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More Variations on a Theme in Dessau? Germany’S Fourth Post-War Competition for a Bauhaus Museum 德国包豪斯德绍博物馆新馆国际竞赛 包豪斯德绍博物馆变奏曲 德国战后第四次包豪斯博物馆设计竞赛

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More Variations on a Theme in Dessau? Germany’S Fourth Post-War Competition for a Bauhaus Museum 德国包豪斯德绍博物馆新馆国际竞赛 包豪斯德绍博物馆变奏曲 德国战后第四次包豪斯博物馆设计竞赛 081-150.qxp_Layout2015 Competitions Annual 1 16-6-28 Final_Layout 4:22 1Page 16-6-29 126 2:18 Page 126 More Variations on a Theme in Dessau? Germany’s Fourth Post-War Competition for a Bauhaus Museum 德国包豪斯德绍博物馆新馆国际竞赛 包豪斯德绍博物馆变奏曲 德国战后第四次包豪斯博物馆设计竞赛 ermany is not about to let the world arts which will replace the existing Bauhaus community forget about the unique role Museum in Weimar, is to be completed by G played by the Bauhaus movement in the 2018. First Place evolution of modern art and architecture. There After the Bauhaus moved from Weimar to (Shared) is already a Bauhaus Archive in Berlin, moved Dessau, where the Bauhaus resided until the there from Darmstadt in 1971, and the building 1930s when the Nazis came to power and Young & Ayata it now resides in was completed in 1979. It is where the main building by Walter Gropius has with hardly recognizable from Walter Gropius origi- achieved iconic status, a recent international Misako Murata nal 1964 intended design, except for the shed competition for its own Bauhaus Museum took New York, NY roofs. place. Although one may assume a lot of over- Since the Berlin Archive can only accommo- lap between these three museums as to ABOVE date 35% of the institution’s holdings, a com- exhibits, the plan for the new museum in View to entrance petition was staged there in 2005 to expand the Dessau could be deemed somewhat of a logical OPPOSITE PAGE site’s capacity. The invited architects for that move, as the present school is still located Aerial view of model competition were Diener & Diener (Basel), there, setting the tone for the ‘international Nageli Architekten (Berlin), SANAA (Tokyo), style’ we now are so familiar with. Sauerbruch & Hutton (Berlin) UN Studio The Dessau Competition (Amsterdam), and Volker Staab (Berlin). SANAA Contra ry to what one might have anticipated, was chosen as the winner, but the City with- the Dessau competition did not choose a site drew its support from that project in the wake for the new museum near the present school, of the world economic crisis in 2009. More but instead envisioned a downtown location recently, a second 2015 competition for the for it in a park-like setting. This was an open, same project resulted in Volker Staab as the international competition, and the organizers winner, having more luck the second time were not disappointed with the interest it gen- around (See page 1). erated. What was surprising, was that the top In 2012 a Bauhaus Museum competition took four premiated entries were all from abroad, place in Weimar, where the Bauhaus was origi- with the two first place winners from Barcelona nally founded under Gropius in 1919. That com- and New York. Not surprisingly, with the excep- petition was won by the Berlin architect, Heike tion of the one first place winner from the U.S., Hanada, with Benedict Tonon. The new building, all of the others were variations on easily 126 2015 Competitions Annual 081-150.qxp_Layout2015 Competitions Annual 1 16-6-28 Final_Layout 4:22 1Page 16-6-29 127 2:18 Page 127 recognizable themes out of the Bauhaus annals. clusion that two first places should be awarded: Since the Bauhaus was not only about architec- • Gonzalez Hinz Zabala with Roser Vives de Delás (Barcelona) ture, but also art, one might understand the jury’s Since the Bauhaus was not • Young & Ayata with Misako Murata (New York) indecision in picking two contrasting choices for Third Place the top award. Their architectural expression rep- only about architecture, but • Berrel Berrel Kräutler AG with ASP (Zürich) resented both disciplines—one having very func- also art, one might under- Fourth Place tional, straightforward lines, the other more stand the jury’s indecision • Ja Architecture Studio, (Toronto) whimsical in the manner of an organic biological in picking two contrasting Honorable Mentions creation. • Raummanufaktur (Edin Saronjic, Alexander Scholtysek), Jurying a competition with this challenging choices for the top award. (Darmstadt, Germany) subject matter could hardly have been easy. The Their architectura l expres- • Nussmüller Architekten ZT with Robert Kutscha (Graz, Austria) expert, jury was made up of: sion represented both disci- • Steiner, Weißenberger Architekten with Jens Henningsen (Berlin) • Barbara Holzer (Zürich / Berlin) One might anticipate that the Bauhaus-like design by the • Jürgen Mayer. (Berlin) plines—one having very Gonzalez Hinz Zabala team would be the final choice of the client • Regine Leibinger (Berlin) functional, straightforward for realization, if for no other reason than budget. Still, the • Wolfgang Lorch (Darmstadt) lines, the other more whim- Young & Ayata entry did raise the question as to whether archi- • Ralf Niebergall (Magdeburg) tects such as Frank Gehry do owe something to the Bauhaus—if • Matthias Vollmer (German Ministry of Building sical in the manner of an for no other reason than in the theoretical evolution of the pro- & Construction) organic biological creation. fession to where we are today. Here, the jury evidently wanted to • Guido Hager (Zürich) indicate that they were not focusing solely on derivative solutions After two stages, the jury finally reached the con- harking back to Mies or Gropius, but were casting a wider net. 2015 Competitions Annual 127 081-150.qxp_Layout2015 Competitions Annual 1 16-6-28 Final_Layout 4:22 1Page 16-6-29 128 2:18 Page 128 First Place (Shared) Young & Ayata Dessau Bauhaus Buseum with Misako Murata New York, NY ABOVE Elevation LEFT Fabrication concept OPPOSITE PAGE Floor plan The design adopts an organic, sculptural approach. It takes the form of an open collection of structures, avoiding the impression of one isolated building. It is successfully integrated into the Park, making various references to the surro unding city. It is an independ- ent structure that becomes a new reference point in a disparate urban environment. The design approach has a certain suggestive force, radiates warmth and is highly distinctive, exerting an inviting fascination. References to various Bauhaus concepts are success- fully combined to create a new, contemporary gen- eral approach. The hybrid character combining nature and culture extends the landscape into a three-dimensional figure. The layout consists of individual modules which can be connected together in various shapes. This flexibility allows further modifications in the subse- quent planning of the building. Later extensions are easily imaginable, as are further developments and refinements in the realization process. The lighting is a decisive element in the creation of space and the feel proposed for the interior spaces. The representa- tion of the exhibition concept is successful. The exterior design is continued inside in the foyer and cafe areas. The area- and volume data seem to be in an economical ratio; thus it must be proven how far the construction costs will be feasible within the budget. This well-thought-out design works with repeated motifs using contempora ry technological solutions and production approaches. The use of recycled materials and the approach to sustainability are innovative. The wooden construction stands on an elevated concrete slab. The outer skin is made of sin- tered glass mosaics depicting a variety of digitally generated patterns. As a result, 100 years down the line the building offers a forceful, bold and ground- breaking architectural testimonial to the 21st centu- ry that not only holds its own in the global competi- tion but clearly leaves it own mark. -Jury Comments 128 2015 Competitions Annual 081-150.qxp_Layout2015 Competitions Annual 1 16-6-28 Final_Layout 4:22 1Page 16-6-29 129 2:18 Page 129 Dessau Bauhaus Museum 2015 Competitions Annual 129 081-150.qxp_Layout2015 Competitions Annual 1 16-6-28 Final_Layout 4:22 1Page 16-6-29 130 2:18 Page 130 Dessau Bauhaus Museum 130 081-150.qxp_Layout2015 Competitions Annual 1 16-6-28 Final_Layout 4:22 1Page 16-6-29 131 2:18 Page 131 Dessau Bauhaus Museum First Place (Shared) Young & Ayata with Misako Murata New York, NY LEFT, ABOVE Park view LEFT, MIDDLE Exploded concept LEFT, BELOW Section OPPOSITE PAGE, ABOVE, LEFT Permanent gallery OPPOSITE PAGE, ABOVE, FIGHT Entrance lobby OPPOSITE PAGE, MIDDLE, FIGHT Temporary gallery OPPOSITE PAGE, BELOW Section detail 2015 Competitions Annual 131 081-150.qxp_Layout2015 Competitions Annual 1 16-6-28 Final_Layout 4:22 1Page 16-6-29 132 2:18 Page 132 Dessau Bauhaus Museum 132 2015 Competitions Annual 081-150.qxp_Layout2015 Competitions Annual 1 16-6-28 Final_Layout 4:22 1Page 16-6-29 133 2:18 Page 133 Dessau Bauhaus Museum First Place (Shared) Young & Ayata with Misako Murata New York, NY LEFT, ABOVE View from corner LEFT, MIDDLE Interior perspective LEFT, BELOW Structural support detail BOTTOM Concepts OPPOSITE PAGE, ABOVE Cafeteria OPPOSITE PAGE, BELOW Site plan 2015 Competitions Annual 133 081-150.qxp_Layout2015 Competitions Annual 1 16-6-28 Final_Layout 4:22 1Page 16-6-29 134 2:18 Page 134 Dessau Bauhaus Museum 134 2015 Competitions Annual 081-150.qxp_Layout2015 Competitions Annual 1 16-6-28 Final_Layout 4:22 1Page 16-6-29 135 2:18 Page 135 Dessau Bauhaus Museum First Place (Shared) Gonzalez Hinz Zabala with Roser Vives de Delás Barcelona, Spain LEFT, ABOVE Aerial view of model LEFT, BELOW Gallery view OPPOSITE PAGE View to entrance The new Bauhaus Museum—an elongated bar running parallel to Kavalierstrasse—can be seen as an iconographic legacy—“less is more”. The glazed foyer level provides a link between urban city life and the City Park, inviting visitors into the museum. Its specific setting within the city space continues inside: an easy-to-read, floating, black exhibi- tion space, the definition of the black box. The glass envelope cloaking the building defines both the reception area with its visitor services and temporary exhibition space and pro- vides maximum curatorial freedom in terms of flexibility of use.
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