich Museumspädagogik

6.7 PKW-Parkplätze x50

6.8 Logistikbereich außen

Aktionsfeld

Shop

Eingang / Ausgang Ratsgasse

1.1.5Gruppeneingang

Grenzen Grundstück Museum 5.787,40 m2

Eingang / AusgangStadtpark

Taxi, Reisebusse

Grenzen Baufeld Stellplatzanlage

Alberto Adriano Gedenkstele

ODF Mahnmal

Friedrichstraße

Fritz-Hesse-Straße

Fried

richstr

aße

Ratsgasse

„Bewegungs-Pfad“

Springbrunnen

eßartsreilavaK

Teehäuschen

Bauhaus Museum Dessau

II +76.75 ü. NN+15.05 OK Terrain

Kava

liers

traß

e

+61.70

6.6 Fahrradstellplätze

6.4 Außenterasse Cafeteria

Grenzen Baufeld Museum

Follies aus krautartigen Pflanzen mit

im Verlauf des Jahres interessante Busch- und Blumenkomposition, durch farbenfrohe und lange Blütezeit, auffallendes Blattwerk

Kontrasts zwischen Baumgruppen und

Gruppierung von Arten mit auffälliger Blüte

Erhöhte Drainage über Entwässerungsfugen in neuer Pflasterung und neue grosszügige

Veränderung im Jahresverlauf (nur die Lärche

Auffällig in der Blütezeit: sehr ornamentale

Blattwerk als Hauptaugenmerk / Veränderte Farbgebung im Jahresverlauf / Interessante

Höhenanpassung des Geländes im nördlichen Grundstücksbereichs versetzt werden müssen. Es wird empfohlen diese so früh wie möglich für den Vorgang vorzubereiten (z.B. Beschneidung der Wurzeln ein bis zwei Jahre vorher) und eine gute Planung der Arbeitsabläufe sicherzustellen,

Dimension/Vitalität speziell/sehr gross.

QuerschnittQuerschnitt

Längsschnitt

Längsschnitt

+ 62.00+ 61.60

+ 62.50+ 61.30

1st Prize

ARCHITECTUREGonzalez Hinz Zabala, Barcelona/ SpainAuthors: Roberto Peñalver Gonzalez, Rojí ZabalaProject Team: Anne Katharina Hinz, Cecilia Rodríguez Vielba

LANDSCAPE-ARCHITECTURERoser Vives de Delás, Barcelona/ Spain

PROFESSIONAL CONSULTANTSExhibition Design: Moritz Küng, Barcelona/SpainEnergy Technology: Stefanie Reuss, Transsolar Energietechnik GmbH, Stuttgart/GermanyMaterial- und Facade-Design: Miquel Rodríguez, Xmade, Barcelona/SpainStructural Design: Manuel Arguijo, Barcelona/Spain

▲Model Photo (C4C)

▲Outside View

▲ Site Plan

„ [...] UNITES ICONOGRAPHICAL HERITAGE (,LESS IS MORE’) WITH THE MANIFEST OF THE CON-TEMPORARY CULTURE (,THE AGE OF LESS’) AND DEFINES AS A ,GATE’ THE PASSAGE FROM CITY AND CITYPARK, CITY AND LANDSCAPE, CONSTRUCTION AND NATURE.“

5.17 Technik- und Installationsräume

5.17 Technik- und Installationsräume

2.1.5 Topos - "Museum"

2.1.3 Topos - "Fabrik"

2.1.4 Topos - "Warenhaus"

2.1.2 2.1.6 Topos - "Schule"

2.1.7 Topos - "Klubhaus"

1.1.7.1 WC -Anlage

Technikgeschoß OG nördlicher Kern M 1:200

Obergeschoß M 1:200 Technikgeschoss OG südlicher Kern

M 1:200

2.1.1 Topos - Prolog

▲Groundfloor Plan, without scale

6.6 Fahrradstellplätze x52

1.1.6 Garderobe/Schließfächer

5.15

Hausanschlußraum / Technik

5.6 Zwischenlager

5.7 Materiallager

5.10 Malerei

5.8 Zwischenlager mobile Wände

5.2 Hausmeister

5.5 Logistik-, Kontroll - und Packraum

5.11 Werkstatt

5.1 Anlieferungshalle Kunstgut

5.4 Anlieferungsslager

4.2 Vorbereitung und Nebenräume

1.1.7.2 WC-Behindertengerecht

3.5.3 Erste Hilferaum

1.1.3.1 Ticketing

4.1 Gastraum

1.1.1.2 Besuchereingang und Foyer

1.1.2 Erstinformation

2.2 Wechselausstellung 2.2.1 Ausstellungraum

1.1.4.1 Verkauf/Shop

1.2.2.2 Stuhllager

1.2.1.2 Workshopraum Materiallager

1.1.7.1 WC Damen

1.1.7.1 WC Herren

1.2.1.1 Workshopraum, teilbar 1.2.2.1 Veranstaltungsraum inkl. Podium

Erdgeschoß M 1:200

Untergeschoss nördlicher Kern M 1:200

Untergeschoss südlicher Kern M 1:200

N 0 1 2 5 10 20

UG-3.00

UG-3.00

OKFF EG +0.00+61.70 ü. NN

6.8 Logistikbereich außen

The new Bauhaus Museum – an elongated bar running parallel to Kavalierstrasse – can be seen as an iconographic legacy – “less is more”. The glazed foyer level provides a link between urban city life and the City Park, inviting visitors into the museum.

Its specifi c setting within the city space continues inside: an easy-to-read, fl oating, black exhibition space, the defi nition of the black box.

The glass envelope cloaking the building defi nes both the reception area with its visitor services and temporary exhibi-tion space and provides maximum curatorial freedom in terms of fl exibility of use. It draws on the Bauhaus’s desire to be an “open school”.

The design sees itself as a new form of Bauhaus stage for the public with all age groups being invited to take part in the life of the museum. It is possible to reach the outside from the museum’s educational facility and visitors to the café also have direct access to the green space.

Visitors reach the upper fl oor via two stair-way areas. They are very compact in design and the interplay between the spacious-ness of the foyer and the intimacy of the stairways creates a tension which heightens curiosity about the collection display.

The fl exibility of the fi rst fl oor provides a genuinely multi-use exhibition space – from traditional cabinets to large-scale instal-lations and projections.At the end of the exhibition visitors return

to the ground fl oor with access to the museum shop.

The logistics and administrative areas are logically sited in the northern part of the ground fl oor and on the mezzanine. A conveni-ent delivery route is provided from Fried-richstrasse.

This design is an excellent entry in terms of both the functionality and fl exibility of the space, creating a museum building that is a tool for the expression of activity and productivity, creativity and social interac-tion.

It remains to be seen how the desired openness of design on the ground fl oor can be reconciled with the need to set boundaries and create space in the temporary exhibition area.

As the exhibition space on the upper fl oor is a little small, a slight increase in depth would be an option.

The facade illustrated is not advantage-ous in energy terms and a successful overall climatic design is required.

Despite the slight vertical exaggeration of the enclosed space, the design would appear to be feasible within the specifi ed budget. But with the suggested design higher opera-ting costs can be expected.

The design makes a successful contribution to the question of the exhibition machine and the museum as a place of learning.

▲ Exhibition Floor Plan/ Upper Floor, without scale

alerces - conífera - pierden la hoja)

ornamentales en primavera y verano.

· Follaje como principal interés· Coloraciones diferentes a lo largo del año· Interesantes tonalidades en otoño

· Transplantes factibles· Especies y/o tamaños normales

· Follies vegetales de planta vivaz, de alturas diferentes, sin ocultar la visión

· Incremento de zonas de refugio y alimento para la fauna.

· Recolocación de árboles trasplantados o nuevos ejemplares manteniendo el contraste en el parque entre grupos arbolados y prados abiertos. Agrupar las especies de

· Aumento de la capacidad de drenaje de la nueva pavimentación en el tratamiento de las juntas y nuevos alcorques, en zonas con árboles que se mantienen.

máximo la supervivencia de los ejemplares.

· Transplantes factibles ejemplares· Especie/tamaño/vitalidad ejemplares/grandes

· Transplante factible pero difícil· Especie/tamaño/vitalidad ejemplar/gran tamaño· Requiere valoración individual y antelación de repicado de raíces 1-2 años

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Längsschnitt M 1:500

ZG EG+3.00

ZG EG+3.00

OG+7.10

OG+7.10

UG-3.00

UG-3.00

ZG OG+10.40

ZG OG+10.40

OKFF EG +0.00+61.70 ü. NN

OKFF EG +0.00+61.70 ü. NN

A +15.05+76.75 ü. NN

A +15.05+76.75 ü. NN

▲ Longitudinal Section, without scale

▲ Foyer View/ Groundfloor ▲ Exhibition ▲ Parkview

Assessment of the Jury PlansGONZALEZ HINZ ZABALA


„VESSEL-COLLECTIVE“

1st PRIZE

ARCHITECTUREYoung & Ayata, LLC, Brooklyn, NY/ USAAuthors: Michael Young, Kutan AyataProject Team: Sina Ozbudun, Ryan Roark, Tyler Kvochock, Kevin Pazik, Isodoro Michan, Ae Ree, Rho, Rajika Maheshwari

LANDSCAPE-ARCHITECTUREMisako Murata, Brooklyn, NY/ USA

PROFESSIONAL CONSULTANTSStructural Design: Florian Gauss – Teuffel Engineering, Stuttgart/GermanyTechnical Building Services: Ben Shepard, Atelier Ten, New York/USA


▲Outside View

▲ Site Plan

YOUNG & AYATA LLCPlansAssessment of the Jury

▲Main Floor Plan/ Exhibition Floor, without scale

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The design adopts an organic, sculptural approach.

It takes the form of an open collection of structures, avoiding the impression of one isolated building. It is successfully integrated into the Park, making various references to the surrounding city. It is an independent structure that becomes a new reference point in a disparate urban environment.

The design approach has a certain sugges-tive force, radiates warmth and is highly distinctive, exerting an inviting fascina-tion. References to various Bauhaus concepts are successfully combined to create a new, contemporary general approach. The hybrid character combining nature and culture extends the landscape into a three-dimensio-nal figure.

The layout consists of individual modules which can be connected together in various shapes. This flexibility allows further modifications in the subsequent planning of the building. Later extensions are easily imaginable, as are further developments and refinements in the realisation process.

The lighting is a decisive element in the creation of space and the feel proposed for the interior spaces. The representation of the exhibition concept is successful. The exterior design is continued inside in the foyer and cafe areas.

The area- and volume data seem to be in a economical ratio, thus it must be proved how far the construction costs will be feasible within the budget.

This well-thought-out design works with repeated motifs using contemporary techno-logical solutions and production approa-ches. The use of recycled materials and the approach to sustainability are innovative. The wooden construction stands on an eleva-ted concrete slab. The outer skin is made of sintered glass mosaics depicting a variety of digitally generated patterns.

As a result, 100 years down the line the building offers a forceful, bold and ground-breaking architectural testimonial to the 21st century that not only holds its own in the global competition but clearly leaves it own mark.

▲ Section, without scale

▲ Exhibition spaces and Staircase/ Inner Development

▲Cafeteria

▲Courtyard


3rd PRIZE

ARCHITECTUREBerrel Berrel Kräutler AG, Zurich/ SwitzerlandAuthor: Maurice BerrelProject Team: Tilmann Weissinger, Thomas Merz, Raphael Kräutler, Linda Münch, Norbert Pasko

FACHBERATERTimber Design: Hermann Blumer, Waldstatt/SwitzerlandBuilding Services: Christian Egli, Amstein + Walthert AG, Zurich/SwitzerlandStructural Design: Dr. Neven Kostic, Dr. Schwartz Consulting AG, Zug/SwitzerlandLighting Design: Marc Dietrich, Mettler+Partner Licht AG, Zurich/SwitzerlandExhibition Design: Christian Brändle, Museum für Gestaltung, Zurich/SwitzerlandGraphics: Dominique Berrel, dominique berrel grafik, Basel/Switzerland


▲Outside View

▲ Site Plan

LANDSCAPE-ARCHITECTUREASP Landschftsarchitekt HTL/BSLA, Zurich/SwitzerlandAuthor: Florian SeiboldProject Team: Sven Reithel, Elodie Rué

„MUSEUM AS A NODE OF NEWLY LINKED URBAN SPACES - THE DESIGN DEVELOPED OUT OF THE GREEN AND OVERLAID WITH THE PARKWAYS CREATES NOT A HERMETICAL, ELITIST MUSEUM TEMPLE, BUT RATHER A PLACE OF COMMUNICATION AND OF CULTURAL ENCOUNTER - A HOUSE FOR THE ENTIRE POPULATION OF DESSAU.“

BERREL BERREL KRÄUTLER AGPlansAssessment of the Jury

▲Groundfloor Plan, without scale

The new Bauhaus Museum is consciously set back from the disparate road building lines of the adjacent built-up area and designed as a pavilion in the park.

Rather than seeking to engage with the scale of the built-up area opposite it, the building is developed out of and around the existing trees. There is some debate as to whether the existing trees and suggested replacement planting are sufficiently power-ful to create the impression given in the visuals.

The polygonal, two-storey building is open on all sides, creating exciting and multi-facetted references between interior and exterior and redefining the entrance to the City Park. It creates a delicate appearance that blends well into the surrounding green space and is perceived not as a stand-out “museum temple” but rather as the open hand of cultural encounter and exchange, mirro-ring the Bauhaus’s conception of itself. This concept is reinforced by the folded chrome steel plate on the upper storey facades.

The transformation of the existing park runs counter to a planning approach which seeks to integrate the building into its surroun-dings. Extensive encroachment into the existing vegetation is suggested with large-scale paved areas which appear disproportio-nately large.

The crossing that forms an extension of Ratsgasse is attractively proportioned, creating an inviting entrance from various different directions. The foyer, shop, café and lecture theatre all present open facades to the park. The service area, just a short distance from Friedrichstraße, also includes

well-sited administrative and staff areas.

The position of all the exhibition spaces on one level on the upper floor is welco-med. The cluster-like arrangement of the polygonal exhibition rooms allows visitors to move through the space in many different directions; there is no specific dictated sequence.

The room proportions match the varying sizes of the exhibits and their dimensions allow a range of different exhibition types. The formal character of the exhibition spaces draws on well-known elements but a more innovative design would have been more appropriate to the brief. Views of the park are visible between the exhibition spaces, facilitating orientation.

The vertical access integrated into the structure is hard to find and rather narrow. In addition, the separation of the escape routes is difficult to understand.

The design, which comprises a load-bearing concrete skeleton and suspended room modules, makes sense in general terms. It remains to be seen in the course of further development whether the orthogonal ceiling structure would not better follow the polygonal geometry. The required surface areas are provided and the surface ratios and gross volumes are at the lower end of the scale, making economical construction and operation appear achievable.

The suggested proposal shows a good urban design with a very functional exhibition concept, but it is missing an innovative design-approach related to the Bauhaus-themes.

▲Upper Floor Plan


▲ Exhibition Space ▲ Passageway/ Groundfloor


4th PRIZE

ARCHITECTUREJA ARCHITECTURE STUDIO, Toronto/ CanadaAuthors: Nima JavidiProject Team: Kyle O#Brien, Zhou Tang, Sally Kassar, Goldie Schlaff, Arittro Noor

PROFESSIONAL CONSULTANTSStructural Design: AMA Design, North York, CanadaTechnical Building Services: Thomas Technical, Mississauga/Canada

LANDSCAPE-ARCHITECTUREJA ARCHITECTURE STUDIO, Toronto/ CanadaAuthors: Behnaz AssadiProject Team: Hanieh Rezaie


▲Outside View

▲ Site Plan

„SIX ROOMS MERGING AT THE EDGE OF A PARK.“

JA ARCHITECTURE STUDIOPlansAssessment of the Jury

The design is characterised first and foremost by its self-contained, polygonal structure that offers a sensitive response to the surrounding built environment. It is demarcated by a clear edge on Kavalier-strasse, while an obliquely angled section offers a clean-cut transition to Friedrichs-trasse.

Overall, the design works well thanks to a sculptural approach that represents a clear acknowledgement of the museum’s position as an urban building, a notion reinforced by the form of the raised roof areas.

The building opens out onto the surrounding park largely through non-openable windows, a factor that reduces the scope for varia-ble temporary exhibitions, especially on the ground floor. The location of the main entrance on Friedrichstrasse is logical in planning and design terms, while a secondary entrance on the park side creates additional access and connections.

Whereas the external design marries success-fully with the surrounding urban setting, the interior configuration and layout – despite a high degree of adaptability and strong spatial qualities – reveal a number of unresolved linking and transition issues. The ramp, set at an oblique angle, projects awkwardly into the foyer, creating a

confused spatial arrangement, particularly in the area giving onto the garden.

The dominant form of the alternative access route, via a spiral staircase, from the temporary exhibition space on the first floor to the collection exhibition space on the second floor lacks both consistency and logic.

The strong lines of the ceiling in the main exhibition space on the second floor, which reflect the external roof shape inside the building, are fascinating. At the same time, however, the excessive height of this space will make displaying the smaller pieces in the collection particularly complicated.

The location of the office space in a window-less area on the mezzanine above the main entrance is in breach of building regulati-ons.

The gross volumes are above average, the traffic area ratio is quite high. But in turn the compact building structure seems to make economical construction and operation appear achievable.

Overall, though realising a complex concept, the design fails to successfully answer the brief in a number of respects.

▲ Plans, without scale

▲ Eastern Elevation, without scale


▲ Interior Space/ Foyer ▲ Exhibition Space

1st prize - c4c€¦ · misako murata, brooklyn, ny/ usa professional consultants structural...

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