Precarious Landscape

Hinzert Museum and Document Centre

Nikolaus Hirsch & Wolfgang Lorch

Facing page, from top:

View from east; view from west,
with o p e n i n g s to s e m i n a r
spaces

Nikolaus

Previous spread:
Hinzert Museum and

Document

Centre v i e w e d from the east

about

Perspective drawing; segments

a n d g e o m e t r i e s of C o r t e n steei
elements, unfolded

plan

Wolfgang

Ivluseum

their new project

camp

dialogue
of several
building

and

the l-linzert

Centre,
WWII

This p a g e , from top:

Hirsch

Lorch

and

talk

Document

on the site of a

for political

prisoners.

This

was recorded

over the

course

car journeys
in the German

be completed

in autumn

to and

from

provinces.

the
It will

2005.

i n t u i t i v e b u t at t h e s a m e t i m e c o n t r o l l e d

right solution. The p r o c e s s at H i n z e r t w a s

p r o c e s s t h a t c a r r i e d t h r o u g h all p h a s e s

a n d is s i m i l a r - e v e n if it's c o m p r e s s e d

of t h e p r o j e c t . B u t y o u ' r e p r o b a b l y

right:

into a s h o r t e r t i m e s p a n , t w o y e a r s f r o m

those days w e spent outside the studio,

c o m p e t i t i o n to b u i l d i n g d e d i c a t i o n .

in t h e w o r k s h o p w i t h t h e e n g i n e e r s , w e r e

C o u n t l e s s 1:1 m o d e l s , w h i c h f e d b a c k

crucial. At that point the plan w a s a

into the p l a n n i n g o n other s c a l e s , n o w

p r e m i s e , n o t y e t a r e s u l t . It's t h e r e t h a t

b e a r w i t n e s s to t h i s p r o c e s s .

t h e p h y s i c a l t r a n s l a t i o n of i d e a s a n d t h e
m a t e r i a l d e v e l o p m e n t s t o o k p l a c e . For

N i k o l a u s H i r s c h If w e ' r e g o i n g to h a v e

w h e n you talk a b o u t an iterative p r o c e s s ,

a d i a l o g u e o n o u r p r o j e c t in H i n z e r t , w e

t h i s i m p l i e s f i r s t of all a n e a r i y r e c k o n i n g

n e e d t o a s k o u r s e l v e s : is it a n a t t e m p t at

with materials.

Material
N H From the outset w e w e r e looking for
a c e r t a i n r o b u s t n e s s , f o r a b u i l d i n g in
w h i c h fagade and structure were one.

p o s t - r a t i o n a l i s a t i o n ? A n d is it in f a c t
possible to post-rationalise this project?

N H Basically our w o r k d o e s not follow a

S o t h e r e w a s to b e n o c l a d d i n g , n o t h i n g

If it isn't, s h o u l d w e s e e t h i s a s a

l i n e a r m o d e l of p h a s e d d e v e l o p m e n t .

applied.

p r o b l e m , or rather as a s p e c i f i c

T h e m a i n d e t a i l s a r o s e not at the e n d of

c o n s e q u e n c e o f o u r w a y of w o r k i n g ?

the p l a n n i n g but at the b e g i n n i n g .

W L Then w e d e c i d e d to introduce a

T h i s is e s s e n t i a l l y a n i t e r a t i v e p r o c e s s ,

T h e m a t e r i a l a n d its t e c t o n i c s w e r e

distinction b e t w e e n the primary form and

involving a d v a n c e s a n d setbacks, cross-

a l r e a d y p a r t of t h e p r o j e c t f r o m t h e

t h e s e c o n d a r y f o r m . In r e t r o s p e c t , t h i s

connections, dead ends and conclusions

competition stage. More than this: the

w a s a key m o m e n t . Together t h e s e t w o

- a p r o c e s s that plays out simultaneously

m a t e r i a l c a r r i e s t h e c o n c e p t . If y o u t h i n k

elements make u p the structural

o n several s c a l e s a n d levels, e v e n t u a l l y

of t h e r e s e a r c h w e d i d i n t o t h e t e x t i l e

system...

l e a d i n g to a s p e c i f i c m a t e r i a l s t r a t e g y .

u s e d f o r o u r s y n a g o g u e in D r e s d e n . . . .

W o l f g a n g L o r c h I w o u l d say there w a s a

W L It t o o k u s n e a r l y t w o y e a r s ,

a l l o w e d t h e b u i l d i n g to initiate a p r o c e s s

rational p r o c e s s g o v e r n i n g the project

p r o c e e d i n g in s m a l l s t e p s , w i t h m a n y

of p e r c e p t i o n .

t h a t c a n b e r e c o n s t r u c t e d . It w a s a n

w r o n g t u r n s a l o n g t h e way, to f i n d t h e

N H ... a n d a l s o e s t a b l i s h a l o g i c w h i c h

W L The s a m e structural principle w a s

a p p l i e d to the roof w h e r e the exact
b a l a n c e b e t w e e n material strength, s p a n
and geometry w a s determined. The
r e s u l t i n g s t r u c t u r e is m a d e of w e l d e d
triangular 1 2 m m - t h i c k C o r t e n steel
sheets, tiled obliquely to achieve a
structural height and stiffness that
optimises the w h o l e s y s t e m .

N H Of course the manufacturing

t e c h n i q u e w a s crucial, as w e h a d over
3,000 individual plates to make.

W L These plates were cut on a C N C

m a c h i n e to p r e c i s e d i m e n s i o n s
d e t e r m i n e d by our c o m p u t e r calculations,
a n d t h e n a s s e m b l e d into l a r g e s e g m e n t s
in t h e w o r k s h o p . C o n s t r u c t i n g t h e s e
s e g m e n t s a l l o w e d u s to v e r i f y r e s u l t s
before the elements were transported
to t h e b u i l d i n g s i t e .
N H M o v i n g o n to t h e l a y e r e d c o m p o s i t i o n
of the wall, w e c a n s e e that the
d i r e c t n e s s of t h e s t r u c t u r a l p r i n c i p l e
r e q u i r e d u s to m a k e a f o c u s e d e f f o r t o n
detailing a n d w o r k i n g out original
s o l u t i o n s - h o w to a c h i e v e a t h e r m a l
s e p a r a t i o n that links to the inner t i m b e r
e x h i b i t i o n s p a c e , f o r e x a m p l e , o r to

Facing page, from top:

View from east; view from west,
with o p e n i n g s to seminar
spaces

Nikolaus

Hirsch
^

and Wolfgang
Lorch
talk
Museum and
Document

their new project on the site of a

for political prisoners. This
'
was recorded over the course
d''''ZTcariourneystoandfromthe
^ '''inthe
German provinces. It will

^'TIP

. Hirsch If we're going to have

p on our project in Hinzert, we

intuitive but at the same time controlled

process that carried through all phases ,
of the project. But you're probably right:
those days we spent outside the studio,
in the workshop with the engineers, were
crucial. At that point the plan was a
premise, not yet a result. It's there that
the physical translation of ideas and the
material developments took place. For
when you talk about an iterative process,
this implies first of all an early reckoning
with materials.

^^'^aK-rseiv^^^^
"
rtionalisation?And is it m fact
P^' S post-rationaiise this project?
P'"'rshouidweseethisasa
' f ' * : f ' or rather as a specific
P' n^;ence of our way of working?
^"'''ssentiallyan iterative process,
^^
n n advances and setbacks, cross'"^ tons dead ends and conclusions
conneci
.
^^^^^
simultaneously
" ' ^ T p r a l scales and levels, eventually

r, I orch I would say there was a

c a n ' b e reconstructed. It was an

N H Basically our work does not follow a

linear model of phased development.
The main details arose not at the end of
the planning but at the beginning.
The material and its tectonics were
already part of the project from the
competition stage. More than this: the
material carries the concept. If you think
of the research we did into the textile
used for our synagogue in Dresden....
W L It took us neariy two years,
proceeding in small steps, with many
wrong turns along the way, to find the

right solution. The process at Hinzert was

and is similar - even if it's compressed
into a shorter time span, two years from
competition to building dedication.
Countless 1:1 models, which fed back
into the planning on other scales, now
bear witness to this process.
Material

N H From the outset we were looking for

a certain robustness, for a building in
which fagade and structure were one.
So there was to be no cladding, nothing
applied.
W L Then we decided to introduce a
distinction between the primary form and
the secondary form. In retrospect, this
was a key moment. Together these two
elements make up the structural
system...
N H ... and also establish a logic which
allowed the building to initiate a process
of perception.
W L The same structural principle was
applied to the roof where the exact
balance between material strength, span
and geometry was determined. The
resulting structure is made of welded
triangular 12mm-thick Corten steel
sheets, tiled obliquely to achieve a
structural height and stiffness that
optimises the whole system.
N H Of course the manufacturing
technique was crucial, as we had over
3,000 individual plates to make.
W L These plates were cut on a CNC
machine to precise dimensions
determined by our computer calculations,
and then assembled into large segments
in the workshop. Constructing these
segments allowed us to verify results
before the elements were transported
to the building site.
N H Moving on to the layered composition
of the wall, we can see that the
directness of the structural principle
required us to make a focused effort on
detailing and working out original
solutions - how to achieve a thermal
separation that links to the inner timber
exhibition space, for example, or to

AA F I L E S

52

i n t e g r a t e f l u s h windows

a n d d o o r s into

N H B u t a s t h e last l i v i n g w i t n e s s e s a r e

the material c o n c e p t .

p a s s i n g a w a y , a p a r a d i g m s h i f t is t a k i n g

W L Standard solutions taken from

c o l l e c t i n g a n d e x h i b i t i n g of d o c u m e n t s .

p l a c e : a m o v e f r o m o r a l h i s t o r y to t h e

p r o d u c t c a t a l o g u e s w o u l d n ' t have g o t us
v e r y far. T h i s w a s e s p e c i a l l y t r u e o f t h e

W L B e s i d e s its f u n c t i o n a s a p l a c e f o r

w i n d o w details w e d e v e l o p e d . We went

s e m i n a r s , t h i s is p r i m a r i l y a b u i l d i n g f o r

through many prototypes before we were

e x h i b i t i n g d o c u m e n t s . A s s u c h , it's a

f i n a l l y a b l e to f u s e t h e c r i t e r i a of f l u s h -

rather introverted building, only o p e n i n g

mounted, frameless and openable

u p c o m p l e t e l y to t h e l a n d s c a p e o n t h e

w i n d o w s - s o m e t h i n g that for a long time

valley side. This d e s c r i b e s a p r e c i s e

had s e e m e d incompatible with the

point: a cross-fade from the historical

complex geometric and thermal

p h o t o g r a p h y to t h e c o n t e m p o r a r y

r e q u i r e m e n t s of t h e p r o j e c t .

perspective.

N H I w o u l d like to g o b a c k t o t h e
connection between the l a n d s c a p e and
the material s t r a t e g y W h y C o r t e n steel?
A n important reason w a s the coloration
a n d s u r i ' a c e t e x t u r e of C o r t e n : w e w a n t e d
to d e v e l o p s o m e t h i n g t h a t w o u l d
c o m p l e m e n t t h e g r e e n l a n d s c a p e in
s u m m e r b u t b l e n d in, t o n e o n t o n e , in
winter. To a c h i e v e t h i s w e e x p e r i m e n t e d
with suri'ace textures. We didn't leave the
m a t e r i a l e x a c t l y a s it w a s , b u t p u s h e d t h e
suri'ace treatment o n e s t e p further
N H This d e f i n e d the position of the
W L So the l a r g e - s c a l e p r e f a b r i c a t e d

b u i l d i n g in t h e l a n d s c a p e , b u t I'm a l s o

s e g m e n t s w e r e t r a n s p o r t e d to t h e

i n t e r e s t e d in a n o t h e r a s p e c t , w h i c h is

building site a n d a s s e m b l e d there...

n e w to o u r w o r k : t h e s h i f t f r o m c i t y to
c o u n t r y s i d e . In f a c t t h i s p r o j e c t is t h e f i r s t

N H ... a n d b e c a u s e w e ' d g o t t h e n u m b e r

one w e ' v e d o n e that has not b e e n

of s e g m e n t s d o w n to a d o z e n , the

d e t e r m i n e d by the density and

c o n s t r u c t i o n p e r i o d w a s kept to a

c o m p l e x i t y of an u r b a n c o n t e x t . O n e

minimum.

m i g h t a s k o n e s e l f ; w h y is t h e b u i l d i n g s o
introverted?

W L After a s s e m b l y the surface w a s

t r e a t e d : first w e l d e d , t h e n s a n d b l a s t e d

d e t e r m i n e a d e s i g n to a c e r t a i n e x t e n t - I

d a y s . T h e b u i l d i n g b y this s t a g e h a d t h e

w o u l d s a y in a w h o l l y p o s i t i v e s e n s e - in

t y p i c a l c h a r a c t e r of a C o r t e n

that they set spatial p a r a m e t e r s a n d

c o n s t r u c t i o n . Finally, g u i d e d b y o u r 1:1

restrictions w h i c h w e as architects c a n

tests, w e will a p p l y a c o a t i n g of hot

then use a n d misuse.

From top: Construction ot

paraffin, to give the surface more d e p t h

s e g m e n t s in w o r l < s h o p ; a e r i a l

and a certain reflection.

view photomontage; view trom

east; c o n s t r u c t i o n of
on-site

W L in t h e c i t y t h e b o u n d a r i e s o f t h e s i t e

a n d u n i f o r m l y o x i d i s e d , all w i t h i n a f e w

N H In t h o s e c a s e s o n e is p a r t l y w o r k i n g
f r o m t h e o u t s i d e - t h a t is, f r o m t h e

segments

Place

external restrictions - towards the inside.

N H W h a t is a p l a c e ? A n d w h a t i n f l u e n c e

other w a y around; w e w o r k e d more from

In H i n z e r t , o n t h e o t h e r h a n d , it w a s t h e

d o e s it h a v e o n a n a r c h i t e c t u r a l s t r a t e g y ?

the inside t o w a r d s the outside. A r o u n d

At Hinzert, w h a t c o u l d b e d e s c r i b e d as

the central exhibition-archive s p a c e we

t h e p l a c e of o u r b u i l d i n g c a n o n l y p a r t l y

d e v e l o p e d a series of 'pockets'

b e u n d e r s t o o d in t e r m s o f t h e v i s i b l e .

c o n t a i n i n g archive units, large exhibits

a n d small research cells, w h i c h p u s h the

W L T h e l a n d s c a p e at H i n z e r t is q u i t e

v o l u m e o u t w a r d s into the l a n d s c a p e .

i d y l l i c , c h a r a c t e r i s e d b y r o l l i n g hills a n d
f i e l d s . T h e r e is n o o u t w a r d i n d i c a t i o n to

Geometry

s u g g e s t that b e t w e e n 1 9 3 9 a n d 1 9 4 5 this
w a s t h e site o f a c a m p for p o l i t i c a l

W L We developed step-by-step through

prisoners from more than 20 countries.

drawings a geometry b a s e d on the

The D o c u m e n t Centre c a n n o t attempt or

p r i m a r y form a n d the structural f o r m . This

simulate a historical reconstruction.

g e o m e t r y c a n only b e d e s c r i b e d precisely
t h r o u g h c o o r d i n a t e s , a n d yet at the s a m e
t i m e it i n t r o d u c e s a c e r t a i n i m p r e c i s i o n
into t h e p e r c e p t i o n of the b u i l d i n g .
T h e c o n t o u r lines b e c o m e unclean

AA F I L E S 52

i n t e g r a t e f l u s h w i n d o w s a n d d o o r s into
the material c o n c e p t .

W L Standard solutions taken from

N H B u t a s t h e last l i v i n g w i t n e s s e s a r e

N H This w a s the result of a q u i t e

d e v e l o p e d a system that w o r k e d with the

N H A n i m p o r t a n t d e t e r m i n a n t of t h e

Credits

p a s s i n g a w a y , a p a r a d i g m s h i f t is t a k i n g

deliberate strategy: a trade-off

i n e r t i a of a m o n o l i t h i c f a g a d e . A n d it's t h e

s p a c e w a s the distinction m a d e between

Architects

the u n r e l e n t i n g p r e c i s i o n of the c o m p u t e r

s a m e in H i n z e r t . . .

t h e c a t e g o r i e s of o r i g i n a l a n d

Wandel Hoefer Lorch + Hirsch

p l a c e : a m o v e f r o m o r a l h i s t o r y to t h e
c o l l e c t i n g a n d e x h i b i t i n g of d o c u m e n t s .

a n d its p a r a m e t e r s o n t h e o n e h a n d , a n d

p r o d u c t catalogues wouldn't have got us

v e r y f a r This w a s e s p e c i a l l y t r u e of the

W L B e s i d e s its f u n c t i o n a s a p l a c e f o r

w i n d o w details w e d e v e l o p e d . We went

s e m i n a r s , this is p r i m a r i l y a b u i l d i n g for

through many prototypes before w e were

e x h i b i t i n g d o c u m e n t s . A s s u c h , it's a

f i n a l l y a b l e to f u s e t h e c r i t e r i a o f f l u s h -

rather introverted building, only o p e n i n g

mounted, frameless and openable

u p c o m p l e t e l y to t h e l a n d s c a p e o n t h e

between

r e p r o d u c e d exhibits. These are

Project

team

Nikolaus Hirsch

intuition, c o n s t a n t a c c o m m o d a t i o n a n d

N H ... w h e r e t h e s i t e is p r i m a r i l y d e f i n e d

f o r m u l a t e d in f u n d a m e n t a l l y d i f f e r e n t

a d a p t a t i o n o n t h e other. In t h i s r e s p e c t

b y its d i s t a n c e f r o m e x i s t i n g

architectural terms. The originals -

o u r a i m w a s a l s o to d e v e l o p a b u i l d i n g

infrastructures (water electricity, etc.).

documents and three-dimensional

Christine Biesel

that w o u l d e v a d e an overly s i m p l e

T h e i s s u e h e r e is a u t o n o m y

o b j e c t s - a r e p r o t e c t e d b y g l a s s , to

Alexander

c o n s e r v e t h e m , a n d so are d e f i n e d by a

Dirk L a n g

W L In c o n c r e t e t e r m s t h i s m e a n s t h a t w e

logic of d e p t h . T h e p h o t o g r a p h i c

Structural

reading.

Wolfgang

Loroh

Andrea Wandel

Keuper

engineer

Schweitzer

Ingenieure

w i n d o w s - s o m e t h i n g that for a long time

valley side. This d e s c r i b e s a p r e c i s e

W L ... A n d a l o n g w i t h it a n o v e r i y s i m p l e ,

m a k e u s e of the existing c o n d i t i o n s of

reproductions - hardly any original

had s e e m e d incompatible with the

point: a c r o s s - f a d e from the historical

c a u s a l c o n n e c t i o n to d e s i g n decisions.

t h e s i t e . For e x a m p l e , f o r t h e air-

p h o t o s exist - are not interpreted as

complex geometric and thermal

p h o t o g r a p h y to t h e c o n t e m p o r a r y

W h i c h b r i n g s u s b a c k to t h e t h e m e o f

c o n d i t i o n i n g , c o o l air is b r o u g h t t h r o u g h

applied objects, but are printed directly

Service

post-rationalisation. W h y d i d w e put this

a l o n g h o r i z o n t a l u n d e r g r o u n d c h a n n e l to

o n t o the p l y w o o d of the inner t i m b e r

L B B T r i e r / I G Tech

or that kink w h e r e w e d i d ?

c o n t r o l the t e m p e r a t u r e of the exhibition

s h e l l . T h e o v e r a l l i m p r e s s i o n is o f a

Project

L B B Trier/ Brigitte C o e n

r e q u i r e m e n t s of t h e p r o j e c t .

perspective.

s p a c e . T h e h e a t i n g a n d c o o l i n g of t h e

s p a c e f u s e d w i t h i n f o r m a t i o n - all o v e r

N H The pockets that move o u t w a r d s a n d

b u i l d i n g is a c h i e v e d b y e x p l o i t i n g t h e

similar to a fresco.

successively distort the building

g e o t h e r m a l c o n d i t i o n s of t h e site.

N H I w o u l d like to g o b a c k t o t h e
connection b e t w e e n the l a n d s c a p e a n d
the material strategy. W h y C o r t e n steel?

translation of p r o g r a m m e into g e o m e t r y

a n d s u r f a c e texture of C o r t e n : w e w a n t e d

engineers

management

Graphic

design

A d e Hauser

Lacour/

Matthias Griich
Nicole Klein

Interior

C//enf

There were a c c o m m o d a t i o n s a n d

to d e v e l o p s o m e t h i n g that w o u l d

architects

Bielefeld Glllich Heokel

Laurent Lacour

e n v e l o p e a r e n o t t h e r e s u l t o f a 1:1

A n important reason w a s the coloration

Landscape

Land Rheinland-Pfalz /

a p p r o x i m a t i o n s , w h i c h left r o o m for

W L T h e m a i n r o o m in t h e i n t e r i o r o f t h e

i n t u i t i o n . It w a s m o r e a s e a r c h p r o c e s s .

D o c u m e n t C e n t r e p o s e d a real

with s u r f a c e textures. W e didn't leave the

W L I think w e ' r e sceptical a b o u t any kind

t y p o l o g i c a l v i e w p o i n t : it's a m i x o f

m a t e r i a l e x a c t l y a s it w a s , b u t p u s h e d t h e

o f a r c h i t e c t u r e t h a t c a n b e e x p r e s s e d in

e x h i b i t i o n s p a c e a n d a r c h i v e . In o n e

Norbert Mlguletz

surface treatment one step further

t e r m s of an e q u a t i o n .

s e n s e o u r a p p r o a c h w a s to link t h e t w o

Article

c o m p l e m e n t t h e g r e e n l a n d s c a p e in
s u m m e r b u t b l e n d i n , t o n e o n t o n e , in

Hermann

architectural challenge, from a

w i n t e r To a c h i e v e t h i s w e e x p e r i m e n t e d

Bildung / Harald Sohlffmann

Ptiotographer

W L So the l a r g e - s c a l e p r e f a b r i c a t e d

b u i l d i n g in t h e l a n d s c a p e , b u t I'm a l s o

NH And sceptical about delegating

p r o v i d i n g o n the o n e h a n d for m u s e u m

s e g m e n t s w e r e t r a n s p o r t e d to the

i n t e r e s t e d in a n o t h e r a s p e c t , w h i c h is

t h i n g s to a f o r m u l a . In t h i s r e s p e c t , w e

visitors a n d on the other for r e s e a r c h e r s

n e w to o u r w o r k : t h e s h i f t f r o m c i t y to

a c k n o w l e d g e s o m e t h i n g like d e c i s i o n .

a n d s c h o l a r s w h o n e e d a c c e s s to the
m a t e r i a l f o r l o n g e r p e r i o d s o f t i m e . For

W L T h e t e c h n i q u e of p r i n t i n g straight

Environment

this r e a s o n the exhibition c o n c e p t w e

o n t o w o o d n a t u r a l l y s o u n d s e a s i e r t h a n it

d e v e l o p e d a l l o w s for d i f f e r e n t l e v e l s o f

a c t u a l l y is. T h e r e l a t i o n b e t w e e n t h e

immersion.

printing t e c h n i q u e a n d the natural

N H T h e d e e p e n i n g i m m e r s i o n in t h e

t o l e r a n c e s , w a s t e s t e d in n u m e r o u s 1:1

b u i l d i n g site a n d a s s e m b l e d t h e r e . . .

c o u n t r y s i d e . In f a c t t h i s p r o j e c t is t h e f i r s t
N H ... a n d b e c a u s e w e ' d g o t t h e n u m b e r

o n e w e ' v e d o n e t h a t h a s not b e e n

of s e g m e n t s d o w n to a d o z e n , the

determined by the density a n d

c o n s t r u c t i o n p e r i o d w a s k e p t to a

c o m p l e x i t y of a n u r b a n c o n t e x t . O n e

N H A b u i l d i n g in t h e m i d d l e of t h e

minimum.

m i g h t a s k o n e s e l f : w h y is t h e b u i l d i n g s o

l a n d s c a p e . This p r o m p t s t h o u g h t s of

introverted?

e c o l o g y or e n v i r o n m e n t .

e x h i b i t s a n d d a t a is t r a n s l a t e d v e r y

m o d e l s . Our intention w a s to m e r g e the

t r e a t e d : first w e l d e d , t h e n s a n d b l a s t e d

W L In t h e c i t y t h e b o u n d a r i e s of t h e s i t e

W L T h e r e is a k i n d o f e n v i r o n m e n t a l

d i r e c t l y into s p a t i a l t e r m s . T h e a r c h i v e

c h a r a c t e r i s t i c s of t h e t w o p h e n o m e n a , to

a n d u n i f o r m l y o x i d i s e d , all w i t h i n a f e w

d e t e r m i n e a d e s i g n to a c e r t a i n e x t e n t - I

a g e n d a a t t a c h e d to this p r o j e c t w h i c h

stations a n d reading posts push

m a k e a material that not only displayed

d a y s . T h e b u i l d i n g by this s t a g e h a d t h e

w o u l d s a y in a w h o l l y p o s i t i v e s e n s e - in

translates not into o v e r t g e s t u r e s of

o u t w a r d s f r o m t h e m a i n r o o m like c a r r e l s

the g r a i n y c h a r a c t e r i s t i c s of t i m b e r b u t

t y p i c a l c h a r a c t e r of a C o r t e n

that they set spatial p a r a m e t e r s a n d

e c o l o g i c a l c o n s c i e n c e b u t into a s p e c i f i c

- a n d in t h e p r o c e s s c o n t r i b u t e t o a

also r e v e a l e d t h e full potential of p r i n t i n g .

s o l u t i o n for a n a u t o n o m o u s , f r e e s t a n d i n g

f u r t h e r g e o m e t r i c a l d i s t o r t i o n of t h e

building. I don't believe general

building shell.

W L After assembly the surface w a s

c o n s t r u c t i o n . Finally, g u i d e d b y o u r 1:1

restrictions w h i c h w e as architects c a n

t e s t s , w e w i l l a p p l y a c o a t i n g of h o t

then use a n d misuse.

N H In t h o s e c a s e s o n e is p a r t l y w o r k i n g
f r o m t h e o u t s i d e - t h a t is, f r o m t h e

Place

external restrictions - towards the inside.

building a n d every p l a c e . So w e try to

W L The s a m e a p p l i e s to the large three-

d e v e l o p a s p e c i f i c in-house solution for

dimensional exhibits, w h i c h also push

e a c h p l a c e . W e d i d t h i s for t h e

o u t w a r d s in s p e c i f i c w a y s , t h e i r g e o m e t r y

s y n a g o g u e in D r e s d e n , w h e r e w e

In H i n z e r t , o n t h e o t h e r h a n d , it w a s t h e
N H W h a t is a p l a c e ? A n d w h a t i n f l u e n c e

m a t e r i a l , w i t h its v a r i e d t e x t u r e s a n d

a p p r o a c h e s a r e a p p l i c a b l e to e v e r y

p a r a f f i n , to g i v e t h e s u r i ' a c e m o r e d e p t h
and a certain reflection.

Translator

Pamela Johnston

d i f f e r e n t user s t r u c t u r e s of the b u i l d i n g ,

N H This d e f i n e d the position of the

Mller

Landeszentrale fr Polltische

d o e s it h a v e o n a n a r c h i t e c t u r a l s t r a t e g y ?

the inside t o w a r d s the outside. A r o u n d

A t Hinzert, w h a t c o u l d be d e s c r i b e d as

the central exhibition-archive s p a c e w e

the p l a c e of o u r b u i l d i n g c a n only p a r t l y

d e v e l o p e d a s e r i e s of ' p o c k e t s '

b e u n d e r s t o o d in t e r m s o f t h e v i s i b l e .

c o n t a i n i n g archive units, large exhibits

W L T h e l a n d s c a p e at H i n z e r t is q u i t e

v o l u m e o u t w a r d s into t h e l a n d s c a p e .

referring to the s t r u c t u r a l f o r m of the

c h a m b e r s and large display cases.

other way around: w e worked more from

a n d small research cells, w h i c h p u s h the

i d y l l i c , c h a r a c t e r i s e d b y r o l l i n g hills a n d
f i e l d s . T h e r e is n o o u t w a r d i n d i c a t i o n to

N H T h e s p a c e is p r i n t e d o n all s i d e s b u t

From t o p : M o c k - u p of

it h a s a d i r e c t i o n a l i t y , a s t h e s i d e t o w a r d s

shell, print on p l y w o o d ,

t h e v a l l e y is f o r m e d n o t of t i m b e r b u t o f

Geometry

glass. W h e n you look out from the

s u g g e s t that b e t w e e n 1 9 3 9 a n d 1 9 4 5 this
w a s t h e s i t e o f a c a m p for p o l i t i c a l

W L We developed step-by-step through

exhibition s p a c e , y o u s e e the idyllic

l a n d s c a p e m e r g i n g into a historical v i e w

prisoners from more than 20 countries.

d r a w i n g s a g e o m e t r y b a s e d on the

T h e D o c u m e n t C e n t r e c a n n o t a t t e m p t or

p r i m a r y f o r m a n d t h e s t r u c t u r a l f o r m . This

simulate a historical reconstruction.

g e o m e t r y c a n only b e d e s c r i b e d precisely

o f t h e c a m p t h a t is p r i n t e d o n t o t h e g l a s s
f a g a d e . The historical v i e w lines u p
exactly with the present building, a

t h r o u g h c o o r d i n a t e s , a n d y e t at t h e s a m e

d i s s o l v i n g of p a s t a n d p r e s e n t t h a t f i x e s

t i m e it i n t r o d u c e s a c e r t a i n i m p r e c i s i o n

t h e p o s i t i o n o f t h e b u i l d i n g in t h e

into t h e p e r c e p t i o n o f t h e b u i l d i n g .

landscape.

The c o n t o u r lines b e c o m e u n c l e a r

AA F I L E S

52

AA F I L E S 52

Interior

archive; Interior p e r s p e c t i v e ,
1:50 m o d e l ; i n t e r i o r a n d
exterior geometries