HOUSE AT THE APEX: INNOVATIVE WAREMA WINDOW AWNINGS WITH LARGE PRINT

Building design
The architect divided the building into a "heavy" part with insulating concrete and a "light" part with a glass-textile façade. Copyright: Warema

The architect divided the building into a "heavy" part with insulating concrete and a "light" part with a glass-textile façade. Copyright: Warema

The Berlin architect László Ambrus has built a special residential building in Munich. The building stands out with its integrated Warema window awnings, which give it an unmistakable “face”: Their graphic print shows the shadows cast by trees. In this way, the house blends in perfectly with its tree-filled surroundings at the apex.

Nowadays, façades have to be able to do much more than just satisfy design and urban space aspects: They serve as multifunctional, intelligent and resilient protective skins. The building at Scheitelpunkt in Munich impresses with its textile façade in combination with individual sun and privacy protection. Architect László Ambrus from ambrus+co plan.werk gmbh designed the house for a family of friends. It is situated at the apex of a quiet, semi-circular street and is therefore in an exposed location. The architect divided the building into a “heavy” part with exposed concrete and a “light” part with a glass and textile façade. The latter consists of a textile cloak with integrated Warema window awnings, which give the building an unmistakable appearance.

The house at the apex traces the semi-circular course of the street: It consists of two different halves that are slightly inclined towards each other. The northern section is made of insulating concrete and the first floor is clad in brass. This creates a compact, “heavy” and sturdy impression. In contrast, the “light” southern half of the house is much more delicate and almost weightless due to its floor-to-ceiling glazing and the printed textile cloak on the upper floor.

The textile cape encloses the southern half of the building at street level with a 25-metre-long strip of gray-green weatherproof fabric. Two horizontal guide rails along the parapet and the glazing on the first floor as well as vertical rails at the corners of the building hold the cape in place. The fabric lies about 15 centimetres in front of the supporting structure of the house and its glass skin. The Warema window awnings are creatively woven into the cape.

Towards the garden, the building fans out to follow the trapezoidal plot. This creates the effect that the monolithic structure is pushed about two meters in front of the “lighter” part of the building. Inside, the house offers around 300 square meters of space. The architect continues the material language with floors made of polished screed, walls made of exposed concrete and curtains in the same color as the textile cladding of the façade.

The façade of the house at the apex is characterized by its large-scale digital print on the awning fabric. This creates a harmonious overall look with reliable, weatherproof sun protection. “Why should an awning only work in front of a classic window? I am very satisfied with the result, which required a little courage from everyone involved,” says architect László Ambrus.

With the textile skin and the integrated Warema window awnings with easyZIP guidance, the building blends into the tree-lined surroundings as unobtrusively as possible despite its dominance. Visually, the shadow print is seamlessly continuous. To achieve this, the architect worked together with Warema and the graphic design office NAROSKA Design from Berlin. TYPICO GmbH from Lochau in Austria was responsible for the implementation.

Warema realized the large-scale digital print on the awning fabric as a special solution in accordance with the architect’s requirements. For this highly individual solution, the same shade of fabric was used for the cape and the window awnings. In addition, the printed image on both surfaces merges without any graphic gaps. When the window awnings are lowered, the amazingly realistic impression of a shadow is created. The reliable and stylish sun protection offers both glare protection and a pleasantly cool indoor climate. In addition, Warema window awnings are very wind-resistant and can be used as sun and privacy protection in almost any weather.

There are many housing estates in the Munich city area that were once designed as garden cities. Today, they are undergoing major changes due to a shortage of housing and high land prices. The city of Munich has developed a catalog of measures consisting of open space planning and design guidelines in order to preserve the character of these estates despite densification. These include characteristics such as loose development, deep front gardens, public green spaces and an old stock of trees.

The house at the apex in the south of the city fits into this scheme. As a new building from 2022, it stands in the context of a historically evolved garden city estate from the 1930s. The building has two storeys and a flat roof. In the surrounding area, there are mainly other detached houses from the past decades, but also some new buildings.

In terms of urban planning, the house serves as a mediator between the neighboring buildings, one of which is located directly on the street and the other is set back around 3.5 meters. The new building compensates for this difference by being about halfway along the street. There was also space for a small front garden, typical of the settlement. “The idea of the garden city was easy to implement thanks to the generous plot layout and perfect orientation,” explains architect Ambrus.

Warema is the European market leader in the field of technical sun shading products. Founded in 1955, the family-run company is a full-service provider of intelligent external sun shading and smart control systems. The high-quality and well-designed products from the sun shading expert from Marktheidenfeld in Bavaria are individual, sophisticated and well thought-out. The company supports building owners and planners throughout the entire planning process. Customized solutions from Warema create special outdoor living areas and a pleasant indoor climate in buildings.

The sun shading products also help to reduce energy costs and CO₂ emissions. This follows the claim to act consciously for the environment and people – in line with the guiding principle of the entire group of companies: Reduce, Invest, Innovate. The Warema Group, with over 5,000 employees worldwide, also includes other brands: Caravita is a renowned manufacturer of high-quality sunshades and awnings. Anwis is the Eastern European specialist for interior and exterior sun protection. Wings Professional offers suitable solutions for façade design with custom-made large slats.

Referring to the building at the apex in Munich, architect László Ambrus explains: “‘Awnings’ in this project means a complex system of textile façade cladding”. Although even the best shading solutions reach their limits in extreme weather events, “the textile façade has significantly minimized the need for additional temperature control.” The house at the apex clearly shows what an intelligent, modern and climate-resilient façade with Warema window awnings can look like. You can find more inspiration here.

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Women’s power in architecture

Building design
Women in architecture: Grete Schütte-Lihotzky

Grete Schütte-Lihotzky

Around 1900, a group of women in Germany first challenged the social view of the time that the work of an architect was incompatible with femininity. They demanded the right to a university education and by 1909 had succeeded in having all technical universities in Germany admit women to study. Nevertheless, it remained difficult to […]

Around 1900, a group of women in Germany first challenged the social view of the time that the work of an architect was incompatible with femininity. They demanded the right to a university education and by 1909 had succeeded in having all technical universities in Germany admit women to study. Nevertheless, it remained difficult for women to find a job in architecture. Widespread prejudices, such as that women could not handle finances and were unable to supervise workers on a construction site, meant that female architects resorted to strategies to either adapt to or renegotiate social gender expectations. This situation remained dominant throughout the 20th century and to some extent still is today.

It is hardly surprising that the first female architects mainly realized projects in which they themselves or someone from their family was the client. Therese Mogger acquired plots of land in the Gerresheim district of Düsseldorf around 1911, for which she then designed apartment buildings. Elisabeth von Knobelsdorff and Princess Victoria von Bentheim- Steinfurt, both early graduates of the TH Berlin, designed apartments and social facilities that were built on their family’s estates. In the 1920s, it was common for female architects to collaborate with a male partner in order to work on important public projects: A visitor to the Weissenhof Estate in Stuttgart in 1927 would have encountered Lilly Reich and Mies van der Rohe, Marlene Moeschke-Poelzig and Hans Poelzig or Else Oppler-Legband and Peter Behrens. As a rule, these women had studied arts and crafts or fine arts. Their design contributions mainly concerned furniture and interior decoration – areas that were considered less prestigious. Women who had studied also had the opportunity to aspire to a position in the civil service. However, they had to remain unmarried in order not to lose their job. In the 1920s, the Austrian Margarete Lihotzky was employed by Ernst May at the Frankfurt Building Department. When she married her professional colleague Wilhelm Schütte, she had to give up her employment and from then on could only work as a freelancer. Her husband was not subject to such restrictions. The period of German National Socialism brought an abrupt end to the careers of a number of promising Jewish women architects. Among them were the Bauhaus students Friedl Dicker and Zsuzsa Bánki as well as Ilse Bloch (née Cats), who had graduated from the TH Berlin. All three women were murdered in Auschwitz. After the Second World War, women in Germany, regardless of whether they worked in the GDR or the FRG, had greater opportunities if they concentrated on construction projects with a social focus, such as housing construction, facilities for children and young people and interior design. After returning from exile in America, Karola Bloch, for example, designed standard typologies for day-care centers for the Deutsche Bauakademie in the 1950s.

Strategies

Based on the biographies of female architects, strategies for success can be identified that go beyond individual personal circumstances and constellations. As a rule, female architects are very mobile and are prepared to emigrate or travel long distances in order to improve their career opportunities. Gertrud Schille not only traveled to Wolfsburg in western Germany for her planetariums, but also to Baghdad and Tripoli in Libya. Furthermore, successful female architects often benefit from the material and intellectual support of colleagues in the same profession and also offer such support themselves. Marie Frommer gave up a flourishing office in Berlin in 1936 and went into exile in New York. Contacts with professional associations of and for women there helped her to re-establish herself. As a result, she was soon able to open an office specializing in the interior design of apartments and stores – a line of business in which women were rare as owners, but nevertheless more readily accepted than elsewhere. Today, although half of all architecture students in Europe are female, women still lag behind men in terms of professional success. Structurally, the strategies of female architects are therefore still similar, they have merely adapted to today’s circumstances in their concrete forms. Even if this is rarely talked about: Women who have additional material resources at their disposal, be it for taking out a loan when setting up an office or for financing childcare, have significantly higher chances of being successful despite social disadvantage and the double burden of work and family.

Office partnerships

Partnerships with men continue to provide female architects with a framework that is conducive to their professional development – especially as the division of responsibilities and traditional gender boundaries are no longer as clearly marked as they were in the past. Well-known examples include Sauerbruch Hutton, Barkow Leibinger, Grüntuch-Ernst, and Bolles + Wilson in Germany; Helen & Hard in Norway; Lacaton & Vassal in France</a>; O’Donnell + Tuomey in Ireland or Bos and van Berkel from UN Studio in the Netherlands. Women are also among the partners in very large offices – for example the Dutch architect Nathalie de Vries from MVRDV or the Belgian Christine Conix from CONIX RDBM. Women also have leading roles in alternative office forms, such as Paloma Strelitz from the London planning collective Assemble. Last but not least, there are architecture firms – including Grafton Architects (Yvonne Farrell, Shelley McNamara) in Dublin, vPPR (Tatiana von Preussen, Catherine Lease, Jessica Reynolds) in London and Schultz Sievers (Cathrin Schultz, Kathrin Sievers) in Bremen – that are run exclusively by women. Even though women now work as architects in very different fields, an above-average number of them still work on projects in which social commitment is the main focus. Susanne Hofmann with her company Baupiloten and Dorte Mandrup in Copenhagen have made a name for themselves with innovative buildings for children and young people. The willingness to be mobile and adapt to different working contexts continues to be a way for women to secure the opportunity to work independently as designers.

Competitions

The open competition remains the most important way for female architects to secure major public commissions. In 1983, Zaha Hadid caused an international sensation when she submitted a visionary design for the competition for the leisure and recreation park “The Peak Leisure Club” in Hong Kong. In Germany, Gesine Weinmiller realized the new building for the Federal Labour Court in Erfurt in 1999, Ursula Wilms from Heinle, Wischer und Partner the building for the Topography of Terror in Berlin (2010) and Gabriele Glöckner the extension to the German National Library in Leipzig (2011). In all cases, the architects won the respective competition. The first two decades of the 21st century are a time of transition for women in architecture. They are still a long way from full equality with their male colleagues, but there have been significant improvements in terms of the number of female architects employed and the variety of role models available to women in the profession. It will be the task of the many young women studying architecture today and pushing into the relevant professions to develop new strategies that will secure them a place in the world of architecture – strategies, it is to be hoped, that no longer focus on fighting against and circumventing outdated gender concepts, but that allow them to fully develop their creative potential without being hindered by discrimination.

This article appeared in our Baumeisterinnen issue in August 2017. Curious about more exciting women in architecture? Click here for the magazine.

TEFAF has once again awarded 50,000 euros to two selected restoration projects in 2017. TEFAF (The European Fine Art Foundation) will take place in Maastricht from March 10 to 19, 2017. Each year, the TEFAF Museum Restoration Fund donates up to 50,000 euros to museums pursuing a current conservation or restoration project. An independent […]

TEFAF has once again awarded 50,000 euros to two selected restoration projects in 2017.

TEFAF (The European Fine Art Foundation) will take place in Maastricht from March 10 to 19, 2017. Each year, the TEFAF Museum Restoration Fund donates up to 50,000 euros to museums pursuing a current conservation or restoration project. An independent committee of international experts decides on the applications submitted. The support is intended both to promote the restoration of special works of art and to communicate the significance and importance of conservation.

This year, the prize money went to the Musée Rodin in Paris and to the Detroit Institute of Arts, USA. The financial injection will enable the restoration and reconstruction of a work by Auguste Rodin (1840-1917) entitled “Absolution”. It will also enable the conservation of “Judith with the Head of Holofernes” by Titian (1488-1576), a work that has been on display in the exhibition almost continuously since its purchase.

The 25th anniversary of the TEFAF in 2012 was the occasion to establish the restoration fund for the first time. An overview of the restoration projects supported by TEFAF to date:

2016

Reconstruction of the Tower of Nanjing, de Robien Collection at the Musée des Beaux-Arts in Rennes, France;
Restoration of “Girl in White” by James McNeil Whistler, Singer Memorial Foundation in Laren, Netherlands

2015

Restoration of works by Francisco de Zurbarán, Museum Kunstpalast in Düsseldorf, Wadsworth Atheneum Museum of Art in Connecticut

2014

Restoration of three coffin groups and a sarcophagus from the 21st dynasty discovered in 1891, Rijksmuseum van Oudheden in Leiden, Netherlands;
Restoration of the painting “Miss Nelly O’Brien” by Joshua Reynolds, Wallace Collection in London

2013

Restoration of the portraits of William and Elizabeth James by William Hogarth, Worcester Art Museum in Massachusetts, USA;
Restoration of two chandeliers combining elements of classical sculpture and carving by Giovanni Battista Piranesi, Ashmolean Museum, Oxford

2012

Restoration of a Venice painting by Canaletto, Denver Art Museum, USA;
Conservation of the ten bronze statuettes from the 15th century tomb of Isabella of Bourbon, Rijksmuseum, Amsterdam