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in ∂ Building in Existing Fabric Refurbishment Extensions New Design Christian Schittich (Ed.) Edition Detail in ∂ Building in Existing Fabric in ∂ Building in Existing Fabric Refurbishment · Extensions · New Design Christian Schittich (Ed.) Edition Detail – Institut für internationale Architektur-Dokumentation GmbH & Co. KG München Birkhäuser – Publishers for Architecture Basel · Boston · Berlin Editor: Christian Schittich Co-Editor: Thomas Madlener, Andrea Wiegelmann Editorial Services: Christine Fritzenwallner, Julia Liese Translation German/English: Elizabeth Schwaiger (pp. 8–37), DETAIL (pp. 38–176) Drawings: Norbert Graeser, Marion Griese, Olli Klein, Nicola Kollmann, Emese Köszegi, Elli Krammer, Sabine Nowak, Andrea Saiko, Claudia Toepsch DTP: Peter Gensmantel, Andrea Linke, Cornelia Kohn, Roswitha Siegler This book is a cooperation between DETAIL – Review of Architecture and Birkhäuser – Publishers for Architecture A CIP catalogue record for this book is available from the Library of Congress, Washington D.C., USA Bibliographic information published by Die Deutsche Bibliothek The Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data is available on the Internet at <http://dnb.ddb.de>. © 2003 Institut für internationale Architektur-Dokumentation GmbH & Co. KG, P.O. Box 33 06 60, D-80066 München, Germany and Birkhäuser – Publishers for Architecture, P.O. Box 133, CH-4010 Basel, Switzerland This work is subject to copyright. All rights are reserved, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, re-use of illustrations, recitation, broadcasting, reproduction on microfilms or in other ways, and storage in data banks. For any kind of use, permission of the copyright owner must be obtained. Printed on acid-free paper produced from chlorine-free pulp (TCF ∞). Printed in Germany Reproduction: Karl Dörfel Reproduktions-GmbH, München Printing and binding: Kösel GmbH & Co. KG, Kempten ISBN 3-7643-1120-7 9 8 7 6 5 4 3 2 1 Contents Creative Conversions Parasite in Rotterdam Christian Schittich 8 Korteknie & Stuhlmacher, Rotterdam 98 Conversions – the new normal Restaurant in Oporto Johann Jessen and Jochem Schneider 10 Guilherme Páris Couto, Oporto 102 There’s nothing green about Panel Construction Housing in Dresden building in the countryside Knerer and Lang, Dresden 106 Günther Moewes 22 Housing Development in Chur Preservation of Buildings from the Modern Era Dieter Jüngling and Andreas Hagmann, Chur 110 Berthold Burkhardt 28 Insurance Building in Munich Baumschlager & Eberle, Vaduz 114 Urban Renewal in Salemi Alf Lechner Museum in Ingolstadt Álvaro Siza Vieira, Oporto, Fischer Architects, Munich 124 Roberto Collovà, Palermo 38 MoMA QNS in New York Cultural Centre in Toledo Michael Maltzan architecture, Los Angeles Ignacio Mendaro Corsini, Madrid 42 Cooper, Robertson & Partners, New York 130 Museum in Colmenar Viejo Tate Modern in London Aranguren Gallegos, Madrid 50 Herzog & de Meuron, Basle 136 Shop Entrance in New York Cultural and Business Centre in Turin Future Systems, London 54 Renzo Piano Building Workshop, Genoa 144 Visitors’ Centre in Criewen Documentation Centre in the Reichs Party Anderhalten Architects, Berlin 58 Congress Complex in Nuremberg Günther Domenig, Graz 156 Yellow House in Flims Valerio Olgiati, Zurich 64 British Museum Courtyard in London Foster and Partners, London 164 House and Studio Building in Sent Rolf Furrer, Basle; Christof Rösch, Sent 68 Church Community Centre in S chwindkirchen arc Architects, Munich 72 Loft Conversion in Berlin Rudolf + Sohn, Munich 76 House Extension in Montrouge Fabienne Couvert & Guillaume Terver, Paris IN SITU montréal, Montreal 80 House Extension in Munich Lydia Haack + John Höpfner, Munich 84 House on Lake Starnberg Fink + Jocher, Munich 88 Architects 172 House Extension in Remscheid Authors 175 Gerhard Kalhöfer, Stefan Korschildgen, Cologne 94 Illustration credits 176 Creative Conversions Christian Schittich Working with existing buildings has long ceased to be only a roof –, while much of the interior is characterized by an question of preserving the city image and historic monu- almost seamless merging between old and new, with the ments; it has become an economic and ecological impera- minimized details of the completion fitting naturally into the tive. In a time, when resource and pollution issues are existing structure. Günther Domenig, on the other hand, intensifying coupled with decreasing population numbers in has – metaphorically speaking – pierced the flesh of Nurem- the industrialized nations, working with the existing built envi- berg’s massive old Reichsparteitag building (see page ronment, repairing and restoring it for continued use has 156ff), achieving the feat of finding a practical use in the new become the order of the day, instead of destroying more documentation center for the cumbersome building, an green space and exploiting more resources. Conversions important historic structure that should be preserved despite and upgrades – which, today, account for nearly 40 per cent its negative historical legacy, without glossing over its past. of construction in Central Europe – will continue to gain in While the form and appearance of the old structure have importance in the near future, accounting for a steadily been largely preserved in the aforementioned examples, the increasing percentage of the total building volume. renovation of housing schemes, especially the sterile panel construction in the former East, is focused not only on Thus building in the built environment not only means work- improving the quality of the living environment but also the ing with historically valuable structures, but increasingly also aesthetic image, for example in the case of the balcony addi- with ordinary buildings – industrial structures or mass hous- tions by Knerer and Lang in Dresden (see page 106ff). And ing schemes from the postwar era. The spectrum of tasks is finally, Baumschlager and Eberle have stripped the insur- correspondingly varied: it ranges from simple repair to func- ance building of the Münchener Rück down to the bare load- tional and aesthetic optimization or ecological upgrades, bearing structure, creating a modern building, which no from restoration true to the original to creative conversion. In longer reveals any traces of its predecessor on the inside or each case, the architect’s approach is largely dependent on on the outside. the old building itself. For a long time, Carlo Scarpa’s refurbishment of the medieval Architects have looked upon conversion and renovation as a Castelvecchio in Verona (1956 –1964) was considered the necessary evil for a long time, preferring to make their repu- benchmark for all creative conversions. The principles, which tations with spectacular new buildings. This was especially Scarpa developed for the project – distinct separation of true during the classic modern era, when little value was confident interventions and existing fabric through contrast- attached to old buildings and the avant-garde focused all its ing materials – have lost none of their validity to this day and energies on innovation. Things have changed, however. The continue to be applied far and wide in the treatment of his- examples mentioned above and the projects presented in toric monuments. Alvaro Siza’s urban renewal in the Sicilian this book reveal the broad spectrum of tasks, possibilities Saleme (see page 38ff) or the conversion of a church into a and attitudes in working with existing buildings and demon- cultural center in Toledo by Ignacio Mendaro Corsini (see strate that the theme is anything but dull. On the contrary: page 42ff) are examples that follow in the footsteps of working with the given fabric, which imposes necessary Scarpa’s tradition, albeit with fewer mannerist details. constraints on the designer, is one of the most creative and What is more frequent, however, is a design philosophy fascinating tasks in architecture. where the boundary between old fabric and new completion is becoming increasingly blurred, where architects interpret the old building in a new way and develop it further. This is the case with the two spectacular conversion initiatives for monumental historic industrial sites – the former Bankside Power Station in London into the Tate Modern (see page 136ff) and the former Fiat factory in Turin (see page 144ff). Renzo Piano’s approach to working with the impressive Lingotto factory can almost be described as pragmatic: seen from the outside, he has left the old building nearly untouched – with the exception of the two accents on the 9