Located in Belsen, Bergen, Germany, Documentation Center Bergen-Belsen by KSP Engel und Zimmermann Architekten | The Hardt
Located in Belsen, Bergen, Germany, Documentation Center Bergen-Belsen by KSP Engel und Zimmermann Architekten. A 200-meter-long edifice made entirely of concrete houses the Documentation and Information Center at the Bergen-Belsen Memorial. Its extraordinary volume, the radical restriction to the use of just a few key materials and the physical presence of the large structure are condensed into powerful architecture. The exhibition building in the middle of the ‘Heidewald’ forest on the edge of the former concentration camp traces the original course of the country road from Celle to Hörste, which was altered with the construction of the camp.
The building is divided into two sections. One houses the bookshop, cafeteria, library, archive, and administration department, the other exhibition space for the Documentation and Information Center. The focus of the building is on its interior, enabling a profound consideration of the documents exhibited on the part of the visitor. The architecture illustrates the importance of a new form of documentation and research of Nazi crimes and expresses this in an appropriate way. Visitors have a choice of two paths. On the so-called “stony path” they can pass through the entire length of the building without entering the exhibition rooms. Initially covered, the slender path, now open to the skies, is flanked by high concrete walls leading the visitor across a courtyard to the other side of the building, where it opens onto the grounds of the camp.
Rising continually though scarcely noticeably, the second path leads to the end of the large exhibition hall, which extends over two levels and documents the history of the site from prisoner of war to concentration camp. A wide panoramic window at the end of the exhibition room affords visitors a view of the grounds. Out of respect for the place, just above ground level, the end of the building projects several meters beyond the former boundary of the camp. The structure’s extraordinary shape, the limitation to just a few materials, and the total lack of color lend the building a certain stringency in terms of design. The minimalist architecture diverts visitors’ attention to the objects and documents in the exhibition. This way it does justice to the difficult task and makes evident the seriousness with which the subject matter is treated both formally and historically in an appropriate way.
At almost 656 ft (200 meters) long, the Documentation and Information Center at Bergen-Belsen Memorial, which is made almost entirely of concrete, is an unusual structure. There are two paths through the Documentation Center: one is an open passageway or “stony path” that leads directly to the grounds. The second leads visitors to the exhibition rooms, which document the history of the site from prisoner of war camp to concentration camp.
R 128 by the architect Werner Sobek built in Stuttgart, Germany, is the first Triple Zero House by Werner Sobek | The Hardt
R 128 by the architect Werner Sobek built in Stuttgart, Germany, is the first Triple Zero House by Werner Sobek. Triple Zero House means a house that does not use energy from fossil fuels (zero energy), does not emit greenhouse gases (zero emissions) and does not produce waste as it is completely recyclable (zero waste). A principle that has guided all the successive achievements of the architect-engineer and that has led him to build houses that produce more energy than they consume daily, such as the D10 in Biberach an der Riß, the F87 in Berlin, which uses the excess energy to power two cars and an electric bicycle, and the B10. The latter represents, today, the research summit Werner Sobek: an active house built in the famous Weissenhof district of Stuttgart, which gives the energy to spare a second building located nearby. Learn more about Werner Sobek here.
The State Museum of Egyptian Art and The University of Film and Television (2011) by Peter Böhm Architekten located in Gabelsbergerstraße, München, Germany | The Hardt
The State Museum of Egyptian Art and The University of Film and Television (2011) by Peter Böhm Architekten located in Gabelsbergerstraße, München, Germany. The extraordinary urban development with the large free square in front of the Old Pinakothek made it possible to close this square with a generous, quiet building in the south, which takes up approximately the proportion of the Old Pinakothek, vis-à-vis in the north, where the new building lies. In accordance with the lateral emphasis of the Old Pinakothek with its space-limiting risalits and avenue, is the entrance to the University of Film and Television located in the east of the new building and in the west the entrance to the State Museum of Egyptian Art, which is buried like an archaeological excavation underneath the green forecourt.
The public is invited to use the numerous facilities and events like the library, movie screenings, lectures and festivals by the Foyer of the University- a large opening in the stone pedestal of the building. The public space continues inside the building, where it is surrounded by cinemas, seminar rooms, the cafeteria and a library. In contrast to the extroverted foyer, the studios are located in the protected concrete base to ensure a concentrated and protected work. In the glass upper floors, smaller offices and office-like uses are accommodated.
“In the museum, my aim was to create a place for the precious exhibits, in which the atmosphere of ancient temple complexes, from which they are largely derived, is translated into a modern architectural language.” Peter Böhm
The large walls of the pedestal are executed in a light, slightly ocher-colored concrete, while the wall of the Egyptian Museum is kept in a darker, red granite-like shade – a coloring game which is found in the Old Pinakothek (with the addition of Döllgast). The double skin of the glass body of the upper floors is a chirping, flickering band with the light play of rotatable glass discs and sun protection lamellae in varying positions. The entrance to the Egyptian Museum, which is marked by a large wall slab, is reached via a separate forecourt, which is designed as a flat inclined ramp. The museum is based in the underground and its rooms are grouped around the atrium, which is cut into the lawn area and is also used for exhibition purposes.
Pavilion Siegen by Ian Shaw Architekten located in Siegen, Germany | The Hardt
Pavilion Siegen by Ian Shaw Architekten located in Siegen, Germany. The pavilion’s dramatic, planar form articulates an assured, yet subtle compression of space, framing views of the lake and the local topography. The building’s tectonic rigor is palpable, its seemingly gravity-defying configuration enabling the floor plate and ceiling to cantilever some 6m beyond the lakeshore. The scheme is both a weekend fishing retreat and a garage for three classic cars. A toilet and washroom facility is also included, as is a storage area for the client’s angling equipment. Detailing is measured throughout – from the integrated lighting to the fully glazed internal area.
The 12 x 12 m structure conforms to a strict proportional grid that determines both the position and heights of the walls, as well as the shuttering joints and fenestration divisions. The 3 x 3m door panels – built by the client’s engineering company, and weighing 340 kilos per door – pivot on bespoke spindles, allowing each to be opened with the push of a single finger. The 12 x 12 m structure conforms to a strict proportional grid that determines both the position and heights of the walls, as well as the shuttering joints and fenestration divisions. The 3 x 3m door panels – built by the client’s engineering company, and weighing 340 kilos per door – pivot on bespoke spindles, allowing each to be opened with the push of a single finger. Throughout the building process, the concrete mix was carefully monitored in order to achieve an off-white finish, this tone refining the pavilion’s dialogue with the surrounding terrain. Special, non-oiled shuttering ensured that no harm came to the lake’s fish population during construction.
The Timber House from KÜHNLEIN Architektur is situated on a high plateau in Upper Palatinate, a part of Bavaria, Germany | The Hardt
The Timber House from KÜHNLEIN Architektur is situated on a high plateau in Upper Palatinate, a part of Bavaria, Germany.Two gabled structures are unified with wooden lamellas: one containing living spaces and the other a series of bedrooms. The combination creates two yards: One becomes the space you pass by as you enter the house from the street, while the other is a terrace oriented towards the wide landscape. The windows to the street side are screened with the lamellae of the timber facade, while the windows to the landscape side have a free view, the facade is untreated larch wood, so it will grey with time. So from afar, the house appears like identical side-by-side homes, completely devoid of windows.
Inside, the timber continues, with the exposed structural framework, oak floors, as well as wooden tables, cabinets, and effects.The wooden interior is complemented with copper fittings like lighting, switches, handles, and faucets. Custom made sockets and lamps were designed to tie the look together. The effect brings a comfortable living atmosphere inside.The electrical installation consists of copper pipes installed in front of the massive timber walls, so it was not necessary to perforate the walls. All the installations were designed by KÜHNLEIN Architektur, including the lamps, switches, and sockets.” An open-plan living space occupies the northernmost wing. It includes a wood-burning stove that rotates, as well as dining table created using offcuts from the build. A little cloak-cabin for work clothes connects the garage, which sits at the front of this block. Three bedrooms are contained within the south-facing volume, as well as bathrooms. The master suite is positioned at the far end, offering views out over the landscape.
Courtesy of KÜHNLEIN Architektur
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Bunker Industrial Apartment in Hamburg (2017) by Thomas Schacht located in Hamburg, Germany
Bunker Industrial Apartment in Hamburg (2017) by Thomas Schacht located in Hamburg, Germany. The Bunker Apartment is your safe nest when you are working in Hamburg for a shorter or longer period of time. It is your home or your hideaway for a long weekend. In a period of 3 years from 2014 to 2017, the original Bunker has been rebuilt and renovated to become a unique location close to the city center of Hamburg. The build is a statement in itself bearing witness of another time and a precise purpose of protecting people from what was happening around it.
In this case, function dictated form meaning solid concrete and open spaces. We respect that and have left the raw walls as they were made by the hand of workers in 1939. Big windows has been cut in the whole south- south and east facing walls letting in bright light and a wonderful view over the city. The Bunker apartment offers the highest standard possible in terms of interior design and furniture. It is well conceived in every detail which not only brings joy and but also makes it easy to use. In other words; You will feel comfortable and at home from the moment you enter.”
Located in Berlin, Germany, The Feuerle Collection (2016) by John Pawson | The Hardt
Located in Berlin, Germany, The Feuerle Collection (2016) by John Pawson. The Feuerle Collection is a new museum in Berlin. Located in a former telecommunications bunker which was renovated by the British architect John Pawson, The Feuerle Collection juxtaposes international contemporary artists such as Cristina Iglesias, Anish Kapoor, and Zeng Fenzhi, among others with Imperial Chinese furniture and Southeast Asian art. The museum encourages a conversation between different time periods and cultures, offering an alternative perception of the antique, which creates a new perspective on the artworks and leads viewers through a synesthetic experience.
The Feuerle Collection has been officially opened to the public since 14 October 2016.
DUSSELDORF (2006) by Atelier d’Architecture Bruno Erpicum & Partners located in Düsseldorf, Germany | The Hardt
DUSSELDORF (2006) by Atelier d’Architecture Bruno Erpicum & Partners located in Düsseldorf, Germany. Bruno Erpicum was the architect entrusted with designing this warehouse conversion. It is now the home of a couple with a passion for architecture who were keen to make one of Düsseldorf’s rare ruins their own. The reconversion was closely overseen by the administrative authorities since this old factory in the city center miraculously avoided damage during the many bombings of World War II.
Across from the coachman’s passageway are some garages that stand in front of the entrance court. The court is dotted with screens that flank the entrance and seclude off the “day patio”. The history of the city is reflected in the glass panels, reminding you of the building’s heritage. A facade made entirely of glass stands completely independently of the old structures, showing off their immense scale. The building is now protected against the elements and complies with energy performance requirements. The study opens boldly onto the garage and gym. The gloss painted furniture designed by architect Bruno Erpicum reflects the structural elements. A vast white space devoid of any accessories houses the sleeping accommodation in the conversion; the rotating door appears to be floating in the air. An enormous living room is arranged between the pilasters that are displayed with pride. The artist’s design highlights the existing brickwork that supports the flagstone roof; here again, the wear inflicted over time is openly displayed. The architecture unpretentiously magnifies the materials.
The kitchen is arranged in the exterior deambulatory. The bedroom is housed in a “white box” that has been perfected with the utmost care. It is encircled by a “night patio” illuminated using zenithal light that sweeps across the surrounding brickwork. The light itself becomes a material, rebounding off the objects it touches and reminding us of the building’s history. The walls of the bedroom are perfectly smooth, whereas the bathroom is surrounded by rough pilasters (p. 106-107). A flow of natural light is ensured by the night patio, a space created by the removal of the roof around the edge of the bedroom. Pieces of raw concrete were used to create the bath, shower, and washbasin. The starry ceiling over the Turkish bath completes the composition.
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