1347 MAy 2009 £9/ €17/ $25 WWW.J\RPLU••COM Fuksas' church in earthquake-hit central Italy Cultural centre in Dublin by O'Donnell + Tuomey Alan Balfour onthe Neues Museum in Berlin VIEW/ Pritzker Prize-winner Peter Zumthor/ NAl .A69 Gaza, Israel and urbanism / Kyoto ofthe Cities I Lu stgarten has been cleared of all its pleasUI'L' gardens and pnvilions, the great moated bastions removed and the land regained from the river, ordered and planned. This was the situation in 1798 when architect David Gilly was asked by the king, Friedrich Wilhelm Ill, to landscape THE REBIRTH OF THE NEUES MUSEUM IS THE the area immediately north ofthe palace. Though a gifted architect, he LATEST STAGE IN THE ARCHITECTURAL AND bowed to the modest taste of the king POLITICAL EVOLUTION OF THE SPREEINSEL, and simply proposed transforming the parade ground into a field ofgrass BERLIN'S HISTORIC MUSEUM ISLAND Ranked by a double row of trees, as shown in a 181lJ Schinkel drawing. WRITER Such modesty reflects an anxiety ALAN BALFOUR over events playing Oll t across France in the .lftermnth of the revolution, and uncertainty over Napoleon's ------Berlin's Neues museums, the Stadtschloss was growing ambition. This insignificant Museum, by Pru ~s ian architect damaged during the war and then landscape is in extreme contrast to Friedrich August Sti.iler, opened to totally demolished by the East the project his son Friedrich (,illy the public in laSS. Aftt'r the Second German government. It was on the proposed the prelriolls year for a 'Norld War, it was left in ruins nnd sat land north of the palace that the monllment to vVilhelm\ grandfather, roo Aess for over 50 years. Renova tion rulers of Prussia began to exert a Friedrich the Great. The yOllng Gilly plans began with a competition in temporal order on the landscape. conceived of a perfectly formed 1994, which required adding more In the 17th century, this became Greci:m temple in white marhle to be space and diminishing the presence the site of the Lustgarten (literally, placed :It a critical entry into Berlin, of the historic structure. After a garden of desire), a name that has rais ed up and visible to all, deifying disagreement over the choice of stayed with the space, and the the hero king. Whether this refl ected architect, this was abandoned, and surprising results are displayed with a genuine p'lssion for Friedrich the in a suhsequent contest, David some realism in a plan of 1648 by Great's achievements or was merely ChippC:'rfield Architects' .Iohan Gregor Mamhard. Beyond a the romance of fresh inlSpree: the first, a simple that deeply impressed the person completes the restoration of the suite rectangular field (where the Neues whose imagination would Jll ost shape of museums that evolved nt the Museum now stands); the second, the futur ~' of the Lustgarten: Karl northern end of the Spreeinscl :111 elaborate circle of segmented Friedrich Sc hinkel. (k nown as Museum Island) in the 19th islands. The geometric order of the These drawings persuaded century. The first national museum, 17th-century parterre is in total Schinkel to transform himself from now the Altes Museum, opened in contrast to the surrounding walled a painter of grand topographic views 1830; the Old National Gallery, also city: an introverted, God-centered into an architect. He becamc close by Stiiler, was completed in 1876; the community that constrained all to Gilly and his son, and cventually Bode Museum, nt the tip of the island, medieval reality. In an aerial view emerged as Prussia's formative in 1904; and the mighty Pergamon of 16H!:l by Johun Bernhard Schulz, architect. His practice and writings Museum was completed in 1930. the Stadtschloss dominates the laid thl:! basis for an architecture Spreeinsel is a wedge of land at the ce ntre, facing the Lustgarten to the defined more by programme and heart of Berlin, divided by the Spree left. The island gardens nre gone, technology th.1I1 by historical styles, River. Historically, it enclosed the replaced by an orangery behind a and for some, this was the precursor district of Colin, the southern of two baroque curved fa cade, and there is a of the modern. The yO llng Gilly died districts that formed Berlin. This was strengthe ned bastion in the enclosing in IHOH, but Schinkel would have the nexus of the medieval city, and city wall. experi enced his prescience. He would at its core was a royal castle, later In the .IF Schneider plan of 1802, have seen the pages of Friedrich's replaced by n palace, the Stndtschloss. the Stadtschloss is the rectangular 'thought dl'llwings', where he A key clement in the formation of the fi gure enclosing two courtyards. The explored an architecture stripped __ Thl! Neues Museum tgarten has been cleared of all it~ 'atl' lun Mapof In 1855 from the rlvar o~ure g-ardens and pavilions, the Bertin and Colin Bc!ow~' The orIginal t lT10ated bastions removed and by Johan Gregor Eg~lan Courtyard land regained from the river, Mamhard. 1648, In 1862. repository ('red and planned, This was the showing the early for the extensiva arion inl79R when architect development of the spoils from German Spreelnse~ AerIal excavatJolls In rid Gilly was asked by the king, vIew of t Egypt. Thoug" ~ drich Wilhelm III, to landscape Stadtscliloss and largely destroyed area immediately north of the Lustgarten by durillg tha Wal. It lce. Though n gifted architect, he Johann Barnha rd exampllfies StOlar's led to the modest taste of the king Schulz. 1688; 1he Idaa of evoking Neues Museum In ancient worlds simply proposed transforming the 19th century. through 1heatrlcal parade ground into a field of grass showing Stlilel's Interior design ked by a double row of trees, as original staircase 8otl~~ Draw!ng by I",n in a lRl9 Schinkel drawing. hall. replete With Schinkol from 1B34 Such modesty reflects an anxiety friezes, monumental of warehouses on the slla of the Mura " events playing out across France statues and a caryatid porch; Neues Museum le aftermath of the revolution, uncertainty over Napoleon's ving ambition. Thjs insignificant Iscape is in extreme contrast to project his son Friedrich Gilly losed the previous year for a ul11ent to Wilhelm's grandfather, drich the Great. The young Gilly :eived of a perfectly formed :ian temple in white marble to be ed at ,1 critical entry into Berlin, ·d up and visible to all, deifying lern king. Whether this reflected wine passion for Friedrich the t's achievements or was m~~ rely nmam:e of fresh imagination e idea of the ancient gods, the )etjtion drawings had a force :keply impressed the person ie imagination would most shape Jture of the Lustgarten: Karl Irich Schinkel. hese drawings persuaded lkel to transform himself from 1ter of gmnd topographic views

III architect- He became close ~ Iy and his son, and eventually g'ed as Prussia's formative teet. His practice and writing~ e basis for an architecture cd more by progr:Jlnmc and (llngy than by historical styles, lr some, this was the precursor modern. The young Gilly died is, but Schinkel would have ienced his prescience. lie would ;(;e11 the pages of Friedrich's ;ht drawings', where he red an architecture stripped _

THE ARCHITECTURAL REVIEW / MAY 2009 / "'STOR\, 089 NEllES i"'USrUM DAVID CHIPPERFIELD ARCHITECTS The of decoration, free from the styles Lustgarten 0 CHIPPERFIELD'S IRENOVATION staircase haUln of history, reduced to abstract space Schinkel's m 1943. following and structure. In Berlin: Th e Politics museum wn: AWed bombing raids IS SUPERB, AND ITS STRENGTH ofOrder (Rizzoli, 1990), 1 wrote: moat that ha on BerUn , Sadl~, the the island, a COMES liN PART FROM THE museum was to 'Desire for fundamental change had remain In a damaged led [Friedrich] Gilly to reject the for the consl BRILUANT IMAGIN'ATIONS THAT and overgrown slate texts of history, to det::Jch the idea of and upgradi tor half a century, space from that of God, and to wharves to ( the cast of repair too PRECEDED HIM IN CONTEMPLATING reconnect the idea of beauty to that trade in the daunting for the East Schinkel ass German au horltles. of id en l order. With reverberations of THE REALITY OF BERLIN Plans tor repolr the French and American revolutions eminence tc; wero even ually growing ever stronger throughout court was rE formulated in 1993, Europe and cries for freedom and The des following German equality heard on nil fronts, it must IH22 and thl reunificatiDn , the royal uri Chlpperfleld's have been inevitnble that Gilly would the public it restoration alms to see in such conceptions II direct convey esense of connection between the act of freeing­ were anum the bUilding's rich architecture frol11 the bonds of history throughout ~8t diftlcul history and the cause of political freedom. British Mus f The Liberation from the structures of the in 175 9.) Th Roman Room In in the manr 1939.Slater's recollected histories of autocracies original decor could mean liberation from colonnade ( boasted emerald constraining social order.' Though of the soutr green VI lis, stucco Friedrich Gilly had no direct the three si mOUlded celUngs influence on the plans leading to a enfilade rOt Bnd wall paintings a full hemi~ tleplctlng suitably century of museum building, there is uplifting scenes an echo of his imagination, at its most In detail it I from ancIent Rome intense, in Chipperfield 's renovation now only p and Pompeii of the Neues Museum. Thb was c( The roofless, Napoleon did invade Prussia so as not to rotting hulk of lhe of the catht Naues Museum In and occupy Berlin, then left defeated. uf COnSUl1lI leaS, with the The Prussian monarchy was Pergamon Museum re-established within the its consciol Itop leftl By Ihat uncertain structure of the German create exac time, the dameged Confederation nnd by IH20 had ror such 1'0 section orrginally regained its autocratic presence, In his l. COntaining the became i11( Egyptian Courtyard tempered, however, by concern over had been completely the desire for democracy spreading with new r des roved thruugh all levels of society. of constru( Revolutiunary events in France and most inven Allll'rica could not be kept secret. (B uilding j In IHI9, Friedrich vVilhelmlII 1832 and I: cOlllmissioned Schinkel to construct of the Stad a bridge linking Unter den Linden Higher Co - the grent avenue connecting the and the Rc Stadtschloss with the royal hunting an indicati grounds - to the Lustgarten. In IH23, uf architec he proposed a comprehensive A rude mastl'rplan of the area west and urbane an, north of the Stadtschlo$s, a plan that omnipresE involved realigning the canals, greatly inf dl'nwlishingold buildings and Sti.iler, wh proposing a number of new death in U structures. Foremost among to desig11 I them was a public museUl1l facing the adjoin the Stadtschluss that would enclose the Museum ( ;oration, free frorn the styles Lustgarten on the north side and, in side. This was intended to house many other competitions launched tory, reduced to abstract space Schinkel's mind, complete it. The additions to the royal collection: to recreate the newly united city. It tructure. In Berlin: The Politics museum was to be built over the ethnographic material, plaster casts was won by an archly conservative 1er (Rizzoli, 1990), T wrote: moat that had for centuries crossed and spoils from German excavatiun. project from Italian architect Giorgio ' e for fund,lmental change had the island, and the plan also called in Egypt, including the bust of Queen Grassi, whose restoration was 'riedrich] Gilly to "eject the for the construction of warehouses Nefertiti. Celebrated more for its characterised by a carefully .of history, to detach the id ea of and upgroding of the existing advanced construction techniques abstracted classical language and frolll that of God, and to wharves to continuing the support of and cast-iron frame thon for its sparing use of decoration, emulating nect the idea ofbeauty to that trade in the area. This project would, architecture, the Neues Museum one ofSchinkel's warehouse projects al order. With reverberations of Schinkel assured the king, bring was not completed until 1855. But for the same site. However, I I'cnch aJl(i American revolutions eminence to the court: clearly, the there was still much to admire. concluded that the two most ng ever stronger throughout court was reaching out to the people. In 1842, Stoler became the engaging entries had come from Je and cries for freedom and The design was completed in architect to the king, Friedrich David Chipperfield and Frank Gehry. ity heard on all fronts, it lllust 1822 and the museum, displaying Wilhelm IV, and with his help Gehry was a.lso much Illore Jecn incvitable that Gilly would the royal art collection, opened to became immensely successful, concerned with finding a place for his such conceptions a direct the public in 1830. (By this time, there designing churches, museums and architecture than with the renewing ction between the act of freeing were a number of pllblic museums polaces from Budapest to Stockholm. the presence of the Neues Museum. ecture from the bonds of history throughout Europe, such as the His last great work was the Neue At the time, I wrote that he is 'at his IC cause of political freedom. British iVlulleum, opened to the public Synagogue in central Berlin, most exuberant, fragmenting Ition from the structures of the in 1759.) The facade is arranged completed in 1866. It is not easy the museum into a sequence of ~cted histories of autocracies in the manner of a Greek staG, a vast to determine how much of an anthropolllorphic figures that... mean Iiberation from colonnade consuming the full length individual's imaginntion is formed not only tease the pomposity of the ainjug social order.' Though of the south facade. Walls enclose from internal creativity and how 19th-century surroundings but revenl ich Gilly had no direct the three sides and galleries run in much from circumstance. You sense, how tired they are'. On reflecti(lIl, lee on tbe plans leading to a enfilnde round two courtyards, with for instance, that Gilly had a strength Gehry's exuberance would have been 'y of museum building, there is a fuiJ hemispheric dome ot the centre. of vision that could transform any wholly misplaced and I was wrong. o of his imagination, at its most In detail it emulates the Pantheon, age, and the strange perfection I also wrote: 'vVith an elegant and firm ~ , in Chipperficld's rcnovation now only partially reconstructed. of Schinkel's drawings and the object conwining precisely framed Neues Museum. This was concealed on the outside expansive theatrics of his best work spaces, Chipperfield demonstrates poleon did invade Prussia so as not to compete with the dome allowed him to lead an anxious court the superiority of a critically defined cupy Berlin, then left defeated. of the cathedral nearby. It is a work into an acceptahle reality. Stliler, on modern project in an historic district, ussian monarchy was of consummate artistry, in which all the other hand, seems much more the over the tendency to hisroricise.' blished within the its consciously theatrical elements servant of the state, adapting styles In his 1994 submission, Chipperfield ain structure of the German create exactly the appropriJte stage and harnessing new technologies suggested that the project's pivotal leration and by 1820 had for such royal patronage. to whatever task he was given. decision would be 'the restorntion ~d its autocratic presence, In his last decade, Schinkel Externally, Stiilcr's museum at the heart of the building, the 'ed, however, by concern over became increasing concerned never had the commandi ng presence staircase'. And so it has come to pass. ire for democracy spreoding with new materials and meaJ1S of the Schinkel, nor was it Illeant to. It is rare to see the outcome 11 all levels of society. of construction. This is seen at its The fHcade follows the form of the ofa project that an architect has tionary events in France and most inventive in his Bauakademie Altes Museum. Entrance is through contemplated for many years. Bu t a could not be kept secret. (Building Academy), built between a columned portico, which leads to this delay provided Chipperfield 819, Friedrich Wilhel.ml11 1832 and 1836. Sited just to the west a great hall transversing the building with more time for reflection and ;sioned Schinkel to construct of the Stadtschloss, it housed the and containing an intensely mnjestic deepened his historical undcrstnnding. ~ linking Untcr den Linden Higher Council of Architecture staircase. Nothing in the Altes It has resulted in a renovated Neues 'eat avenue connecti ng the and the Royal Technical College ­ Museum compares with this. Museum redolent with complex hloss with the royal hunting an indication uf the importance Concerned much more with illusion associations Jnd with n grnvity and , - to the Lustgarten. Tn IR23, of architecture to his royal patron. and interiority than with a public: poignancy well beyond what was {lscd a comprehensive A rudely rational brick box, it is face, the Neues Museum reflects present in its original form. llan of the area west and urhane and frnnkly democratic in its the changed times. The design of its Chipperfield's renovation is superh, f the Stadtschloss, a plan that omnipresence. It is abo the work that interiors evokes ancient worlds, but and its strength comes in part from :l realigning the canais, greatly influenced his former student, also creates a new kind ofpublic stage. the briLiiont imaginations that hing old buildings and StOler, when, at the time ofSchinkel's Almost fifteen years ago, in World preceded him in contemplating the ng a number of new death in 1841, he was commissioned Cities: Berlin (John Wiley, 1995), I reality of Berlin. The work is made ·es. Forcmost among to design the Neues Museum to noted that the competition for tbe profound by the persistence of past lS a public museum facing the adjoin the then-renamed Altes Neues Museum produced results free visions and desires, whose intent may 110ss that would enclose the Museum (Old Museum) on its west frOIll the uneasiness that infected the have been long since forgotten.~

THE ARCHITECTURAL REVIEW / MAY 2009/ hiSTORY 091