INTRODUZIONE L’INTERVENTO PARCO NAI KUNSTHAL NAI … · introduzione l’intervento parco nai...

INTRODUZIONE L’INTERVENTO PARCO NAI KUNSTHAL

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NAI II BIBLIOGRAFIA

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MUSEUM PARK – ROTTERDAMA cura di MATTEO FRASCHINI

INTRODUZIONE L’INTERVENTO PARCO NAI NAI II BIBLIOGRAFIAKUNSTHAL

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 projectproject.

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.


In the second half of the eighties, the municipality of Rotterdam, with the mission of a global renovation of the N A Ia 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 PARKbuildings.

Rem koolhaas presents his first urban scale design.

PARK

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.


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.


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 L’INTERVENTO PARCO NAI KUNSTAL NAI IIINTRODUZIONE L’INTERVENTO PARCO NAI NAI II BIBLIOGRAFIAKUNSTHAL

LThe 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.


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 wouldn’t be built; Jo Coenen will realize the building for NAI based on a more classical but interesting composition.


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,


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 what’s inside.

By using the crossing ramp as the access of the building, the problem of finding a “main entrance façade” is solved. The building in this sense faces at the same time the park and the street.


Inside the kunsthal, the four fragments are linked together by a continuousramp generated by a bending of slabs that determine a spiral wrapped ina box. The uninterrupted path reaches each space of the museump p pmeeting different spatial situations and matching scenes. It goes from thepark level up to the roof garden.


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NAI – The realized building

The concept produced by OMA was not developed; here are some images of the building designed by Jo Coenen as a intersection of volumes mirrored in an artificial pond becoming the background of the park.


Sul Museo di architettura

Il sito è triangolare; così l’edificio: a transparent/Translucent box that representsmuseum.(…)Il Tetto si appoggia su una griglia 6 x6 m di colonne d’acciaio, il cui diametro, 18, 22,26 cm –aumenta con l’altezza ( Colonne – un antica abitudine moresca che fa architettura da unascatola). Il lato più corto del triangolo – un monumento all’asimmetria? – forma l’ingresso. Laregolarità della griglia, confrontata con l’irregolarità del sito e della sezione, ‘randomly createsevents ann incidents. (da Rem Koolhaas , Bruce Mau, S,M,L,XL, The Monacelli Press, (May 1998)


Sulla KUNSTHALKunsthal (1)

Il Museo di architettura è uno studio sulla gravità e sulla pesantezza; La Kunsthalgalleggia sopra il parco al livello dell’argine (strada n.d.t). L’anima del museo è solida; ilg gg p p g ( ) ;Centro della Kunsthal è un vuoto. Una macchina o robot che rende possibile, come unastage tower, un’infinita 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 è portato da travi vierendeel(2) il cui spessoreQ g p pstrutturale coincide con lo spessore utilizzabile dell’edificio. Come in catalogo ognuna èdifferente, da da spaziature regolari e serrate a una sequenza logartitmica di intervallidimensioni strutturali sempre crescenti.Poiché l’orditura orizzontale delle vierendeels é nascosta nel pavimento o nel soffitto, lep ,travi sono lette come colonne.Se nel Museo d’architettura la griglia regolare delle colonne organizza la formairregolare, nella kunsthal, l’apparentemente caotico aspetto della prospettiva compressadelle travi – “a random anti-grid” – destabilizza la forma regolare; la sua logica divieneg g ; gleggibile solo passando attraverso i differenti piani della struttura.Jo Coenen vinse il concorso per il museo d’architettura e lo costruì.Con la sconfitta del nostro museo, Kunstal I divenne un patetico avanzo.Ma il direttore del museo non gradiva il nostro progetto e ciò ci offrì un pretesto perg p g p pricominciare da capo.(da Rem Koolhaas , Bruce Mau, S,M,L,XL, The Monacelli Press, (May 1998)

(1) Il testo si riferisce al primo progetto della kunsthal che verrà seriamente rivisto dopo l’esclusione dall’incarico per il museo di architettura (n.d.t)

(2) Trave Vierendeel: tipo di struttura orizzontale che prende il nome dall’ingegnere belga che le ha inventate Trattasi di trave molto spesso in(2) Trave Vierendeel: tipo di struttura orizzontale che prende il nome dall’ingegnere belga che le ha inventate. Trattasi di trave, molto spesso incalcestruzzo armato il cui spessore coincide con lo spessore dell’interpiano e l’estradosso e l’intradosso con la solette. La logica strutturale è quelladelle travi reticolari, ma l’innovazione sta proprio nell’eliminazione dei reticoli obliqui che riduconola fruibilità dello spazio attraverso l’introduzione di piùsolidi montanti verticali.(n.d.t)


Sulla KUNSTHALAvremmo tenuto lo stesso quadrato come involucro generale.Questo sarebbe stato attraversato da due strade: Una la strada esistente da est a ovest;l’altra 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 Rem Koolhaas , Bruce Mau, S,M,L,XL, The Monacelli Press, (May 1998)


Museum Park-Rem Koolhaas , Bruce Mau, S,M,L,XL, The Monacelli Press, (May 1998)-Kunsthal Rotterdam – estratto della rivista a+t n. pubblicato da Kunsthal RotterdamEl Croquis No: 53 REM KOOLHAAS O M A 1987/1992-El Croquis No: 53 - REM KOOLHAAS - O.M.A. 1987/1992

-El Croquis No: 79 - OMA/REM KOOLHAAS 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.nlwww.oma.nlwww.nai.nlwww.archinform.net- www.greatbuildings.com/architects/Rem_Koolhaas.html

References….

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