Historically significant Hambach Castle has been modernised and extended for restaurant use by architect Max Dudler.

Conversion and Extension of Hambacher Castle, image Max Dudler | Photo by Stefan Müller

Max Dudler's idea was to turn the accessible castle wall into a usable space. This he achieved through his choice of building material – using the same type of stone for the facades as had been used for the existing castle walls – as well as through opening up the stone walls with large, deeply recessed windows, thereby enhancing the building's sense of depth.

Conversion and Extension of Hambacher Castle, image Max Dudler | Photo by Stefan Müller

Dudler's concept of "creating a building from the wall" resonates with the building ensemble as a whole. This results in unobtrusive, clean-lined structures which complement the principal castle building, thereby ensuring visitors a welcome that is respectful of history.

Conversion and Extension of Hambacher Castle, image Max Dudler | Photo by Stefan Müller

Additions to the historical building augment rather than overwhelm the existing structure. Dudler's desire was to "respect the language of the place by coming up with a suitable architectural response to the structure's existing vocabulary".

The castle's new restaurant – with its panoramic stone terrace offering breathtaking views – also takes its visual lead from the defensive walls and serves in a sense to augment them. The result is a sculptural building whose dining function serves as an additional benefit to the complex as a whole. The restaurant has many windows which are glazed flush with the interior wall.

Conversion and Extension of Hambacher Castle, image Max Dudler | Photo by Stefan Müller

Both in the remodelling of the castle (with its festive hall, Siebenpfeiffer Hall and modern conference centre) and in the construction of the '1832 Restaurant', Dudler took the castle's defensive walls as his visual starting point. Made of local yellow sandstone, these walls heavily influence the site's overall appearance and for this reason the same material was chosen for new construction work.

Conversion and Extension of Hambacher Castle, image Max Dudler | Photo by Stefan Müller

Serving as backdrop to the so-called "German National Festival", Hambach Castle bears unique witness to both German and European history and is regarded as the cradle of German democracy due to the Hambach Festival which took place amid its ruins in 1832. Since its founding as a late Roman hilltop settlement in 305 AD, the castle has been modified extensively over successive centuries. After its transferral to the Hambach Castle Foundation in 2002, plans were drawn up for the structure to undergo extensive modernisation, remodelling and new construction work. The architectural competition organised by the Foundation was won by renowned architect Professor Max Dudler.

Conversion and Extension of Hambacher Castle, image Max Dudler | Photo by Stefan Müller

Dudler was insistent that any additions to the historical building should augment rather than overwhelm the existing structure. His desire was to "respect the language of the place by coming up with a suitable architectural response to the structure's existing vocabulary". Bearing in mind the building's almost two thousand year history, his goal was to extend the existing historical structure through subtle means. A balanced architectural whole was created through use of a contemporary style embedded in tradition and history. Max Dudler's idea was to turn the accessible castle wall into a usable space. This he achieved through his choice of building material – using the same type of stone for the facades as had been used for the existing castle walls – as well as through opening up the stone walls with large, deeply recessed windows, thereby enhancing the building's sense of depth. Both in the remodelling of the castle (with its festive hall, Siebenpfeiffer Hall and modern conference centre) and in the construction of the '1832 Restaurant', Dudler took the castle's defensive walls as his visual starting point. Made of local yellow sandstone, these walls heavily influence the site's overall appearance and for this reason the same material was chosen for new construction work.

Conversion and Extension of Hambacher Castle, image Max Dudler | Photo by Stefan Müller

During the rebuilding work, Dudler attached great importance to exposing the building's original substance. The existing walls were painstakingly cleaned, opened up and consolidated, thereby creating both spatial and chronological connections which had remained concealed until then. New materials – such as cherry wood, stone, steel and glass – were selected so as to blend in naturally, while all technical features remained hidden within the thick walls. The castle's new restaurant – with its panoramic stone terrace offering breathtaking views – also takes its visual lead from the defensive walls and serves in a sense to augment them. The result is a sculptural building whose dining function serves as an additional benefit to the complex as a whole. The restaurant has many windows which are glazed flush with the interior wall. These deeply recessed forms in various sizes are distributed like paintings across the restaurant wall, creating sophisticated visual compositions which establish an enhanced relationship with the stunning landscape beyond. The light and rectilinear restaurant nestles harmoniously alongside the existing historical castle building, providing both an optical continuation of the mediaeval ring wall and a logical evolution of the building's structural form. The concept of "creating a building from the wall" resonates with the building ensemble as a whole. This results in unobtrusive, clean-lined structures which complement the principal castle building, thereby ensuring visitors a welcome that is respectful of history.

Conversion and Extension of Hambacher Castle, image Max Dudler | Photo by Stefan Müller

+ Project facts

Client: Stiftung Hambacher Schloss
User: Hambacher Schloss Betriebs-GmbH
Planning and construction period: 2005–2011 (renovation work 2005–2008, construction of new buildings 2009–2011)
Architect: Max Dudler Berlin / Zürich / Frankfurt
Project Manager: Simone Boldrin
Contributors: Julia Werner, Handan Özdimir, Patrick Gründel)
Photos: Stefan Müller

Building volumes:
renovated buildings: 3.600 m2 gross surface area, 15.500 m3 gross building volume
new buildings: n1.300 m2 gross surface area, 6.300 m3 gross building volume

Construction costs for rebuilding and new construction: approx. 20 million Euros

+ About Max Dudler

Dudler was born in Altenrhein, Switzerland and began his studies at Städelschule Frankfurt/M (Prof. Günter Bock). He graduated at University of the Arts in Berlin (Ludwig Leo). For many years he was a member of O.M. Ungers group. In 1986 he established his first architectural firm. Today the renowned architect runs offices in Berlin, Zürich and Frankfurt/M. Since 2004 Max Dudler holds a professorship at the Kunstakademie, Düsseldorf.

+ All images courtesy Max Dudler | Photo by Stefan Müller

A Swiss congregation commissioned Dutch-based practice Serge Schoemaker Architects to design a plan for the conversion of the prominently located ‘Villa Erica’ boarding school in Locarno. The design transforms the 6.100 m2 large complex from the seventies into thirty apartments.

Locarno Apartments, image courtesy Serge Schoemaker Architects

Built in 1978, the boarding school of the congregation Barmherzige Schwestern vom heiligen Kreuz is situated 500 metres from the Piazza Grande, where the yearly Locarno International Filmfestival takes place. Part of Serge Schoemaker Architects’ commission was to determine the new program of the boarding school. As the school’s rich mediterranean garden is enclosed by a high natural stone wall, the complex proved to be very suitable as gated community with integrated dwellings for families or elderly. On the advice of the Amsterdam based practice the building will be transformed into a residential building with open plan studio and duplex apartments.

Locarno Apartments, image courtesy Serge Schoemaker Architects

The existing complex of architect F. Guscetti encompasses two buildings: a seven-storey building with sixty-one dormitory rooms and a three-storey building with eight classrooms. The architecture displays Brutalist characteristics: striking repetitive angular geometries, constructed in prefabricated and in situ concrete. The proposed conversion strategy attempts to reinforce and to improve the spatial quality of the building. Existing windows will be enlarged to storey high openings and most of the non-structural walls between the boarding school rooms will be taken out. This will transform the rather dark interiors of the seventies into light, spacious volumes, fulfilling contemporary needs, and at the same time increasing the presence and character of the concrete structure.

Locarno Apartments, image courtesy Serge Schoemaker Architects

The auditorium, chapel and restaurant of the boarding school will retain their collective function. In the tower up to five-room apartments will be created by connecting the dorm rooms, both horizontally and vertically. The classroom in the lower building will be converted into open plan studio apartments, suitable for disabled people. Balconies will be added to both buildings to create private outside spaces.

Locarno Apartments - 1st floor plan, drawing courtesy Serge Schoemaker Architects

Locarno Apartments - Apartment typologies, drawing courtesy Serge Schoemaker Architects

Locarno Apartments - section, drawing courtesy Serge Schoemaker Architects

+ Project facts

Project: Locarno Apartments, Switzerland
Surface: 6.100 m2
Preliminary Design: 2012
Due for completion: 2014
Client: Barmherzige Schwestern vom heiligen Kreuz, Mutterprovinz Schweiz
Architect: Serge Schoemaker Architects
Project Team: Serge Schoemaker, Dik Houben, Kevin Veenhuizen, Giulia Zia

+ All images and drawings courtesy Serge Schoemaker Architects

Houston Lobby Glass Walls Project, image courtesy Paul Housberg

When Houston architect Ken Harry partnered with Hines Development to imbue the lobby of Houston's Chase Center with new life, he called on acclaimed glass artist Paul Housberg. The result is a public work of art, a striking installation composed of over 2,000 individual pieces of glass, and a lobby that seems to transcend the workaday world inviting visitors to linger.

Houston Lobby Glass Walls Project, image courtesy Paul Housberg

For Housberg, whose innovative glass art graces hotels, corporate offices, healthcare facilities and civic buildings across the country, this project brought a welcome return to Texas. Previously, he had created a vibrant installation for Three Sugar Creek Center in Sugarland.

Houston Lobby Glass Walls Project, image courtesy Paul Housberg

Housberg's inspired use of color in his installation for the lobby of the Chase Center at 601 Travis results in a celebration of the public space. At once lush, vibrant and welcoming, Housberg's inventive installation is composed of 215 tiles, each tile itself created from eight to ten individually cut pieces of glass. Amid its intense blues, hints of rust and grey echo the stone surrounding the installation. Its artistry infuses it with a timeless quality.

Notes Housberg,

A work of public art succeeds when it draws people in, making them pause for a moment, and causing them to feel more connected to their surroundings. Each of us responds deeply to color, texture and pattern; these three elements drive my work.

Houston Lobby Glass Walls Project, image courtesy Paul Housberg

Hailing from Jamestown, Rhode Island, Paul Housberg is a graduate of and has instructed at Rhode Island School of Design. He is recognized for his innovative approaches to working with glass as a medium for architectural art.

To view a time lapse video of the art installation, please visit http://www.glassproject.com/blog/

BUCHMANN GALERIE
Charlottenstrasse 13 D-10969 Berlin, Germany
+49(0)30 258 999 29
www.buchmanngalerie.com

April 27 – June 23, 2012

Berlin Gallery Weekend:
Friday, April 27, 2012, 6-9 pm
Saturday + Sunday, April 28 + 29, 11 am – 7 pm
Weekdays: Tues. – Sat. 11 am – 6 pm

The Buchmann Galerie is pleased to announce its third exhibition with the architect Zaha Hadid to coincide with Gallery Weekend in Berlin.

The focus of the presentation is on eight Silver Paintings, three Dot Paintings, and the large furniture-sculpture Iceberg and Gyre.

Zaha Hadid became internationally known in the early 1980s for a series of spectacular designs, drawings, and paintings. These early studies were unusual in that they were not simply studies associated with a task but also permitted an open interpretation of the project from various perspectives. Architecture always exists in the area of tension between 2-D and 3-D, between the translation of drawing into building. Nevertheless, in architecture it is precisely the drawing, the 2-D works, that achieved true innovations, which is why the Silver Paintings and the Dot Paintings are particularly important in this exhibition “Drawing accelerates the evolution of architecture,” as Patrik Schumacher, Senior Office Partner at ZHA Architects, explains.

Zaha Hadid‘s Silver Paintings and Dot Paintings express notions of space that are otherwise familiar only from abstract formulas or can only be experienced as tectonic forms. Images are important to the studio’s work because their modulations of colour, gradients of dark to light or pointillist techniques are design means that cause objects to disappear against their background, showing different options on the long path to the built reality. The graphic forms of the Silver Paintings and Dot-Paintings are translated step by step into tectonic structures. Hadid’s images are representational without being naturalistic, because they do not show physical realities but rather architectural possibilities: Detlef Mertins explains in the catalogue to Hadid’s 2006 exhibition at the Guggenheim Museum: “Hadid’s paintings bring mathematical and geological geometries into greater alignment.”

The Iceberg furniture piece, designed for Sawaya & Moroni, is part of a line of formal research that explores the idea of liquid territories. The outstanding and apparent features of this bench are two icicles – like extensions. One is darting into horizontality whereas the other points vertical. Although these two shapes are opposing and contrasting each other there is mediation between them through a diagonal fold that “morphs” one form into the other. The Gyre chair, from the 2006 Seamless Collection by Zaha Hadid for Established & Sons, is an obvious evolution of the architectural language explored: soft meets sharp, convex and concave, and a sculptural sensibility that impactness on our self-conception. The rhythm of folds, niches, recesses and protrusions follows a coherent formal logic. With the formal dynamic of a fluid mass, Hadid emphasizes the continuous nature of the design and the smooth evolution between otherwise disparate elements.

Zaha Hadid has consistently extended the limits of architecture and the designed space. Her experimentation with new spatial concepts has attracted worldwide attention and her seminal built works include the MAXXI: National Museum of 21st century Arts in Rome and the London Aquatics centre for the 2012 Olympic Games.

+ Visit BUCHMANN GALERIE for more information.

Shared by EDITION29, this is the short fun video that features the incredible Ludwig Mies van Der Rohe twin glass tower apartments in Chicago built in 1949.

+ Check it out here for more information and images in our earlier story.