معماری

ماهاتما گاندی

Bonn, Germany
2009–TBC

PROGRAM:
Symphony Hall, Chamber Music Hall / Recital Hall (competition)

CLIENT:
Deutsche Post AG, Deutsche Telekom, Deutsche Postbank

CONCEPT:
URBAN CONCEPT
A central priority in Zaha Hadid Architect’s urban design concept for a new Beethoven Festival Hall is linking the city of Bonn to the Rhine River promenade and leveraging that idea’s potential to enrich public life on the river’s edge.

Learning from the missed opportunities during the planning of the existing building in the 1950’s, Zaha Hadid Architect’ proposal not only incorporates a high degree of porosity in its site plan, but intensifies the connection by introducing a transparent “Rhine Foyer” into the building mass; a dramatic atrium that stretches from the City to the Rhine. With two main façades, the building presents itself in an open and inviting manner to the River and the City, allowing for deep visual links through its crystalline mass. The light Rhine Foyer will make audiences and performers feel comfortable and relaxed but simultaneously excited by the anticipation of a unique experience.

Site circulation can take place uninterrupted through various levels inside and around the building. Artificial landscape formations lead from inside the building to terraced outdoor areas, interweaving the elevated foyer levels with surrounding exterior plateaus. The stepped topography on the Rhine invites Bonn residents and visitors to informally enjoy outdoor performances. The main public route is a large diagonal passage, an ‘erosion’, running from the city through the Rhine Foyer and down a large exterior staircase to the river promenade. The promenade is sliced into curvilinear seating that gently step down to the Rhine, facing a seasonal floating performance area on the water’s edge. Illumination from within the foyer, embedded in the ground, and floating in the water will change the character of the site and building during evening performances. The building becomes a performer itself. The new Beethoven Symphony Hall will be an icon for the city of Bonn and a living monument to Beethoven. A European jewel!

FORM
Sculpted Exterior
A jewel is placed on the Rhine riverbank. Its faceted external surface oscillates between crisp edges, like a crystalline rock formation, and rounded areas where large openings occur. Dynamic perforations wrap the volume, allowing for a gradient of light conditions throughout the building. At night, the object turns transparent, glowing from the inside.
Inlays
The large wooden symphonic hall is inlayed like a musical instrument’s resonating body within the exterior envelope, faintly expressing itself towards the outside. A warm glow resonates from within. The formal counterpoint to the large hall is constituted through the smaller recital and chamber music hall. The large concert hall and the smaller recital hall are wrapped in their own skins in such a way that both volumes appear subtly through the exterior envelope. Both volumes are shaped by their internal acoustic logics in order to provide a world class musical experience, while finer interior modulations are introduced to provide atmospheric qualities that enhance visitor experience and performance requirements. In this way, the shape of the two halls is translated into a more fluid continuum of lines and surface patterns on their skins. Visitors can experience both volumes simultaneously from various viewpoints on different levels in the building’s lobby. The Rhine Foyer space might evoke the impression of being in a river valley surrounded by rock erosions on opposite river banks.
Carved out Interior
The ‘Rhine Foyer’ with its curvilinear characteristics can be perceived as an in-inversion of the external facets. The enhancement of public and cultural life within this carved out passage is what is aimed for in this scheme. The experience of music on an experimental and possibly less formal level within this canyon space would attract visitors beyond the activities taking place within the concert and chamber music halls. At certain access points as well as at large glazed openings, the building’s convex shape shows concave indentations. These “in-inverting” operations mark special points of perception or visitor flow. Formal devices become orientation devices and support navigation through the site.

COMPUTER RENDERS:

Render © Zaha Hadid Architects

قصدم آزارِ شماست!(شاملو)

MAXXI: MUSEUM OF XXI CENTURY ARTS 

Rome, Italy
1998–2009

Photography © Iwan Baan

PROGRAM:
Contemporary art and architecture centre, temporary exhibition spaces

CLIENT:
Italian Ministry of Culture, Rome, Italy
Fondazione MAXXI

SIZE:
30000 m²

CONCEPT:
MAXXI stands for Museum of 21^st Century Arts. It is the first Italian public museum devoted to contemporary creativity, arts and architecture. The idea of building a centre for contemporary arts and architecture dates back to early 1998 with the Italian Ministry for Cultural Heritage desire to ensure the great cultural traditions of Italy’s past should not be denied a prospect for continuity in the future. The MAXXI was conceived to promote today’s artistic expressions – which will become tomorrow’s cultural heritage. Intended not only as place to exhibit art, the MAXXI was also planned as a research workshop for different contemporary languages of design, fashion and cinema to establish a dialogue with art and architecture – its cultural mission inspired by three key words: innovation, multiculturalism and interdisciplinary.

The design concept for the MAXXI was to move away from the idea of the museum as ‘an object’ and towards the idea of ‘a field of buildings’ accessible to all. After many studies, our research evolved into the concept of the confluence of lines, where the primary force of the site is the walls that constantly intersect and separate to create both indoor and outdoor spaces. The plan aligns itself with the two urban grids that regulate the town planning of the area and the new interpretation of these grids generates the geometrical complexity of the campus. The walls of the MAXXI create major streams and minor streams. The major streams are the galleries, and the minor streams are the connections and the bridges. The site has a unique L-shaped footprint that meanders between existing buildings. Rather than seeing this as a limitation, we used it to our advantage, taking it as an opportunity to explore the possibilities of linear structure by bundling, twisting, and building mass in some areas and reducing it in others – creating an urban cultural centre where a dense texture of interior and exterior spaces have been intertwined and superimposed over one another.

The contractor provided integrated construction solutions from the technical proposals presented at tender stage – with direct contribution of all sectors involved in the completion of components. The individual specification of materials was minimized in favour of an integrated strategy, ensuring the precise coordination of construction materials and methods required to develop the bespoke production lines for the contract. For continuity, the walls of the MAXXI were cast on-site in self-compacting concrete, representing one of the most challenging aspects of the construction process – with casts up to 50m long. The concrete shuttering involved the coordination of casting guidelines issued by Zaha Hadid Architects; with the site management directly responsible for the structural planning of the joinery, the completion of off-standard formwork systems, the design mix of the concrete, and the critical aspects of laying the concrete.

PHOTOGRAPHY:

Photography © Iwan Baan

Photography © Iwan Baan

Photography © Iwan Baan

Photography © Iwan Baan

Photography © Iwan Baan

Photography © Roland Halbe

Photography © Roland Halbe

Photography © Iwan Baan

Photography © Iwan Baan

CONSTRUCTION PHOTOGRAPHY:

Construction Photography © Zaha Hadid Architects, September 2007

Construction Photography © Zaha Hadid Architects, September 2007

Construction Photography, © Zaha Hadid Architects, September 2007

Construction Photography © Hélène Binet, July 2007

Construction Photography © Hélène Binet, July 2007

Construction Photography © Hélène Binet, September 2006

COMPUTER RENDERS:

Render © Zaha Hadid Architects

Render  © Zaha Hadid Architects

DRAWINGS:

Ground Floor Plan © Zaha Hadid Architects

Ground Floor Ceiling Plan © Zaha Hadid Architects

First Floor Plan © Zaha Hadid Architects

First Floor Ceiling Plan © Zaha Hadid Architects

Second Floor Plan © Zaha Hadid Architects

Roof Plan © Zaha Hadid Architects

PAINTINGS:

Painting © Zaha Hadid Architects

Painting © Zaha Hadid Architects

Painting © Zaha Hadid Architects

Painting © Zaha Hadid Architects

Painting © Zaha Hadid Architects

ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
PROJECT ARCHITECT: Gianluca Racana
SITE SUPERVISION TEAM: Anja Simons, Paolo Matteuzzi, Mario Mattia
DESIGN TEAM: Anja Simons, Paolo Matteuzzi, Fabio Ceci, Mario Mattia, Maurizio Meossi, Paolo Zilli, Luca Peralta, Maria Velceva, Matteo Grimaldi, Ana M.Cajiao, Barbara Pfenningstorff, Dillon Lin, Kenneth Bostock, Raza Zahid, Lars Teichmann, Adriano De Gioannis, Amin Taha, Caroline Voet, Gianluca Ruggeri, Luca Segarelli
COMPETITION TEAM: Ali Mangera, Oliver Domeisen, Christos Passas, Sonia Villaseca, Jee-Eun Lee, James Lim, Julia Hansel, Sara Klomps, Shumon Basar, Bergendy Cooke, Jorge Ortega, Stephane Hof, Marcus Dochantschi, Woody Yao, Graham Modlen, Jim Heverin, Barbara Kuit, Ana Sotrel, Hemendra Kothari, Zahira El Nazel, Florian Migsch, Kathy Wright, Jin Wananabe, Helmut Kinzer, Thomas Knuvener, Sara Kamalvan

CONSULTANTS:
PLANNING: ABT (Rome, Italy)
STRUCTURE: Anthony Hunt Associates (London, UK),
OK Design Group (Rome, Italy), Studio S.P.C. S.r.l. (Rome, Italy)
M&E: Max Fordham and Partners (London, UK), OK Design Group
LIGHTING: Equation Lighting (London, UK)
ACOUSTIC: Paul Gilleron Acoustic (London, UK)

سخن داروئی را ماند که اندک آن سود دهد و بسیارش کشنده است . (حضرت علی)