PROSTOR 22 [2014] 2 [48]

ZNANSTVENI ÈASOPIS ZA ARHITEKTURU I URBANIZAM A SCHOLARLY JOURNAL OF ARCHITECTURE AND URBAN PLANNING

SVEUÈILIŠTE POSEBNI OTISAK / SEPARAT OFFPRINT U ZAGREBU, ARHITEKTONSKI FAKULTET Znanstveni prilozi Scientific Papers UNIVERSITY OF ZAGREB, FACULTY 302-313 Marina Mihaila New Perspectives in Automotive Nove perspektive u arhitekturi OF ARCHITECTURE Cristian Banica Industry Architecture: automobilske industrije: Car Museum Design projektiranje muzeja automobila ISSN 1330-0652 CODEN PORREV Subject Review Pregledni znanstveni èlanak UDK | UDC 71/72 UDC 727.7”00” UDK 727.7”00” 22 [2014] 2 [48] 159-368 7-12 [2014] Fig. 1. BMW Welt , : view from BMW Museum, photo 2008 Sl. 1. BMW Welt, München, Njemaèka: pogled iz BMW muzeja, snimljeno 2008. Scientific Papers | Znanstveni prilozi 22[2014] 2[48] PROSTOR 303

Marina Mihaila, Cristian Banica

Center for Studies in Contemporary Architecture Bucharest, Romania Centar za istraživanje suvremene arhitekture Bukurešta, Rumunjska University of Architecture and Urbanism ”Ion Mincu” Bucharest, Romania Sveuèilište arhitekture i urbanizma „Ion Mincu”, Bukurešt, Rumunjska Heriot Watt & Edinburgh University, Edinburgh, UK Sveuèilište Heriot Watt, Edinburg, Velika Britanija Arhitectonik2000 Bucharest, Romania Architectonik2000, Bukurešt, Rumunjska [email protected] [email protected] [email protected] [email protected]

Subject Review Pregledni znanstveni èlanak UDC 727.7”00” UDK 727.7”00” Technical Sciences / Architecture and Urban Planning Tehnièke znanosti / Arhitektura i urbanizam 2.01.01. - Architectural Design 2.01.01. - Arhitektonsko projektiranje Article Received / Accepted: 5. 6. 2014. / 8. 12. 2014. Èlanak primljen / prihvaæen: 5. 6. 2014. / 8. 12. 2014.

New Perspectives in Automotive Industry Architecture: Car Museum Design Nove perspektive u arhitekturi automobilske industrije: projektiranje muzeja automobila

car museum muzej automobila cultural space kulturni prostor design projektiranje innovation inovacija technology tehnologija

Since 2000, car manufacturing industry turned increasingly towards specta- Od 2000. godine automobilska se industrija sve više okreæe spektakularnoj i cular and expressionistic architectures, targeting the confirmed presence in ekspresivnoj arhitekturi, potvrðujuæi svoju prisutnost u globalnom i lokalnom global and local (at city level) public space. This also resulted in the opening javnom prostoru. To je dovelo do otvaranja velikih površina interaktivnih mu- to the general public of extensive surfaces of interactive and museum spaces zejskih prostora široj javnosti putem organizacije obrazovno-informativnih to accommodate educational-informative activities, present the historic and aktivnosti, kulturnih dogaðanja i interaktivnih funkcija te prezentacije povije- technological emblem or host cultural events and interactive functions. snih i tehnoloških obilježja. 304 PROSTOR 2[48] 22[2014] 302-313 M. MIHAILA, C. BANICA New Perspectives in Automotive Industry Architecture… Scientific Papers | Znanstveni prilozi

INTRODUCTION AND GENERAL manifests and the structural expressiveness 1 of the image, and the stability in the favour of THEORETICAL FRAMEWORK redefinition of technology.4 In the area of au- tomotive architecture5 stands out a boom in UVOD I OPÆI TEORIJSKI OKVIR projects and constructions which are becom- ing more and more specialized to meet the new changes in the private life as well as in the life of society and the standard of living prefigured for the 21st century. Architecture dedicated to automobiles6 covers since the years 2000 several programmes: from the ar- chitecture of highways, crossings and bridg- es, facilities for Formula 1 racing and test tracks, car stations and gas stations, acoustic barriers and parking sites, showrooms and sales and leisure centres, dealerships, facto- ries, up to dedicated innovative research cen- tres and museums. Illustrative examples in this regard are: Trees Acoustic Barrier A2 Mo- torway in 2009 (by Structurae)7, Chiasso, Switzerland (by Mario Botta), Audi Forum Museum Mobile8 in 2000, Ingolstadt, Germa- ny (by Henn Architekten), Park and Ride Tram Station9, in Strasbourg France (by Zaha Had- id), BMW Central Building Factory10 in 2005, Leipzig Germany again by Zaha Hadid11, Cit- roen Flagship Showroom12 in 2007, Paris France (by Manuelle Gautrand), Dubai Auto- drome13 in 2004, Dubai UAE (Populous), Fer- rari Research Centre14 in 2012, Modena Italia 15 I f 1980’s launched along with Renault Distri- (Shiro Studio), New Ferrari Headquarters , in 2 - 2004, Maranello Italia (Massimiliano and Do- bution Centre in Swindon, UK, 1980-1982 16 signed by the architect Norman Foster - a riana Fuksas), Lingollo Factory Conversion in 2002, Torino Italia (Renzo Piano), Mer- new fashion in the architectural program de- 17 dicated to the exhibit and the car sales busi- cedes Benz Museum in 2006, Stuttgart Ger- ness, this was only the beginning of a new trend in promoting the brand space of the car 1 This article is part of the post-doctoral research pro- ject ”Types of innovation in cultural space. [working with/ manufacturing industry. This trend is orient- in] cultural spaces _ tradition and innovation.” PI Dr. Archi- ed, at the time, towards the technologically- tect Marina Mihaila, and it is supported by a grant from the innovative expressiveness of architecture, Ministry of Education in Romania, CNCS-UEFISCDI, project careful selection of the architect and the no. PN-II-RU-PD 2012-3-0515. enounced architectural concept, the pres- 2 http://www.fosterandpartners.com/projects/renault -distribution-centre/ [1.6.2014.] ence in a particularly chosen landscape to 3 Dredge, 2007 enhance the image of innovative design, ex- 4 Mihaila, 2012 tensive areas (25.000 m2) and the functional 5 Jodidio, 2011 diversification of the exhibition and sales 6 Morrison, Minnis, 2012 programmes with other types of activities in 7 http://structurae.net/structures/data/index.cfm?id the category of events and leisure. All these =p0001441 [1.6.2014.] characteristics were intended to make the lo- 8 http://www.henn.com/en/projects/culture/audi-mu- cation a point of local and global attraction. seum-mobile [1.6.2014.] Renault Distribution Centre Building was 9 http://phaidonatlas.com/building/park-and-ride-tram making then a change of thinking in the plane -station/3071 [1.6.2014.] of industrial distribution area, re-dedicating a 10 http://phaidonatlas.com/building/bmw-factory-cen- large surface of deployment and a spectacu- tral-building/823 [1.6.2014.] Hadid, Gannon lar iconic architecture. It was also making a 11 , 2006 12 http://www.manuelle-gautrand.com/projects/citroen shift in rethinking the function dedicated to -showroom/ [1.6.2014.] the commercial showroom and the industrial 13 http://phaidonatlas.com/building/dubai-autodrome 3 area - marking the emergence of a new ar- -sports-facility/1508 [1.6.2014.] chitectural programme, hybrid at that time: 14 http://phaidonatlas.com/building/enzo-ferrari-mu- the automotive centre as a point of attraction seum/223831 [1.6.2014.] and global architectural expression. 15 http://phaidonatlas.com/building/new-ferrari-head- quarters/67842 [1.6.2014.] Years 2000 mark at all levels of architecture a 16 http://www.rpbw.com/project/62/lingotto-factory- relaxation of design towards the search of -conversion/ [1.6.2014.] Scientific Papers | Znanstveni prilozi New Perspectives in Automotive Industry Architecture… M. MIHAILA, C. BANICA 302-313 22[2014] 2[48] PROSTOR 305

many (UnStudio), Hessing Cockpit Building and assuming the roles of education and ur- and Acoustic Barrier18 in 2005, Utrecht Hol- ban responsibilities.32 It also participates in land (by ONL), Renault Square Com in 2004, the cultural life of the city by organizing festi- in Boulogne-Billancourt Frant‚a (by Jakob Mac- vals and events, and defines itself as an ac- Farlane), Rolls Royce Manufacturing Plant tive resource of the public space33 thus be- and Hq19 in 2003, West Sussex UK (by Nicho- coming a cultural target for the interested las Grimshaw), Central Bus Terminal20 in 2002 public. Lugano, Italia (Mario Botta), Shanghai Auto No less important is the observation that at Museum21 in 2007, Shanghai Automobile City China (Atelier Bruckner), Three Bridges22, in the level of the brand translation, the dedi- 2013, Reggio nell’Emilia, Italia (Santiago Cal- cated automotive museum redefines itself as atrava), United Oil Gasoline Station23 in 2009, a theme park and enounces its status by its Los Angeles, USA (Kanner Architects), Auto- name, developing and supporting corporate motive Centre of Excellence24 in 2006, Mel- presence strategies through specific aesthetic bourne Australia (Lyons), Car Park In St Veit25 effects, becoming a ”branded museum desti- 34 in 2006, St Veit an der Glan, Austria (Ogris nation” as Homadovski calls it. Supposedly +Wanek Architekten) and many others. the automotive industry entered the museum ”market” less based or determined by direct The museums dedicated to cars26 follow the economic incentives (new market niche, new tradition of spaces destined to exhibit ob- services) but more likely with the intent to in- jects27 of museal value28, both permanent as crease brand visibility and public attraction. well as temporary collections complementary However, as we will later show - some of or not to the thematic area. This a niche of these projects prove to be rather successful innovation at the level of the architectural and sustainable economic enterprises. programme integrates one or more facilities When does occur the mutation taken by the specific for the automotive industry, translat- 35 ing concepts from the automotive area into museum towards the area of automotive- specific architectural elements in the forms cars exhibits and the illustration of the hi story as the domain’s evolution and current state of street design, movement, dynamics of per- of the art? We might probably state that start- ception and so on, but also incorporates the ing with the years 2000 the car manufactur- innovative and technological history of the ing industry increasingly turned towards 21st century.29 Likewise, the new car museum more spectacular and expressionistic archi- addresses a wide audience in the same way tectures, targeting directly the confirmed as the contemporary museum30 does it, by 31 presence in the global and local (at city level) opening towards the city space and tourism public space, but also at the level of opening to the general public extensive surfaces of 17 http://www.mercedes-benz-classic.com/content/cla- interactive and museum spaces to accommo- ssic/mpc/mpc_classic_website/en/mpc_home/mbc.flash .skipintro.html#_int_mbc:home:home-link:mbc [1.6.2014.] date educational-informative activities, the 18 http://www.oosterhuis.nl/quickstart/index.php?id= historic and technological emblem as well as cockpit [1.6.2014.] events and interactive functions. 19 http://grimshaw-architects.com/project/rolls-royce- -manufacturing-plant-headquarters/ [1.6.2014.] MATERIALS AND METHODS 20 http://www.botta.ch/page/Pu%202002_422_Pensi- lina_en.php [1.6.2014.] MATERIJALI I METODE 21 http://www.atelier-brueckner.com/en/projects/mu- [ seums/shanghai-auto-museum.html 1.6.2014.] The article is built around four selected case 22 http://www.detail-online.com/architecture/news/the -perfect-wave-new-high-speed-train-station-in-italy-0216 studies which investigate and highlight es- 74.html [18.7.2013.] sential underlying data, illustrated with doc- 23 http://www.kannerarch.com/main.html [1.6.2014.] umentary photographs taken during study 24 http://phaidonatlas.com/building/automotive-centre trips. In addition to the field research under- -excellence/460 [1.6.2014.] taken by the authors, specialty materials re- 25 http://phaidonatlas.com/building/car-park-st-veit/ garding the architecture and management of 1672 [1.6.2014.] studied projects are the main sources of in- 26 Meyhöfer, 2003 formation. The followed method is a multi- 27 Marvin, 2013 28 Naredi-Rainer, Hilger, 2004 criteria comparison of the case studies on 29 Bethscheider-Kieser, 2008 several levels of analysis concerning both the 30 Toy, 1997 architecture and the management of the 31 Lasansky, McLaren, 2004 studied examples. The four case studies were 32 Carmona, et al., 2009 analyzed comparatively departing from the 33 Gehl, 2010 synthetic figures related to architecture, ur- 34 Homadovski , 2009: 395 ban space, managerial and statistics of tour- 35 Jodidio, 2010 istic attractiveness36, synthetic study on ar- 36 Gali-Espelt, 2012 chitectural management - tourism mana- 37 Russo, van der Borg, 2002 gement37, targets and results, brief study 306 PROSTOR 2[48] 22[2014] 302-313 M. MIHAILA, C. BANICA New Perspectives in Automotive Industry Architecture… Scientific Papers | Znanstveni prilozi

regarding innovation in architectural design, CASE STUDY 1 - BMW WELT AND BMW solutions of enveloping, structure and dedi- MUSEUM, MUNICH cated spaces. Table I and Table II present this data which is intended to give a simultane- BMW Welt - Munich40, opened in 2007, is the ous comparative overview of the four pro- newest building built in fact as an extension jects: BMW Welt - BMW Museum Munich, of the architectural park developed by BMW Porsche Museum Stuttgart, Mercedes Benz Group AG in Munich alongside BMW Werk Stuttgart, Audi Museum Ingolstadt. (BMW Factory), the office tower connected to the factory, and the BMW Museum (initially All studied objectives have been built in the established in 1973). BMW Welt is the work of first decade of years 2000 in Germany. The Coop Himmelblau architects from Austria, motivation in choosing the case studies has who won the 275 entries architectural com- been based on several criteria: the impact petition from 2001, subsequently completing and influence the automotive industry has the full architectural design. As a key land- Fig. 2. BMW Welt Munich, Germany, photos 2008: and had in the region of south of Germany mark of urban representation, BMW centre view from bridge to Olympia Stadium Park (but also in Central Europe) and in the gen- was conceived as a visual insertion between Sl. 2. BMW Welt, München, Njemaèka, snimljeno 2008.: eration of gross domestic product (the re- the initial BMW development and Olympia pogled s mosta na park Olimpijskog stadiona spective Länder) over time; the localization in Stadium, but also as an additional value to a relative proximity; the close year of con- the experience of the organized factory and struction; all chosen brands are German; a museum visitation tours (which already at- similar architectural mission to create rele- tracted a significant number of visitors). At vant technological-architectural attraction the level of activities and representation it points both at urban and regional levels; a was intended as a large brand experience change in public perception regarding the open space that would generate a new iden- facilities the car manufacturing industry is titary and architectural spatial formation of offering and their impact on the local quality the whole ensemble.41 of life; the transformation and expansion of The (BMW Welt) building is developed inte- the manufacturing plants through additional grated into a green park area opposite to the spectacular features; the cultivation of a life- Olympia Park Stadium, and connected to the style that is based on design preference, re- later via a pedestrian bridge. These prece- laxation and creativity; the re-transcription of dent may be the reason why Coop Himmel- brand influence and presence in the city, by blau included in their architectural concept rewriting the landscape information. strategy the connection to the site previously developed by BMW Werk via a bridge-like pe- Materials and literature underlying the study destrian walkway, spanning across the street are: books dedicated to each of the muse- (Fig. 1), which also becomes the main feature ums; books theorizing the new museum ar- - architectural-axis of the new building. This chitecture or the relationship between archi- footbridge continues inside the building as tecture and automobiles; industry trends and the main promenade and observation point of concepts; studies of the authors; information the architectural space, purposefully de- from the official websites of museums, archi- signed in a dynamic-fluid-flowing manner. tectural and online articles on architecture The interior is a large all-under-one-roof open and tourism including official press-releases space - publicly and freely accessible, possi- and attached materials; documentary photos bly to traverse at either ground plaza or at the by authors taken during study trips. above bridge level. The continuity of the promenade routes connecting first the BMW Werk development to the BMW Welt building DISCUSSIONS ON CASE STUDIES via the pedestrian bridge - and then the ex- AND RESULTS isting bridge crossing over to the Olympia DISKUSIJE O PRIMJERIMA Park Stadium (Fig. 2), ensure an efficiently studied spatial coherence. I REZULTATI From the perspective of figures BMW Welt The case study discussions are situated be- develops an area of 73,000 square meters tween the field of vanguard architectural de- with a corresponding volume of 531,000 cu- sign and the industry’s approach regarding bic meters on a plot of 25,000 m2 (Table II). its opening to the wide public space and au- The main activities are: automobile delivery dience38, as well as the reconsideration of the centre (where customers from around the involvement of the car industry into the softer world now come to pick up their car directly area of art and culture.39 The relevance of the from the centre in Munich), and a museal brand impact in architectural configuration technological display section. The later in- and the connection with particular names cludes a permanent collection of technologi- from the architecture world are considered cal information presented though live exhib- important and an intrinsic part of the car mu- its or via interactive displays and real-time seum development technology. simulations. The public is able to participate Scientific Papers | Znanstveni prilozi New Perspectives in Automotive Industry Architecture… M. MIHAILA, C. BANICA 302-313 22[2014] 2[48] PROSTOR 307

and experience the defining BMW technologi- presence in the urban space - with its un- cal ”universe” through exhibits like complex mistakable concrete mushroom-cone sculp- finishing textures and materials, types of en- tural volume (Fig. 2). The museum accom- gines along with the extensive presentation modates permanent collections and illus- of solutions related to energy efficient design trates fully the BMW experience through the and dynamics. The building also provides a years, on categories ranging from aircrafts to substantial showroom area displaying the cars and motorcycles. It also hosts an innova- latest car models, an interior shop selling tive area showing new conceptual and pre- multiple brand design products ranging from production models. The exhibition concept is high performance bicycles to nano-textures structured around seven thematic blocks - clothing. The experience is completed through ‘seven houses’45 of: Design, The Company, a restaurant and a bookstore that shows Motorcycle, Technology, Motor Sport, Brand, BMW buildings but also includes topics like Series - each with corresponding thematic design, architecture and art. Under the head- exhibits. ing ‘Event Forum’42 the complex also provides The contemporary museum model is illus- Fig. 3. Porsche Museum Stuttgart, Germany, photos rooms and spaces like auditorium, confer- trated here by Atelier Bruckner through paths 2009: exterior view with the entrance and public space Sl. 3. Porsche muzej, Stuttgart, Njemaèka, snimljeno ence rooms and other facilities with connect- and open-plaza surfaces, where the multilev- 2009.: pogled izvana s ulazom i javnim prostorom ed services able to accommodate and fully eled crossings allow for a dynamic and cor- service a significant number of events or hap- related perception over the interior spatial penings like meetings, conferences or filming organization. events. The concept of innovation is what structures Desired iconic, representative and purpose- the type of exposure and spatial experiment, fully large, BMW Welt surprises with its dy- bringing the technology to the level of per- namic and nuanced architecture and an ex- ception as progressive design (design in tensively sought expressiveness. Despite its progress). The space separating walls are si- considerable scale it manages to avoid being multaneously lighting elements, information aggressive in relation to the site also with the screens, displays for keywords and automo- help of its wisely designed envelope with no tive conceptual design sketches contributing single part or texture uncorrelated with the to the complete and comprehensive image context. The double-cone is the attraction regarding the historical evolution of collec- and the recognizable element, purposefully tions. The interior conical volume is desig- designed so by the architects. This key ele- nated to the developing technology, car pro- ment, by its dual rotation, suggests the crea- totypes and the enunciation of concepts in tion of an epicentre in space fluidization. progress. The display area totals 5,000 BMW Museum - Munich43 reopened in 2008 square meters and 120 exhibits (Table II). The signed by Atelier Bruckner44 who have added museum, accessible only with a ticket, hosts the concept ”road in the rebuilt space” to the a cafe and a bookstore (and small design ob- former museum building designed by Prof. jects). The footbridge crossing towards BMW Karl Schwanzer in 1973 under the motto Welt has been positioned right in front of the ”streets and places in urban space”. Similar BMW Museum entry, the visitor being al- to BMW Welt, the new redesigned museum is lowed for a complete tour of BMW urban fa- part of the same idea of the developer to cilities but also able to continue with Olympia communicate with the wide public, to exhibit Stadium Park. The activities and hosted its collections and experience, but also to ex- events are well integrated and quite similar periment new types of interactive spaces. to those of BMW Welt. The architectural project is the result of the Both BMW Museum and BMW Welt partici- award of the 2001, 170 entries architectural pate in city life by hosting various cultural competition. The museum was conceived as events46 like festivals, concerts, carnivals and a landmark, making a discrete but noticeable parties for kids, various events for the gener- al or dedicated public (at the date of writing 38 Jodidio, 2010a the article in BMW Welt: CRIME FICTION Film 39 Schwaiger, et al., 2010 Festival). It is important to underline that the 40 Brauer, et al., 2008 synergy between the two objectives led to a 41 Feiress, Kwinter, 2007 substantial growth in the number of visitors 42 http://www.bmw-welt.com/en/event_forum/index. of the BMW ensemble (see Table II for exact html [15.10.2014.] figures). 43 http://www.bmw-welt.com/en/visitor_information/ guided_tours/museum.html [1.6.2014.] CASE STUDY 2 - PORSCHE MUSEUM, 44 http://www.atelier-brueckner.com/en/projects/mu- seums/bmw-museum-munich-germany.html [1.6.2014.] STUTTGART

45 http://www.bmw-welt.com/en/exhibitions/museum 47 /current/the_seven_houses.html [15.10.2014.] The opening of the Porsche Museum (Por- 46 Besculides, et al., 2002 sche AG, 2014b) in Stuttgart took place in 47 http://www.porsche.com/international/aboutporsche early 2009, just few weeks after the comple- /porschemuseum/ [1.6.2014.] tion of construction (in December 2008). The 308 PROSTOR 2[48] 22[2014] 302-313 M. MIHAILA, C. BANICA New Perspectives in Automotive Industry Architecture… Scientific Papers | Znanstveni prilozi

museum features a spectacular collection is not as fluid as in the case of its Mercedes. based on the innovation and the experience But the two cannot be judged by the same of its creator Ferry Porsche (who is in fact of measure as this building is marked by a dif- Austrian origin). ferent conceptual demarche than its prede- cessor. ”The Porsche Museum creates a space that gives architectural expression to the compa- ny’s confident outlook and discerning stand- CASE STUDY 3 - MERCEDES-BENZ MUSEUM, ards, while also capturing Porsche’s dyna- STUTTGART mism. Knowledge, credibility and determina- tion are as fundamental to the philosophy as Mercedes-Benz Museum develops (2001- courage, excitement, power and independ- 2006), under the distinctive signature of Un- ence. Every idea is treated as an opportunity Studio. The trefoil and double helix shape Fig. 4. Mercedes-Benz Museum Stuttgart, Germany, actively to tackle fresh challenges and probe (Hansen, 2006) leads to a continuous walk- photos 2008: exterior view from the entrance ing space surrounding an inner atrium of the Sl. 4. Mercedes-Benz muzej, Stuttgart, Njemaèka, the limits, yet still remain true to yourself. snimljeno 2008.: pogled izvana s ulaza This museum endeavours to reflect all that” building, which hosts the entrance space, the - declares architect Delugan Meissl in his elevators access hall and the opening of all dedication.48 exhibitions across the building elevation. The design of the exhibition has been provided by Developed on an urban island across the HG Merz Architekten Museumsgestalter51 - a main Porsche car delivery centre and show- German architectural office specialised in room, Porsche Museum building predicates museum design - who also contributed to the design brand statement through innova- Porsche Museum. tive technology architecture, structural au- Architectural design innovation consists not tonomy and particular presence in the image only in the resulted nuanced volume and of public space. But as a fundamentally cul- shape, but also in the process of project de- tural urban insertion (Fig. 3) it also becomes sign involving advanced computational ac- part of the urban revival process49, of the ur- tions. The result is suggestively described: ban revival of a predominantly industrial dis- ”Typical baroque characteristics are omni- trict. The suspended volume which houses present; the building eludes quick compre- the exhibition space flows above an exterior hension, refuses to cut clear boundaries, public space (included in the design since even blurs its boundaries. It is impossible to competition stage in 2002-2004). The public detect the tremendous forces at work, and space works like an agora or an exterior (cov- even this vehemence is easily concealed by ered) public square a needed respiro in its absorbing it into one infinite motion.”52 Situ- rather limited urban setting - unlike with ated in a wide open public space, Mercedes- BMW Welt where the architects, profiting the Benz Museum is a distinctive object present- larger plot and park setting chose to internal- ing itself as unique and particular in terms of ise this space. The building’s site has 8.200 both image and architectural design (Fig. 4). square meters, and the developed built sur- The exterior shape of the envelope follows face is 13.333 square meters (Table II). The the interior movement and suggests the fluid exhibition area is 5.600 square meters (equal continuous walking, reminding somehow the in surface to BMW Museum, but otherwise first similar architectural lesson set by the un-comparable because of the specific archi- walking path in Guggenheim main hall exhi- tectural spatial conformation). bition in NY - F. L. Wright. Because of the de- The architectural design is simple and pure, sign, the tour of the collection starts at the designed in the same idea of technological upper floor, following the ascension by cap- competitiveness. The enveloping surfaces sule-like elevator (referencing a time cap- are in generally dominated by white reflec- sule). The exhibition space hosts collections tive metal and glass sheets. The white also grouped on time periods, connecting auto- Fig. 5. Audi Mobile Museum Ingolstadt, Germany, dominates the interior design, consistently mobile design with events and historical per- photos 2008: exterior view from the street following an ”all white” decorum, dotted here sonalities and specific musical ambiance. Sl. 5. Audi Mobile muzej, Ingolstadt, Njemaèka, and there with few colored surfaces and The interior architectural space can be de- snimljeno 2008.: pogled s ulice etched glass supports for the exhibited auto- scribed mainly as a show of successive col- mobiles. Porsche Museum is a landmark in- lections, but it also includes complementary sertion type of building, situated in an urban activities like a restaurant, a book shop, a de- industrial context; the museum shape is bate and lecture area (similar to the other identifiable through its architecture. The nu- case studies). In the immediate vicinity there anced volume and expression, adaptive as is a sizeable multi-storey Mercedes-Benz perception and context, helps avoiding the Showroom and delivery area. The wide out- ponderosity of a mass urban box. Urban door public space is conceived as a negative space is clearly delineated in the ground floor (bellow ground) extrusion of the street level area - the level of the city, while the exhibi- plaza, with different topographies which in- tion space is conceived as a unitary and au- clude two opened air amphitheatres (both tonomous place, a separate collection area. having the museum building as background) As Kieran Long50 points out the interior space for events and concerts. According to Ben van Scientific Papers | Znanstveni prilozi New Perspectives in Automotive Industry Architecture… M. MIHAILA, C. BANICA 302-313 22[2014] 2[48] PROSTOR 309

Table I. Investigating correlated urban-architectural synthetic factors, the 4 examples: BMW Welt - BMW Museum Munich, Porsche Museum Stuttgart, Mercedes Benz Stuttgart, Audi Museum Ingolstadt Tabl. I. Istraživanje veza izmeðu arhitektonsko-urbanistièkih èimbenika, 4 primjera: BMW Welt - BMW muzej u Münchenu, Porsche muzej u Stuttgartu, Mercedes-Benz muzej u Stuttgartu, Audi muzej u Ingolstadtu

study case/ investigating PORSCHE MUSEUM MERCEDES BENZ MUSEUM AUDI MUSEUM correlated urban-architec- BMW WELT - BMW MUSEUM Stuttgart, Stuttgart, Ingolstadt, Bavaria tural synthetic factors Baden-Württemberg Baden-Württemberg 1 234 1.1. 1.2. Architecture category museum, cultural museum, cultural museum, cultural museum, cultural museum, cultural urban category insertion, cultural, attraction, insertion, cultural, attraction, insertion, cultural, attraction, insertion, cultural, attraction, insertion, cultural, attraction, touristic touristic touristic touristic touristic relation /address to the response of the client present, but discreet, as an response of the client response of the client present, but discreet, as an context as technologic design accent of the closed factory as technologic design as technologic design accent of the closed factory. ICON-recipe: innovative (renovated) ICON-recipe: innovative ICON-recipe: innovative ICON through contrast landmark landmark landmark volume typology mass emotional architecture ground-underground floating volume above man& machine computer modernist, rotation architecture public space design, statement volume/volumes architecture concept brand-experience and renovation, design concept, all white, museum sets up an interface place for the pursuit car-delivery centre; re-concept autonomous for a series of radical spatial of learning to create a spatial, ideal, Road in the rebuilt space principles in order to create a history meets modern and identity-forming (add to old concept: streets completely new typology architectural ensemble and places in urban space) high-tech, high-tech, high-tech, high-tech, high-tech, public space related, public space related, public space related, public space related, public space related, innovative at many levels innovative at many levels innovative at many levels innovative at many levels innovative as status Urban features bridge connecting the almost hidden underground, urban island, nearby the plaza with different accesses, in the courtyard of the factory building with factory accent volume near the railroad and the bridge above, upper plaza near the street development development, plot on the entrance, correlated developing a conceptual park green side, connected with the factory, should be public place, but in fact with green bridge to the discovered developing paths through the Olympia Stadium conceptual public space, + continuous urban path floating urban object as museum s expression architectural features the double cone, the fluid the concrete mushroom as floating autonomous object mono-block sculptural mono-block as central radial surfaces and shapes, the accent, the neutral entrance, as museum s expression, volume, with 2 types of space, circular starting from nuanced textures, huge almost hidden as expression public space intention and textures-manifestation skins, the idea of forum, shaped volume and facades, mass or very discreet continuity, visual connected massive but impressive- and round facade-surfaces built landscape making the with the showroom across emotional comparing nuanced, in a rotation alternance between the street with flat + slope plaza understanding of the volume, the BMW WERK scale probably from the concept and Olympia Stadium scale of mobile-mobility. structure metallic + composite concrete + composite metallic + composite concrete + composite metallic + composite (concrete and metal) (concrete and metal) (concrete and metal) (concrete and metal) (concrete and metal) interior architectural bridge road passing through, urban streets and plazas, interior space segmented *algorithmic architecture, central atrium, open space features exhibition concept space - lighting neutral from the but scenographic spaces, designed from interior state exhibition to the atrium, everything with one roof walls, everything is a path, articulating 2 states of of perception and path mobile devices every wall is light and emotion + the down and the through, information or exhibition, upper, all white as design, central atrium, design should be an all clear and pure - only continuous walking space expression of art. shape should be visible and space exhibition

Berkel, director of UnStudio: ”The Mercedes- Mercedes-Benz Museum presents 125 years Benz Museum sets up an interface for a se- of automobile history, 160 vehicles and an- ries of radical principles in order to create a other 1500 exhibits set out in over 16.500 completely new typology.”53 square meters (from the 35.000 square me- ters of the total development) and on 9 levels 54 48 http://www.porsche.com/museum/en/entstehung- (47.5 m height). The official website an- undarchitektur/ [1.6.2014.] nounced 4.4 millions visitors and 100.000 of 49 Baus, 2009 Facebook fans.55 50 Long, 2009 51 http://www.hgmerz.com/ [15.10.2014.] 52 Rauterberg, Filippo, 2006: 44 CASE STUDY 4 - AUDI MOBILE FORUM, 53 http://www.unstudio.com/projects/mercedes-benz- AUDI MUSEUM, INGOLSTADT museum [1.6.2014.] 54 http://media.daimler.com/dcmedia/0-921-863897-1 Audi Museum Mobile56 is the dedicated mu- -1510230-1-0-0-1510614-0-1-11702-0-0-1-0-0-0-0-0.html [10.6.2012.] seum, established as a part of large Audi 55 http://specials.mercedes-benz-classic.com/en/port- platform in the brand’s hometown of Ingol- folio_page/facts-and-figures-mercedes-benz-museum-key stadt (a town close to Munich). It was com- -information/ [1.6.2014.] pleted between 1998-2000 by Henn - an ar- 56 Museum Mobile, 2000 57 57 http://www.henn.com/en/projects/culture/audi-mu- chitectural practice based in Munich , and seum-mobile [1.6.2014.] was designed as part of the Audi Forum, 310 PROSTOR 2[48] 22[2014] 302-313 M. MIHAILA, C. BANICA New Perspectives in Automotive Industry Architecture… Scientific Papers | Znanstveni prilozi

Table II. Investigating correlated figures + numbers synthetic factors, the 4 examples: BMW Welt - BMW Museum Munich, Porsche Museum Stuttgart, Mercedes Benz Stuttgart, Audi Museum Ingolstadt Tabl. II. Istraživanje korelacija kvantificiranih èimbenika, 4 primjera: BMW Welt - BMW muzej u Münchenu, Porsche muzej u Stuttgartu, Mercedes-Benz muzej u Stuttgartu, Audi muzej u Ingolstadtu

study case / PORSCHE MUSEUM MERCEDES BENZ MUSEUM AUDI MUSEUM BMW WELT - BMW MUSEUMabcd figures+numbers Stuttgart, Baden-Württembergef Stuttgart, Baden-Württembergghi Ingolstadt, Bavariaj 1 234 1.1. 1.2. opened 2007 1973/ 2008 2008 2006 2000 time 2001 competition 1968 - tender and competition 2004 competition 2001 competition 1998-2000 2001 planning 1971 construction start 2005 award 2003 construction start 2000 opening 2003 start construction 1973 - opening 2005 construction start 2006 opening 2007 opening 2004 - start renovation 2009 opening 2008 - opening of expansions Cost Approx Euro 100 million - Approx Euro 100 million Over Euro 150 million Approx Euro 11 million (authors estimation based on a total of 70 million for the whole Forum) Architect COOP HIMMELB(L)AU Prof. Karl Schwanzer Delugan Meissl Associated UNStudio van Berkel & Bos, HENN Architect of renovation: Architects Amsterdam Atelier Brückner HG Merz (exhibition design) HG Merz (exhibition design) Visitors 2,5 million/2012 Over 500,000/ year 500,000 (2009) Over 700,000/2013 122,570/2011 1.000,000 (by June 2011) http://press.porsche.com/news/ release.php?id=836 Site area 25,000 m2 - 8.200 m2 -- Ground floor Area 16,000 m2 (roof) Area of Museum Bowl: 1,000 m2 13,333 m2 4,800 m2 2,200 m2 Area of low building: 4,000 m2 Overall area 75,000 m2 12,200 m2 27,692 m2 16,500 m2 5,800 m2 5,600 m2 exhibition area 35,000 m2 exhibition space Out of 36,000 m2 Audi Forum volume 531,500 m3 - 225,464 m3 210,000 m3 - Exhibits (cars) 284 approx. 130 - 160 - Sources (BMW Group Corporate (BMW Group Corporate (PORSCHE AG, 2009; Delugan (DAIMLER, 2014, 2012; (AUDI AG Media Services, Communications, 2009, 2012b) Communications, 2013, 2012a) Meissl Architects, 2014) UN STUDIO, 2014; PERI Group, 2012; HENN, 2014) 2014; Wüst, 2014)

marking the entrance towards the Audi plat- RESULTS form. This is a circular building (Fig. 5) with large glass openings suggesting something REZULTATI closer to a multi-storey showroom than a mu- All four examples chosen for analysis are the a https://www.press.bmwgroup.com/global/pressDe- seum. It features circular floors with a large tail.html?title=bmw-welt-%E2%80%93-munich-s-top-at- result of architectural competitions each ac- traction&outputChannelId=6&id=T0040293EN&left_menu round void in its core and a spectacular car counting for over 150 entries. The winners _item=node__4090 [3.9.2009.] - elevator moving continuously a part of the have appropriated the developer wishes to b https://www.press.bmwgroup.com/global/pressDe- exhibits up and down in the space, creating create an active and polarizing urban space tail.html?title=the-overall-bmw-welt-experience-the-bmw an impressive and somehow unusual mobile -welt-the-bmw-museum-and-the-bmw-plant-munich&out that would re-centre the local and global mu- technological display. The same elevator is putChannelId=6&id=T0133546EN&left_menu_item=no- seum and tourist activities at European level. de__803 [17.10.2012.] used to move the cars from one floor to an- The responses of the winning teams were in c https://www.press.bmwgroup.com/global/pressDe- other. Although following a circular path - the sense of continuation of the ideas of ur- tail.html?title=the-overall-bmw-welt-experience-the-bmw the visitor perceives the exhibits sequenced -welt-the-bmw-museum-and-the-bmw-plant-munich&out ban sustainability, but also the preservation - floor by floor - and not in continuous walk putChannelId=6&id=T0133546EN&left_menu_item=no- of tradition, in so far as it is seen through the like in the case of Mercedes Museum. de__803 [17.10.2012.] prism of technology historicity. Not inciden- d https://www.press.bmwgroup.com/global/pressDe- 2 - tail.html?title=40-years-of-bmw-headquarters-and-muse With its 5.800 m it is by far the smallest of tally, the competition winners in all four um&outputChannelId=6&id=T0143556EN&left_menu_ the listed examples which makes it seem studied examples (5 buildings actually) origi- item=node__4087 [9.7.2013.] modest by comparison (see Table II.). How- nate from Germany and Austria, responding e http://www.dmaa.at/projekte/detail-page/porsche- ever it manages to present reasonably the effectively to the concepts of continuation of museum.html [1.6.2014.] brand history and technological evolution us- the carmakers history as well as to the rein- f http://press.porsche.com/more_about/porsche_mu- ing in addition to the exhibited cars various vention of the presence, activity and inter- seum/ [22.1.2009.] printed and video media. g http://media.daimler.com/dcmedia/0-921-614318-1- connectivity in the urban space of the con- [email protected]_3842 Museum Mobile is also the oldest of the cho- temporary German town. Automotive archi- -0-0-0-0.html [13.1.2014.] sen examples and this shows - it is somehow tecture - the museum space - focuses in all h Wüst, 2006 less spectacular, with a more timid architec- the examples on the expertise and history of i http://www.peri.com/en/projects/projects/cultural- tural approach - probably also because it is the brand, its presence in the life of both pri- buildings/mercedes-benz-museum.cfm [1.6.2014.] conceived as an entrance pavilion-like fea- vate community and the state. Also here tran- j https://www.audi-mediaservices.com/publish/ms/ content/en/public/broschueren/2012/04/27/press_infor- ture and part of a much larger development scend the ideas of continuity and the joint mation.html [8.10.2012.] site including significantly larger buildings. functioning with the factory (werk) space, of Scientific Papers | Znanstveni prilozi New Perspectives in Automotive Industry Architecture… M. MIHAILA, C. BANICA 302-313 22[2014] 2[48] PROSTOR 311

the regeneration seen in a contemporary, believe that the automotive museums are at Bibliography open sense including the idea of public space the forefront of this tendency and not only by inside the building, even adapting elements ”leafing through the past”. The studied auto- Literatura of urban mobility in architectural language motive museums go beyond the usual capac- (street, lane, footbridge, difference in level ity to show historical tendencies and devel- and perception, plaza, discussion place, fo- opment by showing and exploring current rum, and so on). The case studies show that and future tendencies not only in the auto- historical perspective is enhanced when seen motive industry but also in the fields of archi- correlated: respecting the tradition of the re- tecture, urban management and last but not gional space and technological evolution, least in the area of the cultural phenomenon. while looking into the future for a communi- As the motor museums evolved they reached 1. Baus, U. (2009), Porsche Museum in Stuttgart cation in continuous formation and debate. a new level of complexity going beyond the - A hovering sign, ”Architektur Aktuell”, 349 Definitely all examples are intentionally situ- role of just displaying historical artefacts60 (4): 114-125, Wien ated in the area of cultural spaces seen as but also redefining the link between architec- 2. Besculides, A.; Lee, M.; McCormick, P. (2002), part of the local events and city life (Table I.). 61 Residents’ perceptions of the cultural benefits ture and automobiles and between the of tourism, ”Annals of Tourism Research” 29 Some may consider these insertions aggres- brand, museum and the life of the city on so (2): 303-319, Philadelphia sive or ”strangely gratuitous”58 following the many levels. Several reflections stem form 3. Bethscheider-Kieser, U. (2008), Green desig- intent to be undoubtedly noticeable, iconic the presented material. ned: future cars: Bio-Treibstoff; Hybrid; Elektro; and unmistakable. However the presented On one hand - as we have hopefully showed Wasserstoff, Württ: av-ed, Ludwigsburg architectural and aesthetic discourse, the in our presentation - car museums are clear 4. Brauer, G.; Hamm, H.; Buck, M.; Bayerische sculptural volumes, the quality of the result- Motoren Werke (2008), BMW Welt: Von der Vi- displays of the technology and the intense sion zur Realität, teNeues, Kempen ed urban space, make these objects desirable technological competition present in the car and accepted as integral parts of the built 5. Carmona, M.; Burgess, R.; Badenhorst, M.S. manufacturing world. The museum profile (2009), Planning through projects: Moving from landscape. We believe that such interven- successfully ads a time dimension with re- master planning to strategic planning : 30 cit- tions contribute positively to long term sus- flections towards both past, present and fu- ies, Techne Press, Amsterdam tainable competitiveness of the newly formed ture, by explicitly showing the resilience and 6. Clark, J. (2010), The ‘rough and tumble’: dis- urban spaces and their long-term reconcilia- adaptation of the automotive industry. Sec- playing complexity in the motor museum, ”Mu- tion with the cultural space of the city. Mobil- ondly - the studied examples suggest that seum Management and Curatorship”, 25 (2): ity stands at the core of both museal and ar- the inter-brand competition expanded through 219-234, Oxford chitectural concept, influencing design and the presence of automotive museums to oth- 7. Dredge, R. (2007), Concept cars and prototy- making architecture a sustainable product. er areas of social existence. Now the car man- pes: Concept car design: exploring the future of The statistics show that these are community the automobile, Grange, Hoo ufactures compete not only in terms of car Feiress, K.; Kwinter, S. accepted and highly popular buildings, at the sales and performance, but also as city build- 8. (2007), Dynamic forces: top of public to be visited lists, a preferred Coop Himmelb(l)au; BMW Welt Munich, Prestel, ers and developers, or urban cultural promot- Munich holiday or pastime destination. ers and managers. And obviously this new 9. Gali-Espelt, N. (2012), Identifying cultural tour- dimension to the intercity and interregional ism: a theoretical methodological proposal, ”Jour- CONCLUSION competition contributes to the city attractive- nal of Heritage Tourism”, 7 (1): 45-58, Abingdon ness, quality of life and of course cultural 10. Gehl, J. (2010), Cities for people, DC: Island ZAKLJUÈAK prestige and touristic dimension. Thirdly - Press, Washington Automotive architecture evolved and chan- especially in the first three cases looking at 11. Hadid, Z.; Gannon, T. (2006), : BMW ged, especially in the area of car museums. the number of visitors and attracted tourists Central Building, Leipzig, Germany, Princeton - we can safely state that as museums, these Architectural Press, New York The field of architectural practice and man- Hansen, B. agement has responded with built products are financially viable and self-sustainable in- 12. (2006), Trefoil and double helix in- stitutions with visible economic effects radi- form Mercedes-Benz museum, ”Civil Engineer- which offer the users public spaces inside in- ing”, 76 (3): 13-15, Reston teractive buildings, museums and places of ating towards the local community. Review- ing the case studies it is interesting to note 13. Homadovski, A. (2009), Transformations in Cul- events-activities. The automotive companies tural Institutions - Contemporary Museum Des- have imprinted their museal insertions with a how a mass industry led to a niche cultural tinations and Influences of Industrial Branding branded technological mark, acting as key product and how otherwise common objects Values, ”Prostor”, 17 (2): 386-395, Zagreb urban developers, promoting innovative ar- (cars) displayed in a cultural urban and archi- 14. Jodidio, P. (2010), Architecture now!: Architek- chitectures and significant investments at tectural layout become an emotional experi- tur heute! Museen = L’architecture d’aujourd’hui! city or regional level. It is important to under- ence. It seems quite clear that some of the Musées, Taschen, Cologne line that beyond their significant architectural economic performance of the brands has 15. Jodidio, P. (2010a), Public architecture now!, and urban impact - automotive museums en- transferred towards usually a soft compe- Taschen, Cologne - hance and support competiveness on several titive domain the area of culture and mu- 16. Jodidio, P. (2011), Architecture + automobiles, - levels. Rose and Johnston59 are right in ob- seums giving to the last a surprising fi- Vic Images Pub. Group, Mulgrave - serving that museums become part of the in- nancial viability. In the end we would like 17. Lasansky, D.M.; McLaren, B. (2004), Architec- novation system. In the view of the article we to underline the fact that besides the hard ture and tourism: Perception, performance, and facts and data - visiting automotive muse- place, Berg, Oxford ums is a complete emotional and cultural 18. Long, K. (2009), Porsche House, ”The Architec- 58 Long, 2009: 52 tural Review”, 225 (1345): 44-53, London Rose, Johnston experience which is recommend to all inter- 59 , 2009 ested readers. 19. Marvin, S. 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Nove perspektive u arhitekturi automobilske industrije: projektiranje muzeja automobila

Osamdesetih godina 20. stoljeæa projekt Renaul- primjeren 21. stoljeæu. Arhitektura automobilske umjetnosti [Schwaiger, i sur., 2010.]. Važnost utje- tova distribucijskog centra u Swindonu u Velikoj industrije [Morrison, Minnis, 2012.] obuhvaæa otad caja brenda u arhitektonskom oblikovanju i poveza- Britaniji arhitekta Normana Fostera oznaèio je po- nekoliko programa: od arhitekture autocesta, ras- nost s odreðenim imenima u svijetu arhitekture zna- javu novoga pomodnog trenda u arhitekturi, koje- križja i mostova, objekata za utrke Formule 1 i test- èajni su èimbenici u razvoju muzeja automobila. ga je cilj promocija automobilske industrije putem nih staza, benzinskih postaja, akustiènih barijera i Arhitektura automobilske industrije razvila se i pro- projektiranja i izgradnje izložbenih i prodajnih pro- parkirališta, izložbenih prostora, prodajnih i zabav- mijenila, osobito u podruèju muzeja automobila. stora posveæenih pojedinim brendovima automo- nih centara, tvornica - sve do inovativnih istraživaè- Arhitektonska djelatnost kreirala je graðevine koje bilske industrije. Nastojalo se iskoristiti tehnološki kih centara i muzeja. korisnicima nude javne prostore unutar interaktiv- inovativnu izražajnost koju arhitektura može pru- Ovaj se rad bavi prikazom èetiriju odabranih primje- nih zgrada, muzeja te mjesta raznih aktivnosti i žiti. To je podrazumijevalo: pomnjiv odabir arhitek- ra i istraživanjem osnovnih podataka vezanih za ove dogaðanja. Automobilske su tvrtke oznaèile ove ta i njegova koncepta, prisutnost u posebno oda- projekte, s prateæom fotografskom dokumentacijom graðevine svojim brendovima, djelujuæi time na ra- branom okolišu kako bi inovativni projekt došao prikupljenom tijekom studijskih putovanja. Uz po- zini urbanog planiranja i promovirajuæi inovativnu do izražaja, velike površine predviðene za takvu datke koje su autori prikupili na terenskim istra- arhitekturu i kapitalne investicije na gradskoj ili re- izgradnju (25.000 m2) te funkcionalnu raznolikost živanjima, glavni izvori podataka u ovome su radu gionalnoj razini. Važno je naglasiti da osim njihova izložbenih i prodajnih programa kroz brojne prateæe specijalizirani materijali o arhitekturi i upravljanju znaèajnoga arhitektonskog i urbanistièkog utje- zabavne aktivnosti i dogaðanja. Sve je to imalo za ovim projektima. Primijenjena metodologija sastoji caja, muzeji automobila potièu i konkurentnost na cilj stvoriti od odreðene lokacije atrakciju - kako se u usporedbi primjera na osnovi više kriterija na nekoliko razina. Rose i Johnston [Rose, Johnston, na lokalnoj tako i na globalnoj razini. Zgrada Re- nekoliko razina analize koja se odnosi na arhitektu- 2009.] s pravom tvrde da muzeji postaju dio ino- naultova distribucijskog centra oznaèila je promje- ru i upravljanje analiziranim primjerima. Provedena vativnog sustava. Vjerujemo da su muzeji automo- nu u razmišljanju o samom podruèju distribucije i je komparativna analiza ovih èetiriju primjera, po- bila predvodnici ovoga trenda. Analizirani muzeji njegovu reorganizaciju, kao i usmjerenost prema lazeæi od elemenata povezanih s arhitekturom, ur- automobila nadilaze povijesne tendencije i razvoj spektakularnoj i impresivnoj arhitekturi. Promjena banim prostorom, upravljanjem i statistikom tu- kroz istraživanje sadašnjih i buduæih trendova u se oèitovala takoðer u osmišljavanju novoga kon- ristièke atraktivnosti [Gali-Espelt, 2012.], studijom sklopu automobilske industrije te obuhvaæaju ta- cepta funkcije trgovaèkoga izložbenog prostora i o arhitektonskom upravljanju - turistièkom uprav- koðer podruèja arhitekture, urbanog razvoja i, na industrijskog podruèja [Dredge, 2007.], što je oz- ljanju [Russo, van der Borg, 2002.], ciljevima i kraju, ali ne i manje važno - podruèje kulturnih fe- naèilo kreiranje jednoga novog, u to doba hibridno- rezultatima, kratkom studijom koja se bavi inova- nomena. Kako su se muzeji automobila razvijali, ga arhitektonskog programa koji je trebao objedi- cijom u arhitektonskom projektiranju, rješenjima dosegli su novu razinu kompleksnosti koja seže niti automobilski centar kao atrakciju i globalni ar- ovojnice, konstrukcije i prostora. Tablice I. i II. prika- dalje od povijesnih artefakata [Clark, 2010.] i teži hitektonski izrièaj. zuju podatke koji trebaju pružiti komparativan uvid redefiniranju povezanosti arhitekture i automobila Poèetak 21. stoljeæa obilježen je na svim razinama u sva èetiri projekta: BMW Welt - BMW muzej u Mün- [Jodidio, 2011.], kao i povezanosti izmeðu brenda, arhitekture tendencijom opuštenijeg projektiranja chenu, Porsche muzej u Stuttgartu, Mercedes-Benz muzeja i života grada na više razina. usmjerenog prema potrazi za veæom ekspresivnoš- muzej u Stuttgartu i Audi muzej u Ingolstadtu. [Ovaj rad dio je poslijedoktorskoga znanstvenois- æu izgleda i stabilnosti u korist redefiniranja tehno- Diskusija o ovim èetirima primjerima kreæe se unutar traživaèkog projekta „Types of innovation in cul- logije [Mihaila, 2012.]. U podruèju arhitekture au- podruèja najnaprednijih trendova u arhitektonskom tural space.]working with/in[ cultural spaces _ tra- tomobilske industrije [Jodidio, 2011.] došlo je do projektiranju te pristupa industrije s obzirom na nje- dition and innovation” dr.sc. Marine Mihaila, ar- velike potražnje projekata koji svojom sve izraže- zino izlaženje u javni prostor dostupan široj javno- hitektice. Financijski je potpomognuto od strane nijom specijalizacijom mogu zadovoljiti individual- sti, kao i novoga pristupa u promišljanju o uk lju- rumunjskoga Ministarstva obrazovanja, CNCS- ne i društvene potrebe te osigurati životni standard èenosti automobilske industrije u podruèje kulture i -UEFISCDI, project no. PN-II-RU-PD 2012-3-0515.] MARINA MIHAILA CRISTIAN BANICA

Biographies Biografije

MARINA MIHAILA is Lecturer, Dr.Architect, at Synthe- Dr.sc. MARINA MIHAILA, arhitektica, predavaèica na sis of Architectural Design Department, Faculty of Katedri za arhitektonsko projektiranje Arhitekton- Architecture, University of Architecture and Urba- skog fakulteta Sveuèilišta arhitekture i urbaniz- nism ”Ion Mincu” Bucharest, and member of aca- ma „Ion Mincu” u Bukureštu, gdje je zaposlena od demic staff from 2001. She is also Postdoctoral Re- 2001. Nakon što je pobijedila na poslijedoktorskom searcher at Center for Studies in Contemporary Ar- natjeèaju 2012. godine u organizaciji rumunjskoga chitecture Bucharest, holding this position after she Ministarstva obrazovanja, dobila je status poslije- won the national postdoctoral competition organi- doktorskog istraživaèa u Centru za izuèavanje su- zed in 2012 by Romanian Ministry of Education. vremene arhitekture Bukurešta. CRISTIAN BANICA is Architect, and Associate Practice CRISTIAN BANICA, arhitekt i suradnik biroa Archi- Partner at Arhitectonik2000 Bucharest, where he tectonik2000 u Bukureštu, gdje rukovodi projek- manages architectural design and research by de- tantskim i istraživaèkim aktivnostima. Specijali- sign activity. He is specialized in project manage- zirao se za projektni menadžment u graditeljstvu. ment in the built environment. He is currently an Trenutno pohaða poslijediplomski studij Uprav- MSc Candidate in Architectural Project Management ljanje arhitektonskim projektom na Sveuèilištu He- at Heriot Watt & Edinburgh University, Edinburgh. riot Watt u Edinburgu.