INTRODUZIONE LINTERVENTO PARCO NAI KUNSTHAL

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NAI II BIBLIOGRAFIA
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MUSEUM PARK ROTTERDAM A cura di MATTEO FRASCHINI
INTRODUZIONE LINTERVENTO PARCO NAI NAI II BIBLIOGRAFIA KUNSTHAL
The task of this presentation is to see
a contemporary architectural
design from different point of view design from different point of view.
The approach chosen is to give a
strategy to read and to understand
the complexity of this design
project project.
The work here presented was
developed by OMA for the
renovation of the Museum Park of
Rotterdam.
The complexity of the present
architectural scene brings us to
rethink the way to represent and to rethink the way to represent and to
design it. Traditional and analytical
drawings (two dimensional views
such as sections, plans etc)are no
longer able to rule this complexity longer able to rule this complexity.
The method proposed tries to give
the simultaneous possibility to
control the urban and the 1 to 1
scale.
INTRODUZIONE LINTERVENTO PARCO NAI NAI II BIBLIOGRAFIA KUNSTHAL
In the second half of the
eighties, the municipality of
Rotterdam, with the mission of
a global renovation of the
N A I
a global renovation of the
image and the structure of the
city, decides to reorganize an
important area characterized
N A I
by existing museums and
cultural areas. The need was to
find a place for temporary
expositions - Kunsthal - for the expositions, Kunsthal for the
national architecture institute.
A park would be sourrounded
by those new and existing
MUSEUM
PARK
buildings.
Rem koolhaas presents his first
urban scale design.
PARK
KUNSTHAL
INTRODUZIONE LINTERVENTO PARCO NAI NAI II BIBLIOGRAFIA KUNSTHAL
The Museum Park raises in an area of 440 x 130 m; it is defined by different
sourroundings. An high density street, 6 meters higher than the park, marks one of the
short side of the green rectangle.
An existing flowered garden would join the masterplan The park would act as a dense An existing flowered garden would join the masterplan. The park would act as a dense
connection between museums.
INTRODUZIONE LINTERVENTO PARCO NAI NAI II BIBLIOGRAFIA KUNSTHAL
The design approach is ruled by a clear scheme that wants to embrace different
and complex spatial situations and images edited on interlaced paths.
In this sense the kunsthal is thought as a box and NAI, on the opposite side, as a
triangular based prism triangular based prism.
The park becomes as a dialogue element between two architectures. This
magnetic field is emphasized by two towers that mark the urban dimension of the
design.
INTRODUZIONE LINTERVENTO PARCO NAI NAI II BIBLIOGRAFIA KUNSTHAL
This simple scheme referred to the urban scale is made complex by a
detailed and well-articulated study of inner and external path linked
together by buildings.
At this scale the entire scheme is based on a series of continuous paths able
to generate various scenes and sights to be perceive as independents at
the human scale.
Both kunsthal and Nai are Thought as moments scenes organized by
paths as well as the different landscapes of the park.
INTRODUZIONE LINTERVENTO
PARCO NAI KUNSTAL NAI II INTRODUZIONE LINTERVENTO PARCO NAI NAI II BIBLIOGRAFIA KUNSTHAL
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The park is thought to receive different users,
to allow several ways of being in the open air.
The plan is constructed by four sections linked
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together by a pedestrian street that is also the
access to the buildings.
The kunsthal faces a white rectangle of gravel The kunsthal faces a white rectangle of gravel
that puts in relationship the building and the
naturalistic garden full of traditional flowers
and organized around a pond. This green and organized around a pond. This green
space can be crossed with a pedestrian
bridge, a fast connection to the Nai.
Th thi d t i t d b d k The third step scene is represented by a dark
ground space for concert etc.
An apple orchard disposed on a regular grid
surrounded by a mirrored wall delays the
perception of NAI.
INTRODUZIONE LINTERVENTO PARCO NAI NAI II BIBLIOGRAFIA KUNSTHAL
Koolhaas design for the architecture museum is defined by a triangular plan that generates
an inclined triangular roof supported by a 6x6 meters grid of pillars.
The vertical skin brings light inside in three different ways (different transparent surfaces); this
permits to see or to feel in several way the heavy heart of the building: an opaque box p y y g p q
(tower) that contains the auditorium, some reading rooms and the archive on the top of the
tower.
The exposition surrounds this block in a free open space ordered by a forest of thin pillars.
Thi d i f OMA ld t b b ilt J C ill li th b ildi f NAI b d This design from OMA wouldnt be built; J o Coenen will realize the building for NAI based on
a more classical but interesting composition.
INTRODUZIONE LINTERVENTO PARCO NAI NAI II BIBLIOGRAFIA KUNSTHAL
The design realized is
thought as a box
( b t 50 50 (about 50 x 50
meters) crossed by
two perpendicular p p
paths producing a
division into four
parts; a pedestrian
ramp goes from the
street to the park 6 street to the park 6
meters lower, a
secondary service
road,
INTRODUZIONE LINTERVENTO PARCO NAI NAI II BIBLIOGRAFIA KUNSTHAL
The pedestrian sloping ramp in this context, becomes a real link between the park
and the street passing trough the kunsthal and determining the main access in the
very heart of it.
In this way the four facades are free to show or hide the expositions acting like a In this way the four facades are free to show or hide the expositions acting like a
preview of whats inside.
By using the crossing ramp as the access of the building, the problem of finding a
main entrance faade is solved. The building in this sense faces at the same time
the park and the street.
INTRODUZIONE LINTERVENTO PARCO NAI NAI II BIBLIOGRAFIA KUNSTHAL
The pedestrian sloping ramp in this context, becomes a real link between the park
and the street passing trough the kunsthal and determining the main access in the
very heart of it.
In this way the four facades are free to show or hide the expositions acting like a In this way the four facades are free to show or hide the expositions acting like a
preview of whats inside.
By using the crossing ramp as the access of the building, the problem of finding a
main entrance faade is solved. The building in this sense faces at the same time
the park and the street.
INTRODUZIONE LINTERVENTO PARCO NAI NAI II BIBLIOGRAFIA KUNSTHAL
Inside the kunsthal, the four fragments are linked together by a continuous
ramp generated by a bending of slabsthat determine a spiral wrapped in
a box. The uninterrupted path reaches each space of the museum p p p
meeting different spatial situations and matching scenes. It goes fromthe
park level up to the roof garden.
INTRODUZIONE LINTERVENTO PARCO NAI NAI II BIBLIOGRAFIA KUNSTHAL
INTRODUZIONE LINTERVENTO PARCO NAI NAI II BIBLIOGRAFIA KUNSTHAL
INTRODUZIONE LINTERVENTO PARCO NAI NAI II BIBLIOGRAFIA KUNSTHAL
INTRODUZIONE LINTERVENTO PARCO NAI NAI II BIBLIOGRAFIA KUNSTHAL
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INTRODUZIONE LINTERVENTO PARCO NAI NAI II BIBLIOGRAFIA KUNSTHAL
NAI The realized building
The concept produced by OMA was not developed; here are some
images of the building designed by J o Coenen as a intersection of volumes
mirrored in an artificial pond becoming the background of the park.
INTRODUZIONE LINTERVENTO PARCO NAI NAI II BIBLIOGRAFIA KUNSTHAL
NAI The realized building
The concept produced by OMA was not developed; here are some
images of the building designed by J o Coenen as a intersection of volumes
mirrored in an artificial pond becoming the background of the park.
INTRODUZIONE LINTERVENTO PARCO NAI NAI II BIBLIOGRAFIA KUNSTHAL
Sul Museo di architettura
Il sito triangolare; cos ledificio: a transparent/Translucent box that represents
museum.()
Il Tetto si appoggia su una griglia 6 x6 m di colonne dacciaio, il cui diametro, 18, 22,26 cm
aumenta con laltezza ( Colonne un antica abitudine moresca che fa architettura da una
scatola). Il lato pi corto del triangolo un monumento allasimmetria? forma lingresso. La
regolarit della griglia, confrontata con lirregolarit del sito e della sezione, randomly creates
events ann incidents. (da RemKoolhaas , Bruce Mau, S,M,L,XL, The Monacelli Press, (May 1998)
INTRODUZIONE LINTERVENTO PARCO NAI NAI II BIBLIOGRAFIA KUNSTHAL
Sulla KUNSTHAL
Kunsthal
(1)
Il Museo di architettura uno studio sulla gravit e sulla pesantezza; La Kunsthal
galleggia sopra il parco al livello dellargine (strada n.d.t). Lanima del museo solida; il g gg p p g ( ) ;
Centro della Kunsthal un vuoto. Una macchina o robot che rende possibile, come una
stage tower, uninfinita serie di permutazioni: muri, solai, rampe, setti, presenze,
assenze, bagnato, secco ogni condizione contamina il muro perimetrale.
Questo glass box di 60 x 60 metri portato da travi vierendeel
(2)
il cui spessore Q g p p
strutturale coincide con lo spessore utilizzabile delledificio. Come in catalogo ognuna
differente, da da spaziature regolari e serrate a una sequenza logartitmica di intervalli
dimensioni strutturali sempre crescenti.
Poich lorditura orizzontale delle vierendeels nascosta nel pavimento o nel soffitto, le p ,
travi sono lette come colonne.
Se nel Museo darchitettura la griglia regolare delle colonne organizza la forma
irregolare, nella kunsthal, lapparentemente caotico aspetto della prospettiva compressa
delle travi a random anti-grid destabilizza la forma regolare; la sua logica diviene g g ; g
leggibile solo passando attraverso i differenti piani della struttura.
Jo Coenen vinse il concorso per il museo darchitettura e lo costru.
Con la sconfitta del nostro museo, Kunstal I divenne un patetico avanzo.
Ma il direttore del museo non gradiva il nostro progetto e ci ci offr un pretesto per g p g p p
ricominciare da capo.
(da RemKoolhaas , Bruce Mau, S,M,L,XL, The Monacelli Press, (May 1998)
(1) Il testo si riferisce al primo progetto della kunsthal che verr seriamente rivisto dopo lesclusione dallincarico per il museo di architettura (n.d.t)
(2) Trave Vierendeel: tipo di struttura orizzontale che prende il nome dallingegnere belga che le ha inventate Trattasi di trave molto spesso in (2) Trave Vierendeel: tipo di struttura orizzontale che prende il nome dallingegnere belga che le ha inventate. Trattasi di trave, molto spesso in
calcestruzzo armato il cui spessore coincide con lo spessore dellinterpiano e lestradosso e lintradosso con la solette. La logica strutturale quella
delle travi reticolari, ma linnovazione sta proprio nelleliminazione dei reticoli obliqui che riduconola fruibilit dello spazio attraverso lintroduzione di pi
solidi montanti verticali.(n.d.t)
INTRODUZIONE LINTERVENTO PARCO NAI NAI II BIBLIOGRAFIA KUNSTHAL
Sulla KUNSTHAL
Avremmo tenuto lo stesso quadrato come involucro generale.
Questo sarebbe stato attraversato da due strade: Una la strada esistente da est a ovest;
laltra una rampa pubblica da nord a sud, entrata alla kunsthal da entrambe le parti.
Questo incrocio avrebbe diviso il quadrato in quattro parti.
La domanda divenne:
Come immaginare una spirale in quattro differenti quadrati?
(da RemKoolhaas , Bruce Mau, S,M,L,XL, The Monacelli Press, (May 1998)
INTRODUZIONE LINTERVENTO PARCO NAI NAI II BIBLIOGRAFIA KUNSTHAL
Museum Park
-RemKoolhaas , Bruce Mau, S,M,L,XL, The Monacelli Press, (May 1998)
-Kunsthal Rotterdam estratto della rivista a+t n. pubblicato da Kunsthal Rotterdam
El Croquis No: 53 REMKOOLHAAS O MA 1987/1992 -El Croquis No: 53 - REMKOOLHAAS - O.M.A. 1987/1992
-El Croquis No: 79 - OMA/REMKOOLHAAS 1992/1996
-Luigi Prestinenza Puglisi Rem Koolhaas. Trasparenze metropolitane, Testo & Immagine,
Torino 1997 Collana Universale di Architettura n.14
-Luigi Prestinenza Puglisi, This is tomorrow,Testo & Immagine, Torino
-Annuario Abitare n. 10 (a proposito del NAI di Jo Coenen)
Sul web
- www.oma.nl www.oma.nl
- www.nai.nl
- www.archinform.net
- www.greatbuildings.com/architects/Rem_Koolhaas.html
References.