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Contents | Inhalt
7 9 Terry Pawson | by Edwin Heathcote Reflections on a developing architecture by Terry Pawson Projects | Projekte 14 24 34 44 50 60 70 74 Vernon Street Offices London, UK St Marys Garden Hall Wimbledon, UK The Tall House London, UK Cheltenham Art Gallery & Museum Cheltenham, UK VISUAL Centre for Contemporary Art Carlow, Republic of Ireland Opera House | Neues Musiktheater Linz, Austria Twin Houses Kingston upon Thames, UK American Church London, UK Competitions | Wettbewerbe 78 86 Concert Hall, Library & Art Gallery Lule, Sweden German National Maritime Museum Bremerhaven, Germany Terry Pawson Biography | Biographie Projects and competitions 2001-2008 Projekte und Wettbewerbe TPA Staff 2001-2008 | TPA Mitarbeiter
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of the edition: 2008 Terry Pawson Architects of the drawings and images: 2008 Terry Pawson Architects of the photographs and texts: the authors, Terry Pawson Architects All rights reserved. No part of this publication may be reproduced in any form or by any means without the prior permission in writing of the publisher. www.terrypawson.com | tpa@terrypawson.com | tel +44(0)2074625730
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Edwin Heathcote is an Architectural critic, Author and Architectural correspondent for the London Financial Times.
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Understanding and consciously avoiding the seductive temptation of designing solely for an iconic photograph, we continue to strive to develop buildings that are refined, calm and understated. Our Architecture is designed to appeal to the user by virtue of its internal three-dimensional quality and the subtle use of light, colour and texture. In addition to addressing the problems of location and brief, architecture, like art, should also stir the spirit and create a sense of engagement with space and time as the American writer John Updike once stated What art offers is space - a certain breathing room for the spirit. In Praise of Shadows I must first acknowledge my gratitude for this title to the Japanese writer Junichiro Tanizaki and his delightful book written in 1933, In Praise of Shadows. This book contains an inspirational and poetic text about the benefits that come from a considered respect for the more natural condition, whether this is the aforementioned shadow, or the complex patina acquired through the aging of a pewter bowel. As in Tanizakis book, there has been within the last few years, a reaction against the total acceptance of modernity and technology being applied to every aspect of architectural development. It is no longer seen as the only way in which to reflect our current social attitudes; for architectural progress to be simply about making things appear ever more streamlined as a demonstration of our technological mastery over nature. The main hall was a simple concrete box covered with a random pattern of bronze strips and the foyer a bronze bar running down one side. The formal simplicity and scale of the structure would refer to the agricultural nature of the setting and give a robust sense of materiality appropriate to the broad sweep of the farming landscape. On a smaller scale, the proposal to connect two separate listed museum buildings that face onto the Charlottenburg Palace in Berlin looked to unite the buildings with the garden, rather than with each other. The brief required the creation of a covered link at ground level between the Berggruen Gallery and the adjacent building. The garden was also to become a sculpture court. Our design was conceived as an extension to the garden railings that were proposed to enclose the garden space. This amalgamation between garden element and building element served to diffuse the perception of the built connection and allowed both buildings to read as discrete structures linked by the garden rather than another building. Time and Narrative Architects often quote the idea of narrative in architecture. To me the idea of narrative seems to be at its most potent when it is about a progression or timeline that involves moving through a building. Thus, the sequence of spaces, their order, scale, material and quality begins to tell an emotional story that may have a beginning, a middle, and an end. However, an architectural narrative in this sense must be able to work whilst not starting at the beginning as buildings are rarely a sequence that can be experienced in only one direction. Parallels that might be drawn between architecture and the narrative in a film or a book, can only be circumstantial, as these have a linear progression that is set by the author. In particular a film, like time itself, has a fundamental rhythm and pace that structures the complete picture the experience of architecture (rather than architecture itself), is more random and subject to how and at what pace the individual wishes to engage with the space. Designing structures that form a meaningful sequence and at the same time can also surprise and delight, is something that influences our architecture and our preferred building typologies. Whilst living in Rome in the early 80s, a number of buildings particularly struck me as creating an intense spatial narrative: The church of Il Jes (by Giacomo Barozzi da Vignola), and the Villa Lante (by architects including Vignola, Bartolomeo Ammanati, Giorgio Vasari, and Michelangelo), both relate fascinating and endlessly surprising sequences of spaces and relationships that are only revealed through movement and time. From amongst current architects, the buildings of Alvaro Siza and Tadao Ando seem to particularly understand the importance to the individual of being inside a rich and complex structure, where the forces that have influenced the interior organisation have engaged with and influenced the external envelope to find an overall resolution in the building form. I find that a building is rather disappointing when designed as an object influenced principally by its exterior shape. Indeed, if a client asks me whether we would also design the interior of the building, the question represents a significant misunderstanding of how we perceive design and begins to subvert the very substance of what architecture can be. The inside and the outside of a building are two seamless faces of the same thing and cannot be separated without losing the essence of architectural experience. With the proliferation of visual media being so pervasive, architecture tends to be known only by its exterior form captured and marketed as selected images. Indeed, even for architects, more buildings are inevitably experienced through the lens of a photographer than by visiting them and thereby understanding the more complex qualities that can only be appreciated by being there - context, smell, temperature, tactile qualities and the experience of time spent moving through the space are all lost to pages of a magazine or book.
This change in attitude from the optimistic outlook of the 1950s and 60s seems to stem from our less certain attitude that science and technology provides a failsafe answer to our problems. Society at large seems to have recognised that life is to complex to put only into the hands of science and that the scientific failures and unexpected side affects of what appeared to be answers have left many with a sense of scepticism about so called clean solutions. In architecture, the cultural uncertainty in looking for a purely technological solution can also be seen in the renewed interest in using materials where the process of weathering is accepted as a benefit rather than as a sign of degradation. The use of timber and brick, of weathering steel and as struck in-situ concrete, are all becoming accepted as part of the current language of public buildings. This change of focus is not however a result of a technological contest between the materials but seems to result from a more subconscious desire to identify with a softer and less aggressive approach. The use of these alternative materials in buildings such as art galleries, museums, theatres, concert halls and libraries is highly significant, as these buildings both inform and reflect our cultural aspirations. None of this is to imply that modern architecture should take a step backward toward some idyllic past, indeed I fervently believe that architecture is an art that must go forward and work with emerging technology. However, I also believe it should be recognised that architecture is a creative process full of choices. There are no absolute answers and there is always another way of considering each issue nevertheless, it is important that choices are made and that these choices are informed by a process of creative exploration and informed debate.
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Building commissions often come from unexpected sources, and the approach by the owner of an international soft-toy company to design his London headquarters was no exception. The new building would be set within a west London conservation area amongst predominantly two storey brick-built housing and adds a substantial independent extension to the 1913 grade II listed former Magistrates Courthouse designed by the Edwardian architect, John Dixon Butler.
Bauauftrge entspringen oft unerwarteten Quellen, und so bildete die Anfrage eines internationalen Herstellers von Plschtieren, seinen Londoner Hauptsitz zu entwerfen, keine Ausnahme. Der Neubau sollte in einem denkmalgeschtzten Bereich des Londoner Westens inmitten berwiegend zweistckiger Backsteinhuser entstehen, und zwar als eine wesentliche und unabhngige Erweiterung zu dem denkmalgeschtzten (Grade II listed) Magistrates Courthouse (Amtsgericht) von 1913, das von John Dixon Butler, dem fhrenden Architekten zur Zeit Edwards VII, entworfen wurde.
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elevation | Ansicht
Working within such a sensitive context required a confident architectural approach that would respect the existing environment and would also produce a building that had its own identity. The finished building is made from white cast stone, and the sculptural form of the new building makes a strikingly modern composition at the end of the Edwardian terrace. However, as the design evolved from the tectonic form of the old courthouse, the prevailing urban scale and rhythm of the street has been maintained. The faade directly facing the street has been designed with flush translucent glass and is further accentuated with an asymmetrical arrangement of deep openings that accentuates the impression of building mass. On the western aspect, an external sunscreen is made from bronzed steel, whilst cubic roof-lights in translucent structural glass make a direct reference to the earlier Edwardian leaded lanterns on the Old Magistrates Court. Working closely with the owner, each of the office spaces were designed as discrete rooms relating to one of the three, planted courtyards that punctuate the plan creating an introspective, private working landscape. The spatial fluidity between internal and external spaces gives the internal organisation of the building a scale and specificity more usual in domestic architecture than that of the usual modern office space. As part of the same building contract, the former Magistrates Court was carefully adapted and restored to work as a separate office building. In addition to the main courtrooms and offices, and as a poignant reminder of the buildings history, six of the Courts original cells were retained and integrated into the layout of the new construction, complete with their heavy iron doors, locks and rather colourful inmates graffiti.
Die Arbeit in einem derart sensiblen Kontext erforderte einen sicheren architektonischen Ansatz, der dem vorhandenen Umfeld Respekt zollen, dabei jedoch ein Gebude eigener Identitt hervorbringen wrde. Der Bau besteht aus weiem Kunststein, sein skulpturaler Charakter schliet die Edwardische Huserzeile mit einer berraschend modernen Komposition ab. Dabei wurde aus der tektonischen Form des alten Gerichtsgebudes ein Entwurf entwickelt, der den bestehenden urbanen Mastab und Rhythmus der Strae bewahrt. Die zur Strasse gelegenen ffnungen wurden flchenbndig mit opakem Glas gestaltet. Zustzlich wird die Baumasse durch die asymmetrische Anordnung tiefliegender ffnungen und Einschnitte betont. Auf der Westseite befindet sich ein externer Sonnenschutz aus bronziertem Stahl, whrend Lichtkuben aus opakem Glas einen direkten Bezug zu den frhen Edwardschen Bleiglaslaternen des Alten Magistrates Court herstellen. In enger Zusammenarbeit mit dem Auftraggeber wurden alle Broflchen als diskrete Einzelrume gestaltet, die jeweils auf einen der drei begrnten Innenhfe ausgerichtet sind. So entsteht ein introvertiertes, privates Arbeitsumfeld. Das Ineinanderflieen von Innen- und Auenrumen gibt dem Gebude eine Dimension und Prgung, die eher aus der Wohnarchitektur herrhrt als aus dem herkmmlichen modernen Brobau. Als Teil desselben Bauauftrags wurde der frhere Magistrates Court sorgfltig, seiner Funktion als separates Brogebude entsprechend adaptiert und restauriert. Zustzlich zu den Haupt-Gerichtsslen und Bros und als einprgsame Erinnerung an die geschichtliche Bestimmung des Gebudes wurden sechs der ursprnglichen Gerichtszellen mit ihren schweren Eisentren, Schlssern und den recht ausdrucksstarken Graffiti der Insassen erhalten und in das Konzept des neuen Gebudes integriert.
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5 1 5 9 1 8 1 11 1 11 14 11 14 7 14 9 7 11 9 7 11 8 13 1 11 8 13 9 5 1 2 8 9 3 5 4 1 2 8
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1 frameless structural glazing | Rahmenlose selbsttragende Verglasung 2 roof construction | Dachaufbau 3 structural glazed rooflight | selbsttragende Oberlichtverglasung 4 reconstituted stone parapet block | Kunststein Attika Block 5 reconstituted ashlar stone | Kunststeinfassade 6 stainless steel cavity wall support | Edelstahlaufhngung fr Kunststeinfassade 7 reconstituted stone soffit panel | Kunststein Fenstersturz Panel 8 reconstituted stone cill panel | Kunststein Fensterbank Panel 9 basement construction | Kellerwandaufbau
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Wimbledon Village is no longer the isolated and idyllic English countryside location it once was, but now resides firmly within the intensely developed and wealthy suburban outskirts of London. In this milieu of conservative English architecture lies the Grade II listed Church of St Marys where we were asked to design a new public hall for use by the local community. The present church was designed by Sir George Gilbert Scott in 1843, and completes a continuous line of ecclesiastical buildings that have occupied this site since 1086. As with many village churchs, the surrounding land contains a fascinating concentration of local history including a disused artesian well that has been converted into a house and the stone tomb of Sir Joseph Bazalgette, engineer of the London sewer system. The new hall is a rare but significant contemporary addition to this preserved village-like context.
Wimbledon ist nicht mehr das abgelegene und idyllische englische Landrtchen von damals. Das Dorf ist inzwischen Kernstck der dicht besiedelten und wohlhabenden Londoner Randbezirke. In diesem Milieu konservativer englischer Architektur liegt die denkmalgeschtzte Kirche St. Mary, fr welche ein neues Gemeindezentrum entworfen werden sollte. Die bestehende Kirche wurde 1843 von Sir George Gilbert Scott als letztes einer Reihe von Gotteshusern entworfen, die an diesem Ort seit 1086 erbaut wurden. Wie bei vielen Dorfkirchen konzentriert sich um sie in faszinierender Weise die lokale Geschichte. Im Falle von St. Mary gehrt dazu auch ein stillgelegter artesischer Brunnen, der zu einem Haus und zu einem steinernen Grabmal fr Sir Joseph Bazalgette, dem Baumeister des Londoner Abwassersystems, umfunktioniert wurde. Diese neue Halle ist eine der seltenen, aber visuell prgenden zeitgenssischen Ergnzungen dieses denkmalgeschtzten drflichen Kontexts.
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section | Schnitt
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In order to emphasise the status of the new building within its context, our design deliberately uses an abstraction of scale to create a powerful architectonic presence, reminiscent of the exaggerated architectural language of Bazalgettes mausoleum. The quality and substance of the materials used in the construction was one of the most significant influences for the final design, involving the re-interpretation of materials used in the existing church. White limestone ashlar with a contrasting rough, blue/ brown dry-stone wall on the street elevation defines the main enclosure, whilst a translucent glazed roof light or light-bar provides a glowing counterpoint to the more massive stonework. Overall, the building has fitted sympathetically into its context, creating a valuable community resource as well as reinforcing the presence of the church to the community.
Um den Status des neuen Baus innerhalb dieses Umfelds hervorzuheben, bedient sich der Entwurf einer Abstraktion der Mastblichkeit, um eine ausdrckliche architektonische Prsenz auch ohne Verwendung reiner Baumasse zu schaffen, und knpft damit an die berhhte Archtitektursprache des Bazalgette-Mausoleums an. Weie Kalksteinquader, die mit einer rauen, blau/braunen, der Strasse folgenden Trockensteinmauer kontrastieren, definieren den Hauptkomplex, whrend ein opak verglastes Oberlicht einen leuchtenden Kontrast zum massiven Mauerwerk schafft. Insgesamt konnte das Gebude als eigenstndiges Element in seinen Kontext eingebettet werden und wird damit zu einem wertvollen Gemeinschaftsgut, das gleichzeitig die Reprsentanz der Kirche verstrkt.
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elevation | Ansicht
section A | Schnitt A
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lead flashing dressed beneath soldier course and over glazing bar
parapet
stainless steel angle built into brickwork Brickwork head detail to permit differential movement of brickwork and timber stud
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102mm thick engineering brick tied to timber studwork using stainless steel wall ties ventilated air gap breather membrane stapled to plywood sheathing timber studwork inner leaf: -15mm wbp plywood sheathing -150 x 50 sw. studs at 400 centres -150mm insulation -vapour barrier -15mm plasterboard with plaster skim finish
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20 x 44 brushed mild steel rail fixed into RC using resin bonded anchors
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2no. 114 x 114 SHS welded together. 10mm steel plate supports brickwork
weep hole 150 x 75mm parallel flanged channel cut to form shadow detail and fixing for window head. Micaceous oxide finish. acid etched double glazed unit silicone bonded to stainless steel angles
64 x 51mm ss.angle supporting window framing. 10mm nylon packers iused for thermal isolation
150 x 75mm parallel flanged channel [MIO finish] 50mm insulation [full cavity fill] 150mm thermal blockwork 15mm hard plaster finish
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dark, riven slate floor and stair finish
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Entrance level +0
external ground level.
127 x 76mm stainless steel masonry support angle fixed to RC 225mm thick, in-situ, waterproof concrete retaining structure
Lower ground
slate floor finish underfloor heating in screed on polythene sheet 50mm rigid insulation
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The main organizing element of the house is the principal stair that sits centrally in the plan, becoming both conduit and separator between the living spaces that face the garden and the more private bedroom spaces that are contained in the oak clad tower. Internally, the simplicity of the plan combined with an interlocking three-dimensional geometry, has produced a rich internal spatial sequence where sunlight penetrates into every corner of the building. Unexpected vistas, hidden voids and the use of two staircases, create a route through that gives a sense of surprise and delight. Places have been carefully designed for sculpture and paintings to be displayed without the whole feeling like an art gallery; the house resolutely remains a private domestic space.
section B | Schnitt B
Wesentliches Strukturelement des Hauses ist die Haupttreppe. Sie nimmt die Mitte des Grundrisses ein und dient gleichzeitig als Verbindung und Trennung zwischen den auf den Garten ausgerichteten Wohnbereichen und den eher privaten Schlafrumen im Eichenholzverschalten Turm. Im Inneren ergibt sich durch die Einfachheit des Grundrisses eine weitlufige Raumsequenz, in der das Sonnenlicht jeden Winkel erreicht. berraschende Ausblicke und versteckte Freirume lassen beim Durchqueren des Hauses unterschiedliche berraschende Momente und Situationen entstehen. Die Standorte fr Skulpturen und Bilder wurden sorgfltig gestaltet, damit nicht die Atmosphre einer Kunstgalerie aufkommt. Das Haus bleibt nachdrcklich ein privater Wohnort.
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axonometric | Axonometrie
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In 2002, as part of the ongoing national Lottery funded program of arts investment, Cheltenham Borough Council planned to enlarge the existing Art Gallery and accommodate the expanding Arts and Crafts collection of the Museum. The scheme we developed looked to improve the otherwise labyrinthine circulation of the existing agglomeration of buildings, first inaugurated as a gallery in 1899 and subsequently added to and adapted in a piecemeal fashion over the next 100 years. Partly in recognition of its nationally important collection, and partly as a response to the substantial architecture of the adjoining listed building; the spirit of Arts and Crafts became a theme for the architectural development, with the expressive use of natural materials proposed for the new building revealing the process and craft of the construction. The facade and roof are in Corten steel and the concrete structure is expressed internally with exposed coffered ceilings and smooth cast concrete walls.
2002 plante der Stadtrat von Cheltenham einen Teil der Mittel aus dem durch die nationale Lotterie finanzierten laufenden Kunstfrderungsprogramm, zur Erweiterung der bestehenden Kunstgalerie zu verwenden, in der die stetig wachsenden Kunstund Kunsthandwerk-Sammlungen des Museums untergebracht werden konnte. Der von uns entwickelte Ansatz bemht sich um eine Verbesserung der labyrinthartigen Besucherfhrung in der derzeit bestehenden Gebude-Agglomeration, die 1899 als Galerie erffnet und in den folgenden 100 Jahren immer wieder stckweise erweitert und angepasst wurde. In Wrdigung der Sammlung von nationaler Bedeutung einerseits und als Antwort auf die substantielle Architektur des benachbarten denkmalgeschtzten Bauwerks andererseits wurde der Geist dieses Museums fr Kunst und Kunsthandwerk zum Gestaltungsthema. So wurden fr den Neubau ausdruckstarke natrliche Materialien vorgeschlagen, die den Vorgang und das Handwerk des Erbauens sichtbar machen. Fassade und Dach sind in Corten Stahl ausgefhrt. Im Inneren ist die Betonkonstruktion in Form der offenen Kassettendecken und den Wnden aus glattem Gussbeton sichtbar.
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model photograph of front elevation | Modellfoto der Vorderansicht first floor | 1.Obergeschoss
In order to rationalize the public route through the building, the connection between the entrance and the main gallery level on the top floor is clarified by introducing a wide stair that rises up within a full height volume. The stair and the entrance lobby are lit from above by a series of tall north-lights that also span across the full width of the main gallery. At the head of the stair is a five-meter high window that faces across the churchyard toward St Marys, the medieval Grade I listed parish church of Cheltenham, and an apposite reference to local context.
Um den Besucherstrom im Gebude sinnvoll zu lenken, wird die Verbindung zwischen Eingang und der Hauptebene der Galerie im oberen Stockwerk durch eine grozgige Treppenhalle verdeutlicht. Das Licht fr Treppe und Eingangsbereich fllt durch eine Reihe groer Nord-Oberlichter ein, die die volle Breite der Hauptgalerie einnehmen. Am Treppenkopf gibt ein fnf Meter hohes Fenster den Blick ber den Kirchhof auf die mittelalterliche Pfarrkirche von Cheltenham frei, wodurch ein angemessener Bezug zum lokalen Kontext geschaffen wird.
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sections | Schnitte
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VISUAL Centre for Contemporary Art Carlow, Republic of Ireland 2004 - 2008
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visualisation | Visualisierung
Won as the result of an open architectural design competition, the Arts Centre is set within the grounds of St Patricks College in the centre of Carlow. Together with the existing College and the City Cathedral, they front onto a generous lawned quadrangle that opens out toward the City centre. The building contains a series of galleries, including a large twelve meter high space that will enable the display of large contemporary artworks, not currently able to be shown anywhere else in Ireland. In addition to the gallery, the building also has a restaurant and a 350-seat end-on, proscenium theatre. The architectural language of the building has been developed as an intersecting assembly of opaque glass volumes that transforms subtly throughout the day as light passing through the building skin reflects within the deep wall zone in a ever changing ways. As the evening comes and the daylight fades, the building also mutates between the more contemplative and introspective daytime use as an Art Gallery, to the more exuberant night time activity of theatre and performance space.
Mit diesem Entwurf gewannen wir einen internationalen offenen Wettbewerb fr ein neues Kunstzentrum, das auf dem Gelnde des St Patricks College im Zentrum von Carlow errichtet werden sollte. Der gesamte Komplex mit dem College und der Kathedrale von Carlow orientiert sich hin zu einem grozgigen Rasenplatz, der sich zum Stadtzentrum hin ffnet. Das Gebude besteht aus mehreren Galerien und gliedert sich um einen grozgigen zwlf Meter hohen Innenraum, der erlaubt, groformatige, zeitgenssische Kunstwerke auszustellen. Neben den Galerien bietet das neue Kulturzentrum auch ein Restaurant und ein klassisches Proszeniumtheater mit 350 Sitzen. Das Gebude wird von sich kreuzenden opaken Oberlichtern durchzogen, die im Laufe des Tages die Atmosphre im Inneren des Gebudes durch das einfallende Licht immer wieder verwandeln. Mit dem Schwinden des Tageslichts wechselt das Gebude aus seiner eher kontemplativen und introvertierten Rolle als Kunstgalerie in die abendliche Festlichkeit eines Theater- und Auffhrungsortes.
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While streets may be laid out as crossroads and in grid patterns, the shapes made are approximate; while there may be defined routes and public squares, these urban gestures are executed modestly rather than grandly. So an axis may be laid out with buildings aligned on one side only, or be focused on a church or courthouse or the house of the local grandee with a centralised porch or door case but asymmetrical wings; or a public square will be trapezoidal in plan, or will have only three sides, the fourth perhaps consisting of a line of trees or a river bank. Such economy in plan is often paralleled by a restrained palette of materials in elevation. In Carlow the beautiful, pale grey, hard local limestone is everywhere: not just as cut blocks but also ground into cement for renders, which historically were then washed with the same lime in whites and pinks. The inherent austerity of these approaches, which speaks to a frugality in the Irish character that foreigners often miss, is mitigated by the picturesque effects that arise when these are overlaid on differing topographies, sometimes natural but often man-made. Carlow Town exhibits these features in abundance, and it is in this context that Terry Pawson Architects Visual Arts Centre and George Bernard Shaw Theatre must sit. Pawson won the commission in competition in 2005, and construction recently started. But the project occupies a larger footprint than the practices original proposal, owing to the dropping of a stipulation within the competition brief that a ruined stone wall should be retained. The site is right in the centre of town on one side of a green space dominated by a large 19th century seminary, and is overlooked by the side of Carlows miniature Roman Catholic cathedral. It was occupied by a group of agricultural sheds painted green. The urban context of the projects displays the characteristic mixture of formally loose planning and topographically picturesque composition.
Terry Pawson Architects has observed this context with an accurate eye and responded to it with subtlety and skill. The main gallery is a simple rectangular box which asserts itself externally as the tallest form in the composition, and is entered centrally on its long axis. This straightforward gesture ties the new building not only to its forceful neighbours but also to a dominant aspect of the town plan. The other major spaces of the building the theatre and the lesser galleries spiral around the main room, descending and ascending as the topography, partly natural and partly manmade, dictates. Again, a striking characteristic of the town is recalled in miniature. Acute observations continue around the main entrance a feature of the design that enjoyed significant elaboration once the site was expanded. An elongated limestone wall echoes those in the town and speaks boundary to a local mind familiar with such structures, while also providing a tidy way to organise the inevitable clutter of signage that public buildings attract. This wall signals the start of a switchback sequence of entry that is deeply reminiscent of Irish public buildings where the pomposity of entering on axis is immediately deflated into a sociable swirling movement. The evocation of the memorable and the familiar also informs the palette of materials in the interior. The combination of stone, concrete and wood in the entrance hall reminds the visitor of the strategy often used in Ireland when restoring ruined medieval buildings; the simple plastered walls of the galleries make these rooms recede politely so that the art contained within them can dominate. Outside, the hierarchy of the interior spaces is reflected in the topographical massing of their volumes. They are clad in a greenish glass, which nods towards the green-painted agricultural sheds that formerly occupied the site. Terry Pawson Architects is to be commended for avoiding the contemporary temptation to offer Carlow an iconic building. Its considered engagement with the existing urban context, which requires study to uncover, will make a building that embeds itself in the town from the start. This is not to argue that the practice has proposed something timid and self-effacing. On the contrary, its manipulation of the interior volumes and its restrained proposals for construction, particularly in the gallery that can accept large art works, will provide a vital springboard for art of the future, most certainly in Ireland, and probably also in the wider world. The opening of this building in December will be signature enough.
elevation | Ansicht
This article was originally published in BD on 11 January 2008 and reproduced with their kind permission.
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The City of Linz sits on the banks of the Danube, some 250 kilometres west of Vienna and our winning proposal for the new Opera House is the result of the open international design competition I 2006. Construction of the building is scheduled to run from 2009, the year in which Linz shares the status of European Capital of Culture with Vilnius, through to 2012 when the Opera House is scheduled to open for public for performances. Our design has a major influence on the character of the city and has required moving a busy inner city duel carriageway in order to allow the building to sit as a solitaire building on the corner of the Volksgarden, or Peoples Park. Together with the park, the building creates a cultural focus at the end of the main avenue through the City linking to the Hauptplatz and the River Danube.
Die Stadt Linz liegt an den Ufern der Donau etwa 250 Kilometer westlich von Wien. Mit unserem Vorschlag fr das neue Opernhaus sind wir 2006 als Gewinner eines internationalen offenen Wettbewerbs hervorgegangen. Mit dem Bau des neuen Hauses soll 2009 begonnen werden, dem Jahr, in dem Linz zusammen mit Vilnius Europische Kulturhauptstadt sein wird. Bis 2012 soll die Oper fertig gestellt und erffnet werden. Der Neubau wird groen Einfluss auf den Charakter der Stadt nehmen, indem eine stark befahrene vierspurige Innenstadtstrae verlegt wird, damit das Gebude als Einzelbauwerk den geplanten Standort an der Ecke des Volksgartens einnehmen kann. Zusammen mit dem Park bildet der Bau einen kulturellen Brennpunkt an der Mndung der Hauptdurchgangsstrae der Stadt Linz, die zum Hauptplatz und zur Donau fhrt.
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section | Schnitt
plan | Grundriss
The faade is formed from deeply modulated weathering steel, introducing a consistent vertical element that wraps the building like a curtain, the curtain then being drawn open as it faces the park. The strong vertical rhythm unifies the faade and echoes the idea of an enfilade of classical columns, making reference to both the traditional grandeur of Viennese theatres such as the Burgtheater and the Staatsoper in Vienna as well as the modernism of rationalist architects such as Terragni and Moretti. This theme is developed further in the interior, with vertical screens of ever increasing fineness being used to define and unify the public areas, and leading ultimately to the main performance space that is wrapped in a veil from slender timber louvres. The building plan organises the complex programme of an opera house into a simple diagram. Public spaces are organised next to the park, with workshops and ancillary service spaces pushed to the rear. Along the north side of the building are placed the dressing rooms and practice areas, set along an internal street which is punctuated by a series of light wells, each one dedicated to the separate disciplines of Ballet, Orchestra, and Choir.
Die Fassade wird durch stark modulierten Verwitterungsstahl gebildet. Es wird ein durchgehendes vertikales Element geschaffen, das das Gebude wie ein Vorhang umhllt ein Vorhang allerdings, der auf der Seite aufgezogen wird, auf der sich der Bau zum Park hinwendet. Der starke vertikale Rhythmus vereinheitlicht die Fassade und lsst die Vorstellung einer klassischen Sulenflucht erkennen, wodurch ein Bezug sowohl zum traditionellen Glanz der Wiener Theater, wie dem Burgtheater und der Staatsoper, als auch zum Modernismus der rationalistischen Architektur etwa von Terragni und Moretti entsteht. Im Innenraum werden vertikale Holzlamellen eingesetzt um die ffentlichen Bereiche zu definieren. Der Hauptauffhrungssaal ist in einen Schleier filigraner Naturholzjalousien gehllt. Der Bauplan ordnet das komplexe Programm eines Opernhauses in einem einfachen Diagramm an. Die ffentlichen Rume befinden sich in der Nhe des Parks, die Werksttten und Servicebereiche in dem vom Park abgewandten Gebudeteil. Auf der Nordseite liegen die Garderoben und bungsrume quasi entlang einer innen liegenden Strae, die durch eine Reihe von Lichthfen unterteilt wird, wobei jeder dieser Abschnitte den einzelnen Disziplinen, dem Ballet, dem Orchester und dem Chor, zugeordnet ist.
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auditorium | Auditorium
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siteplan | Lageplan
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basement | Untergeschoss
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elevation | Ansicht
Occupying a simply detailed 1950s brick building, the American Church sits next to a small urban park and faces Tottenham Court Road, one of Londons busiest West End streets. The current building was built on the site of a much larger Victorian church that was destroyed during the final days of the Second World War.
The current Church has its Sanctuary and Narthex on the first floor and this creates problems of access for the old and disabled that, together with the lack of space for other church activities, was the pragmatic motivation behind the planned changes. However, of equal importance was the churchs need to increase its presence on the street, as views of the existing building are all but obscured by a line of mature London Plane trees that run along this section of Tottenham Court Road. Using tectonic elements that are common to many London churches, our scheme extends and rationalises the internal space and adds to the composition of the existing symmetrical building in order to create a balanced and coherent architectural syntax. The proposed design places a single storey extension to the south of the church, filling in the light-well formed by the large crypt of the previous building, and steps forward through the canopy of trees toward the main street with a slender stone tower. At the bottom of the tower and next to the new entrance, is a tiny street chapel, with an articulated masonry wall that springs from the top of the existing crypt wall, helps to re-define an appropriate boundary to the public park.
Der schlicht gestaltete Ziegelbau der Amerikanischen Kirche aus den 1950er Jahren befindet sich unmittelbar neben einem kleinen stdtischen Platz. Die Front des Gebudes schaut auf die Tottenham Court Road, eine der belebtesten Straen des Londoner West End. An der Stelle des jetzigen Baus stand frher eine wesentlich grere viktorianische Kirche, die in den letzten Tagen des Zweiten Weltkriegs zerstrt wurde. Gebetsraum und Vorhalle der heutigen Kirche liegen erhht, was den Zugang fr ltere und behinderte Menschen problematisch macht. Dies sowie der Mangel an Platz fr andere kirchliche Aktivitten waren die Motivation fr die geplanten Vernderungen. Von gleichrangiger Bedeutung war jedoch die Notwendigkeit, die Prsenz der Kirche zu strken, da der Blick auf den Kirchenbau fast vllig durch hohe Platanen versperrt ist, welche diesen Abschnitt der Tottenham Court Road sumen. Der Entwurf ist sowohl eine Erweiterung des Innenraums als auch eine Bereicherung der Komposition des bestehenden symmetrischen Gebudes, um eine ausgewogene und logisch zusammenhngende architektonische Struktur zu schaffen. Der Entwurf sieht auf der Sdseite der Kirche eine einstckige Erweiterung vor, die den Lichtschacht einnimmt, der von der groen Krypta des frheren Gebudes gebildet wird, und tritt zur Hauptstrae hin mit einem schlanken Steinturm aus dem Bltterbaldachin der Bume heraus. Am Sockel des Turms und neben dem neuen Eingang befindet sich eine winzige Straenkapelle mit einer gegliederten Steinmauer, die dem oberen Teil der bestehenden Mauer der Krypta entspringt und dazu beitrgt, die Grenze zum ffentlichen Platz neu und angemessen zu definieren.
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elevation | Ansicht
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Our competition proposal for a new cultural centre sits in front of the main body of the town on a key site overlooking the natural harbour. The proposed building uses this unique location to respond to the scale of the landscape and the grand sweep of the Bay. The remote town of Lule is located on the Northern edge of the Baltic Sea, just outside the Arctic Circle. The town feels like an isolated outpost of civilization, with an atmosphere dominated by endless swathes of pine forest and an environment, which in summer provides twenty-four hours of daylight and in winter, deep snow with only a brief period of daily twilight.
Unser Wettbewerbsentwurf platziert das neue Kulturzentrum vor dem eigentlichen Stadtkrper an einen Schlsselstandort mit Blick ber die nahe gelegene Bucht. Das geplante Gebude korrespondiert in dieser einzigartigen Lage mit der Dimension und der Kontur der grandiosen Landschaft. Die entlegene Stadt Lule liegt am Nordrand des Bottnischen Meerbusens knapp unter dem Polarkreis. Eingetaucht in endlose Nadelwlder vermittelt die Stadt den Eindruck eines isolierten Auenpostens der Zivilisation in einer Gegend, in der es im Sommer 24 Stunden taghell ist und die im Winter tiefen Schnee und nur kurze Dmmerlichtphasen zu bieten hat.
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Vertical timber slats on the outside of the faade make an allusion to the abstract pattern of light and shade in the forest; rather like looking through a dense stand of trees. The untreated timber louvres will weather naturally with age turning silver grey, and the double skinned main faade is tied together by a steel substructure with timber both internally and externally. The new Culture Centre is conceived as a building with its functions layered vertically. The Library and Art Gallery are located on the ground and first floor. These levels also contain foyer spaces and a caf, ensuring a pluralistic and lively mix of uses on the entry level. The upper levels are dedicated to the main Concert Hall and the smaller flat floored Congress Hall. The cultural density of the proposed project, together with its prominent location in the town, give this building immense significance for the remote Arctic town of Lule.
Vertikale Holzplanken an der Auenfassade spielen mit dem abstrakten Motiv von Licht und Schatten in den Wldern. Das unbehandelte Holz wird sich mit den Jahren durch den natrlichen Verwitterungsprozess silbergrau frben. Die Innen- und Auenverkleidung der doppelschaligen Hauptfassade sind durch eine Stahl-Unterkonstruktion hinterlegt. Das neue Kulturzentrum ist als Gebude konzipiert, dessen Funktionsbereiche vertikal geschichtet sind. Bibliothek und Kunstgalerie befinden sich im Erdgeschoss und im ersten Stock. Auf diesen Ebenen finden sich auch Foyer-Bereiche und ein Caf. So ist ein vielseitiger und lebhafter Nutzungsmix in Nhe des Eingangsbereichs gewhrleistet. In den oberen Geschossen sind die Konzerthalle und die kleinere Kongresshalle vorgesehen. Aufgrund der Dichte des kulturellen Angebots des Projekts und seines herausragenden Standorts kommt diesem Bau eine immense Bedeutung fr die Stadt Lule zu.
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Our competition proposal to extend the Museum focused on a desire to see the existing Museum become connected to the water and the historic boats that form an important part of the collection. The Deutsches Schiffahrtsmuseum, (German National Maritime Museum), was founded in the German port of Bremerhaven in 1971 as a replacement for the Museum of Marine Science in Berlin, which had been destroyed during World War II. The building designed by Hans Scharoun was first opened to the public in 1975. Constructed from light coloured brick and with his characteristically fragmented roofline, the Scharoun building was extended in 2000 by Dietrich Bangert. The two existing linked buildings sit within the heart of the old dock area; pressed between, yet somehow remote from the historic stone dock basin and the grass banked sea defences that line the mouth of the River Weser. This lack of engagement between the existing buildings and the historic dock seems at odds with the obvious practical connection and seems to undermine its role as a centre for Maritime research and conservation.
Bestimmend fr unseren Wettbewerbsentwurf zur Erweiterung des Museums ist der Wunsch, eine Verbindung zwischen dem bestehenden Museumskomplex und dem Hafenbecken zu schaffen, dessen historische Schiffe wichtige Ausstellungsstcke sind. Das Deutsche Schiffahrtsmuseum wurde 1971 in der norddeutschen Hafenstadt Bremerhaven gegrndet und sollte das im II. Weltkrieg zerstrte Berliner Museum fr Meereskunde ersetzen. Das von Hans Scharoun entworfene Museumsgebude ffnete 1975 seine Tore fr die ffentlichkeit. Der Scharoun-Bau mit seiner hellen Ziegelfassade und der charakteristischen, gebrochenen Dachlinie wurde im Jahr 2000 von Dietrich Bangert erweitert. Das bestehende Gebudeensemble befindet sich im Herzen der alten Hafenanlagen. Eingekeilt zwischen dem historischen steinernen Hafenbecken und dem grasbewachsenen Weserdeich, scheint es dennoch davon entfernt zu liegen. Diese fehlende Bezugnahme zwischen den bestehenden Bauten und dem alten Hafengelnde steht im Konflikt mit der Offensichtlichkeit der Verbindung und der Rolle des Museums als Zentrum fr maritime Forschung und der Konservierung bedeutsamer Exponate.
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elevation | Ansicht
Organised as a series of three buildings, the proposed extension is linked by a new timber boardwalk running along the edge of the historic dock. An entrance pavilion sits between the old and the new, and is entered by wide ramps that descend like slipways into the building from the northern and southern approaches. This new entrance level connects all elements of the Museum and leads directly to the waters edge in the dock basin with its floating pontoon for the historic boats. Other key public functions of the Museum are accessed directly from the entrance hall; the caf and the temporary exhibition hall both sit alongside the dock and the workshops are on the corner of the basin. A public route is maintained through the site by the boardwalk, linking the southern parts of the City with the new commercial centres to the north. In addition, the architectonic references within the new architecture to the form, scale and materiality of a boatyard are both conscious and overt thus simultaneously identifying the extension as being different to the existing listed buildings, whilst also making a new physical and conceptual link between the existing structures and the maritime tradition inherent within the site.
Der Entwurf sieht die Anordnung dreier nebeneinander stehender Gebude vor, welche von einem, der Wasserkante folgenden, Holzplankensteg verbunden werden. In zentraler Position befindet sich ein Eingangspavillon, der ber zwei weite, leicht abfallende Rampen betreten wird. Diese neue Eingangsebene verbindet alle bestehenden und neuen Gebudeteile des Museums und ffnet sich zum Hafenbecken und den Museumsschiffen. Von der Eingangshalle aus sind auch die weiteren Schlsselbereiche des Museums direkt zugnglich. Das Caf und die Halle fr Sonderausstellungen erstrecken sich beide entlang des Docks, die Werksttten befinden sich an der Ecke des Hafenbeckens. Durch das Holzdeck bleibt ein ffentlicher Verkehrsweg ber das Gelnde erhalten. Darber hinaus verweisen die neuen Baukrper durch architektonische Bezugnahme bewusst und offenkundig auf die Form, Dimensionen und Materialitt einer Schiffswerft. Es wird dadurch die Andersartigkeit des Erweiterungsbaus gegenber den bestehenden denkmalgeschtzten Bauten akzentuiert, whrend gleichzeitig eine neue physische und eine begriffliche Verbindung zwischen den bestehenden Strukturen und der maritimen Tradition hergestellt wird.
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Appendix | Anhang
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Competitions include: 2006 - Linz Opera House, Austria (winner) 2005 - Kristiansand Performing Arts Centre (prize winner) 2004 - Centre for Contemporary Art & Theatre Carlow (winner) 2003 - Sligo Masterplan, Library and Museum (second prize) Architectural Assessor / advisor: RIBA nominated chief assessor for the following Architectural Competitions: Concert hall, Corpus Christi College, Oxford Wakefield Art Gallery Northern Architecture Centre in Newcastle Arts in Perpetuity Trust, Deptford Other: Orleans House Gallery, Richmond-upon-Thames (member of advisory board) Academic Teaching includes: Unit teacher at: University of East London Greenwich University Kingston University
Visiting critic and open lectures include: 2008 Dundee School of Architecture 2007 Open Lecture at Arch + Ing. Austria 2004 Open lecture at the Bauhaus School of Architecture, Germany 2003 Patterson Memorial Lecture, Cheltenham Professional Architect member of the external University course validation committee for the architectural degree and diploma courses at: Kingston University Kent Institute of Art & Design 2002 2004
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Acknowledgement | Danksagung Many people have contributed to this book, not least of which are all the staff members who through their commitment and hard work over the past seven years have helped to design the buildings. Photographs | Fotografien Vernon Street by Nick Guttridge except page 14/15 and 20 by Terry Pawson Architects St Marys Garden Hall by Tom Scott Tall House by Richard Bryant Cheltenham and Tall House models by Eamonn OMahony All other photographs, images and renderings by Terry Pawson Architects Models | Modelle Tall House and Cheltenham by Jackie Hands Linz facade by Gary Kugele of Abbit models Printing | Druck Paul Green Printing of Hackney Graphic design | Grafische Gestaltung Tobias Stiller
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www.terrypawson.com
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