Competition overview September 2019 (1/2)

Building design

Interested in the latest competition results in landscape architecture, but hardly have time to look at them properly? In G+L’s monthly competition overview, Heike Vossen provides information on the most exciting competition results. Station surroundings with central bus station in Füssen, 1st prize lohrer . hochrein, Munich, with löhle neubauer architekten, Augsburg So far, the central bus station has not been a good calling card for the town of Füssen. Under […]

Interested in the latest competition results in landscape architecture, but hardly have time to look at them properly? In the G+L competition overview, Heike Vossen provides monthly updates on the most exciting competition results.

Until now, the central bus station has not been a good calling card for the town of Füssen. Under the motto “from juxtaposition to unity”, the winning design convincingly structures the station forecourt and connects it to the adjacent Von Freyberg Park. The mountain theme, which is reflected in the architecture and open space, is a defining feature. The new roofing of the bus stop is reminiscent of the mountains or Allgäu barns with its asymmetrical and small-scale saddle roof shape. The roof accentuates the interface between the forecourt and the park as an elongated promenade, but opens up with rhythmic lightness thanks to the breaks that leave important visual axes. The large form of the mountain silhouette created in this way forms an identity-forming, striking gateway for arrivals and at the same time a structural counterweight to the station building. The park also adapts elements of the nearby mountain landscape: the planners strengthen the extensive basic structure with flowering meadows at the edges, a hard-wearing lawn in the middle and a shallow water basin as a mountain lake. The latter can be used for curling in winter or as an exhibition area when drained.

The renewal of the harbor island in Gernsheim forms the starting point for an overarching open space concept for the entire public harbor area with a connection to the city center. The winning design by SINAI seizes the opportunity to elevate the banks of the Rhine to the most important open space in the city – and extends the usable waterfront area to the area south of the ferry terminal. The harbor, harbor tip, ferry pier and Rhine meadow structure the new Rhine bank park, with the ferry square forming the center and focal point. SINAI is establishing the urban double strand of Rheinstraße and Kohleweg as the connecting backbone between the city center and the riverbank. The former as a mixed traffic area with paved crossings, the latter as a pedestrian promenade with seating facing the harbor. As a promenade park, the harbor island will be much greener than before, while moving and stationary vehicle traffic will be significantly reduced. The harbor tip itself will have a bow-shaped tip with balconies and seating steps on the terraced, flattened embankment.

In an international design competition, Letchworth Garden City Heritage Foundation sought solutions for the garden city of the 21st century, exemplified by the planned extension of the first garden city from 1903, Letchworth Garden City by Ebenezer Howard. The winning design is to form the basis for a district with around 900 new apartments including social infrastructure. The young London-based planning office EcoResponsive Environments impressed with a concept anchored in the past that is open to future challenges by creating a solid framework for new systems, technologies and the social structure of the site. The master plan focuses on resource efficiency, shared energy production and food production, while the social structure is based on bottom-up information systems. A fine-grained mix of tenures that promote social cohesion characterizes the urban design, as does an adaptable building stock for resilient and changeable generational communities.

YOU MAY ALSO LIKE

Marble Architectural Awards 2014

Building design

Advertorial Article Parallax Article

Every year, the Internazionale Marmi e Macchine Carrara presents the “Marble Architectural Award” (MAA) for special projects in natural stone. This time around: a mausoleum, a lobby and a work of art called “Parallel Lives”.

Every year, the Internazionale Marmi e Macchine Carrara presents the “Marble Architectural Awards” (MAA) at the Carraramarmotec trade fair. The focus is always on one of six different regions. In 2014, this was North America, specifically the USA, Canada and Mexico. This shows clear trends and developments within each region. The winners have now been honored at this year’s CarraraMarmotec.

The Lakewood Cemetery Garden Mausoleum in Minneapolis (USA)
Photo: Paul Crosby

In the wake of the economic crisis after 2007, there was a clear trend towards medium-sized projects in North America. There was less demand for natural stone, but where it was chosen, great emphasis was placed on quality and finish. The use of natural stone from all parts of the world again demonstrates the globalization of trade.

The lobby of the building 135 Main Street, San Francisco (USA)
Photo: Matthew Millman

The first prize in the “Exterior” category went to HGA Architects and Engineers for the Lakewood Cemetery Garden Mausoleum in Minneapolis, in which white Carrara marble and various American granites were used. The winner in the “Interior” category is the Aston Pereira and Associates studio with the lobby for the 135 Main Street building in San Francisco. They used Greek marble, Jura limestone from Germany, Italian marble and French yellow onyx. And the winner of the “Urban Design” category is Jacobo Micha Mizrahi for his “Parallel Lives” in Vera Cruz (Mexico). The monument consists of various Mexican rocks.

“Parallel Lives” in Vera Cruz, Mexico
Photo: Archetonic/Eduardo Zaletas/Quitagrapas Estudio Mexico City

The projects honored with the Marble Architectural Awards are summarized in a catalog. This catalog places special emphasis on the stone itself, its technical details and its processing. The Carraramarmotec trade fair was last held in May 2014 in Carrara, Italy.

Trend analysis – The museum 3.0

Building design

to show the artist's working processes or to reveal unrecognizable layers of paint. Photo: Clair Obscur.

Art museums are breaking out of the building walls – into the digital space. Apps and online tours are now part of the permanent repertoire of art education. A survey of German consumers shows how this trend is reflected in the public. Advertorial Article Parallax Article On the website of the Amsterdam Rijksmuseum, almost every exhibit can be viewed zoomed in on in full-screen mode. […]

Art museums are breaking out of the building walls – into the digital space. Apps and online tours are now part of the permanent repertoire of art education. A survey of German consumers shows how this trend is reflected in the public.


3-D
Projection technology makes it possible, for example, to show the artist's work processes or to reveal unrecognizable layers of paint. Photo: Clair Obscur.

On the website of the Amsterdam Rijksmuseum, almost every exhibit can be viewed zoomed in on in full-screen mode. Johannes Vermeer’s Milkmaid from 1660 gazes absorbedly at the high-resolution beam of milk-white bliss. One pupil movement further on, a field with a red background vies for attention: this painting has been “liked” 10,806 times. Next to it, a scissor symbol encourages reproductive complicity: “Get creative”, “Download this work”!

Digital surfaces – apps on tablets and smartphones that wander through the halls in visitors’ hands – have also long been a familiar feature of museum spaces. In fact, this trend is closely linked to the exponential growth in visitor numbers at many art museums. The Staatsgalerie Stuttgart counted 375,694 tickets sold in 2015: an increase of 70 percent compared to the previous year, confirms Director Christiane Lange. New technologies – keyword “augmented reality” – are already on the rise. But can this trend, which focuses on the virtual, be sustained?

A survey conducted by the market research institute Promio on behalf of the media technology company fröbus among 1068 German consumers illustrates the reactions that different digital mediation methods evoke in visitors:

Proximity or distance to the object

The results of the survey show that the digital trend is currently moving back towards the object. Instead of keeping the works seemingly close but at a distance by clicking on a screen at home or integrated into the exhibition, the information conveyed by 3D visualization or projection directly on the object is gaining attention.

This impression is also confirmed by a cross-section of the current start-up scene in museum technology. Light choreography, turntables, 3D prints. The focus is on the work of art in all its facets: Details, reverse sides, as well as reconstructions of the original state are to be made accessible to visitors to the Museum 3.0 (replacing the digital-virtual 2.0). The Berlin start-up Clair Obscur, for example, has developed a new projection technology that can reveal the artist’s working process or hidden layers of paint directly on the painting. “It is important to us,” explains Lene Fischer, co-founder of Clair Obscur, “to create a closeness to the work, to tell the story of an object.”

interactive scape, who specialize in so-called multi-touch tables, choose a different way of communication. These release digital information when they are touched with a specially created haptic object. “Above all, a visit to a museum should be an experience – a tactile experience,” says Marcel Graf from interactive scape, describing their objective. This is particularly relevant in our digital age: “Our mediation concepts focus on a museum you can touch. An experience that you can’t have at home in front of a screen.”