NO.141
Moritzburg Museum Extension / Nieto Sobejano Arquitectos
LOCATION: HALLE, SAALE, GERMANY
CLIENT: STIFTUNG MORITZBURG. LAND OF SACHSEN - ANHALT
ARCHITECTS: NIETO SOBEJANO ARQUITECTOS. FUENSANTA NIETO, ENRIQUE SOBEJANO
PROGRAM: RESTORATION AND MUSEUM EXPANSION OF EXISTING FIFTEENTH-CENTURY CASTLE
TOTAL FLOOR AREA: 11.220 M2
PROJECT ARCHITECT: SEBASTIAN SASSE
PROJECT TEAM: SIVERIN ARNDT, UDO BRUNNER, SUSANN EUEN, DIRK LANDT, VANESA MANRIQUE, NINA NOLTING, OLAF SYRBE, MIGUEL UBARRECHENA
SITE SUPERVISION: NIETO SOBEJANO ARQUITECTOS. FUENSANTA NIETO, ENRIQUE SOBEJANO, SEBASTIAN SASSE, JOHANNES STUMPF, KARL HEINZ BOSSE
STRUCTURAL ENGINEER: GSE
I M.E.P. ENGINEERS: RENTSCHLER & RIEDESSER
MODELS: JUAN DE DIOS HERNÁNDEZ - JESÚS REY
PROJECT DATES: COMPETITION: 2004, DESIGN: 2005-06, COMPLETION: 2008
AWARDS:
HANNES MEYER PREIS. 2012
ECOLA AWARD. 2010
PRIZE AUSZEICHNUNG DEUTSCHER STAHLBAUPREIS. 2010
GROßE NIKE. ARCHITEKTURPREIS DES BUNDES DEUTSCHER ARCHITEKTEN BDA. 2010
MENTION X BIENAL ESPAÑOLA DE ARQUITECTURA Y URBANISMO. 2009
FINALIST PRIZE DIE 26 BESTEN BAUTEN IN/AUS DEUTSCHLAND. 2009
THE INTERNATIONAL ARCHITECTURE AWARD. THE CHICAGO ATHENAEUM MUSEUM. 2009
The Moritzburg Castle is a significant example of German military and religious architecture of the late fifteenth century. Built as an archbishop’s palace, its conflicted history has been reflected in the different interventions that have altered it over the centuries. Since the collapse of the north and west wings during the Thirty Years’ War (1618–48), the image of the fortress as a ruin has remained as such until now, and the citizens of Halle have identified the building with that image for over three centuries. Despite consecutive alterations, the building has maintained the formal structure of its major original architectural elements: the perimeter wall-precinct, three of the four circular towers on the corners, and the central armory court. Reestablished as a museum in 1904, it once housed one of the best collections of Expressionist and classical modern art, reduced during the Nazi period, when the works of Paul Klee, Feininger, Ernst Ludwig Kirchner, Karl Schmidt-Rottluff, and other artists were considered an utmost expression of “degenerate art.” With the exception of an unbuilt project from 1829 by Karl Friedrich Schinkel, which proposed the transformation of the castle into a university, it was not until 2004 that the Sachsen-Anhalt administration decided to undertake the reconstruction, expanding the museum with new permanent and temporary exhibition galleries.
Our project for the transformation of the Moritzburg Castle set out the following question: is it possible to reconstruct, starting from the representations of the place itself, an architecture that connects symbolically with the past and reveals its contemporary condition to recompose reality? The project emerges paradoxically from a narrative structure suggested by the paintings of an exhibition. The sequence of exhibition spaces is always interrupted by the memory of the ruin associated with the castle, by the triangular surfaces decomposed in Expressionist works, but also by our own previous experience. The architectural proposal then emerged from an intuition that marks every posterior decision: a new roof conceived as a large, folded platform, which rises and folds to emit natural light, and from which two new exhibition spaces hang. This operation frees up the western wing from the presence of the old ruin, which allows for the re-creation of a unique large-scale space, column-free, and offering different exhibition opportunities. A new roof landscape -clad in rigid aluminum panels- establishes a dialogue between its angular geometry and the irregular volumes of the sloping roofs of the castle. The pyramidal skylights, positive and negative, express through their variations that architecture is a combinatorial art; that our task, in the end, is to find the relative position of its elements.
Moritzburg Museum Extension / Nieto Sobejano Arquitectos
LOCATION: HALLE, SAALE, GERMANY
CLIENT: STIFTUNG MORITZBURG. LAND OF SACHSEN - ANHALT
ARCHITECTS: NIETO SOBEJANO ARQUITECTOS. FUENSANTA NIETO, ENRIQUE SOBEJANO
PROGRAM: RESTORATION AND MUSEUM EXPANSION OF EXISTING FIFTEENTH-CENTURY CASTLE
TOTAL FLOOR AREA: 11.220 M2
PROJECT ARCHITECT: SEBASTIAN SASSE
PROJECT TEAM: SIVERIN ARNDT, UDO BRUNNER, SUSANN EUEN, DIRK LANDT, VANESA MANRIQUE, NINA NOLTING, OLAF SYRBE, MIGUEL UBARRECHENA
SITE SUPERVISION: NIETO SOBEJANO ARQUITECTOS. FUENSANTA NIETO, ENRIQUE SOBEJANO, SEBASTIAN SASSE, JOHANNES STUMPF, KARL HEINZ BOSSE
STRUCTURAL ENGINEER: GSE
I M.E.P. ENGINEERS: RENTSCHLER & RIEDESSER
MODELS: JUAN DE DIOS HERNÁNDEZ - JESÚS REY
PROJECT DATES: COMPETITION: 2004, DESIGN: 2005-06, COMPLETION: 2008
AWARDS:
HANNES MEYER PREIS. 2012
ECOLA AWARD. 2010
PRIZE AUSZEICHNUNG DEUTSCHER STAHLBAUPREIS. 2010
GROßE NIKE. ARCHITEKTURPREIS DES BUNDES DEUTSCHER ARCHITEKTEN BDA. 2010
MENTION X BIENAL ESPAÑOLA DE ARQUITECTURA Y URBANISMO. 2009
FINALIST PRIZE DIE 26 BESTEN BAUTEN IN/AUS DEUTSCHLAND. 2009
THE INTERNATIONAL ARCHITECTURE AWARD. THE CHICAGO ATHENAEUM MUSEUM. 2009
The Moritzburg Castle is a significant example of German military and religious architecture of the late fifteenth century. Built as an archbishop’s palace, its conflicted history has been reflected in the different interventions that have altered it over the centuries. Since the collapse of the north and west wings during the Thirty Years’ War (1618–48), the image of the fortress as a ruin has remained as such until now, and the citizens of Halle have identified the building with that image for over three centuries. Despite consecutive alterations, the building has maintained the formal structure of its major original architectural elements: the perimeter wall-precinct, three of the four circular towers on the corners, and the central armory court. Reestablished as a museum in 1904, it once housed one of the best collections of Expressionist and classical modern art, reduced during the Nazi period, when the works of Paul Klee, Feininger, Ernst Ludwig Kirchner, Karl Schmidt-Rottluff, and other artists were considered an utmost expression of “degenerate art.” With the exception of an unbuilt project from 1829 by Karl Friedrich Schinkel, which proposed the transformation of the castle into a university, it was not until 2004 that the Sachsen-Anhalt administration decided to undertake the reconstruction, expanding the museum with new permanent and temporary exhibition galleries.
Our project for the transformation of the Moritzburg Castle set out the following question: is it possible to reconstruct, starting from the representations of the place itself, an architecture that connects symbolically with the past and reveals its contemporary condition to recompose reality? The project emerges paradoxically from a narrative structure suggested by the paintings of an exhibition. The sequence of exhibition spaces is always interrupted by the memory of the ruin associated with the castle, by the triangular surfaces decomposed in Expressionist works, but also by our own previous experience. The architectural proposal then emerged from an intuition that marks every posterior decision: a new roof conceived as a large, folded platform, which rises and folds to emit natural light, and from which two new exhibition spaces hang. This operation frees up the western wing from the presence of the old ruin, which allows for the re-creation of a unique large-scale space, column-free, and offering different exhibition opportunities. A new roof landscape -clad in rigid aluminum panels- establishes a dialogue between its angular geometry and the irregular volumes of the sloping roofs of the castle. The pyramidal skylights, positive and negative, express through their variations that architecture is a combinatorial art; that our task, in the end, is to find the relative position of its elements.
The new intervention in the Moritzburg Castle aims at protecting the ruins that have represented it for centuries. It does so by keeping the existing building intact, and superimposing a light structure that evokes the works displayed inside. The works of Caspar David Friedrich, El Lissitzky, Edvard Munch, and Klee from the original collection are now accompanied by those of Kirchner, Erich Heckel, and Emil Nolde, donated by Hermann Gerlinger, the owner of one of the most valuable private collections devoted to the Expressionist group Die Brücke, whose presence in the new halls of the museum compensates, in a sense, for the looting that occurred during Nazism and World War II. The pictures of the exhibition are thus incorporated into the new expansion, where, in our imagination, the museum’s architecture, its history, and its contents all merge into a circular process. It is a strange feeling that, since the project’s completion, makes us pause whenever we have returned to visit the castle.
#Germany , #castle, #ruin, #museum , #roof , #lighting ,#interior_design , #palace, #extention
@revitalization
#Germany , #castle, #ruin, #museum , #roof , #lighting ,#interior_design , #palace, #extention
@revitalization