894 1996–2018 indici nuova edizione sommario indices 632–893 new edition

in consultazione esclusiva su: 894 — FEBBRAIO 2019 available for reference only at: casabellaweb.eu

3—33 34—93 94—97 SHANGHAI ARCHITECTS SPAZI PER L’ARTE BIBLIOTECA 4 36—47 94 quattro studi di architettura Selldorf Architects recensioni di Shanghai Parc des Ateliers, Luma Arles, 96 Federico Bucci Francia Marcello Piacentini? Uno spregevole fascista 37 6—12 Nuove fucine dell’arte Francesco Dal Co Atelier Liu Yuyang Francesca Serrazanetti 98—101 Architects riva est del fiume Huangpu, 48—55 ENGLISH TEXTS Shanghai Tadao Ando Architect 98 English texts 7 & Associates La rinascita del lungofiume Wrightwood 659, , Matteo Moscatelli illinois, stati uniti 49 13—19 Tadao Ando per Fred Eychaner, Original Design Studio a social activist sostenitore riva ovest del fiume Huangpu, di Obama e Hillary Clinton: Shanghai Wrightwood 659 a Chicago 13 Jean-Marie Martin L’immaginario dell’industria Matteo Moscatelli 56—65 studioMDA 20—25 Kasmin e Nine Galleries, TJAD / TongJi , stati uniti Architectural Design 57 Due gallerie d’arte a New York Group Massimiliano Savorra Palazzo delle Belle Arti dell'AHUAC, Hefei 66—73 20 Una scuola Hui-style Caruso St John Jianlong Zhang Architects Heong Gallery, Downing College, 26—33 Cambridge, Regno Unito Neri&Hu Design And 67 attualità del pittoresco Research Office Federico Tranfa cappella, Suzhou 26 74—93 Un percorso iniziatico Matteo Vercelloni Sauerbruch Hutton M9 Museum District, venezia Mestre 75 Sauerbruch e Hutton: M9, non un museo ma un brano di città Francesco Dal Co

2 SOMMARIO Selldorf Architects, Spazi Parc des Ateliers, Luma Arles p. 36 Tadao Ando, per l’arte Wrightwood 659, Chicago p. 48 studioMDA, Kasmin e High Line Nine Galleries, New York p. 56 Caruso St John, Heong Gallery, Cambridge p. 66 Sauerbruch Hutton, M9 Museum District, Mestre p. 74

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34 casabella 894 35 1 Nuove fucine dell’arte collezionista di origine svizzera Maja Hoffmann, La Mécanique Générale: vista Francesca Serrazanetti Selldorf Architects, dell’interno, utilizzato per cresciuta in una famiglia già impegnata in azioni laboratori performativi, con le Nei pressi di Alyscamps –la necropoli romana filantropiche in campo artistico grazie al capitale colonne in ghisa e le capriate in acciaio preesistenti dipinta da Van Gogh e Gauguin nei loro derivante da un’importante azienda La Mécanique Générale: view soggiorni ad Arles del 1888– due eventi hanno farmaceutica. Oltre a dare vita a questo polmone of the interior used for performance workshops, segnato, nella storia francese, la trasformazione artistico, il recupero delle rovine industriali Parc des Ateliers, with the existing steel trusses del paesaggio urbano. Il primo è lo scavo del restituisce alla città un’area che ha avuto un and cast-iron columns canale di Craponne, realizzato nel XVI secolo per ruolo chiave nella sua storia, introducendo un irrigare la regione; il secondo, risalente ai primi nuovo spazio pubblico e un parco di 41.800 mq, anni di sviluppo ferroviario, è la costruzione disegnato dal Bureau Bas Smets. della linea per i treni Avignone-Marsiglia, esito di L’area degli Atelier si trova al livello della Luma Arles animati dibattiti per la selezione di una delle ferrovia, sette metri più in basso rispetto alla rotte in esame. La linea prescelta passava per strada e alla zona circostante, inclusa la base Arles e proprio qui prevedeva la costruzione di dell’edificio di Gehry: nel contrasto con officine per la produzione e riparazione di l’ipertrofico progetto della nuova torre, che si

1 motori, oltre a un grande deposito di macchinari innesta con violenza nel profilo di Arles, emerge per la nuova rete della SNCF, la Société Nationale la sobria cura dell’intervento di Selldorf, che des Chemins de fer Français. La posizione sembra fare il meno possibile con estrema pianificata era in gran parte sul terreno occupato attenzione, mantenendo l’identità del luogo e dell’antica necropoli, la cui demolizione diede riattivando il vocabolario industriale esistente. origine ad accese discussioni. Colpisce l’ossimoro, implicito nel coinvolgimento Iniziati durante l’inverno del 1844, gli Atelier di questi due progettisti, tra l’identità furono completati nel 1856 e poi ampliati nel trasgressiva di un architetto come Gehry e quella 1872. A metà del Novecento occupavano una rigorosa di Selldorf. superficie di undici ettari e contavano circa 700 Si leggono, qui, la sensibilità di quest’ultima dipendenti: oltre a officine e depositi, nell’area si per il recupero della memoria, il rispetto delle trovavano un centro sociale per gli operai, uno preesistenze, la parsimonia nell’impiego dei studio medico, una mensa, una biblioteca e altri mezzi espressivi e l’esperienza in ambito servizi. Gli Atelier cessano la loro attività nel espositivo, esito delle numerose collaborazioni 1984 e vengono lasciati in stato di abbandono: con alcuni tra i più importanti centri d’arte ma nel sito resta la traccia, chiaramente visibile contemporanea di New York e non solo. nel tessuto urbano, di quello che per oltre un Ricordiamo qui il riuso di un magazzino sulla secolo era stato un importante polmone tredicesima strada (2002) e la Gladstone Gallery economico e sociale. (2008) pubblicati sui numeri 732 e 784 di Qui, nell’area a est della ferrovia, la Luma «Casabella», ma si pensi anche al precedente Foundation ha avviato un processo di recupero progetto di recupero della Neue Galerie di New destinato a realizzare nuove strutture per l’arte York (2001) o alla galleria di David Zwirner, che contemporanea. Il masterplan e il recupero degli dal 2008 ha dato avvio a una serie di incarichi edifici esistenti sono guidati dallo studio di nell’art district di West Chelsea. Con questi lavori Annabelle Selldorf, chiamato a entrare in Annabelle Selldorf ha generato una maniera relazione non solo con il sito industriale ma molto controllata di lavorare in un contesto, anche con la nuova torre affidata a Frank Gehry quello dell’arte contemporanea, generalmente (un edificio di dieci piani dai fronti frastagliati caratterizzato da approcci esibizionisti. rivestiti in alluminio riflettente, la cui Gli interventi nel Parc des Ateliers di Arles te Ô

é h inaugurazione è prevista nel 2020). recuperano gli edifici preesistenti convertendoli rv

he La fondazione è una no-profit fondata dalla in spazi espositivi e performativi polifunzionali,

36 Spazi per l’arte casabella 894 37 5

2

2 5 residenze e laboratori che possano accogliere e 7 Selldorf Architects rendering dell’area, con planimetria del Parc des 1 Luma Arles, Parc des Ateliers, il disegno del parco curato Ateliers. Legenda 1 Les Forges 2 favorire processi creativi e di ricerca Arles, Francia (Les Forges, dal Beaureau Bas Smets (spazi espositivi) 2 La interdisciplinari. Mécanique Générale, rendering of the area, Mécanique Générale (spazi 6 3 La Formation) with the design of the park Les Forges è un sistema di dodici campate, 4 espositivi e workshop) 3 La 5 by Bureau Bas Smets di cui la metà senza copertura. Qui, Grande Halle (spazio espositivo 3 ristrutturato su progetto scheda del progetto ets veduta del Parc des Ateliers: nell’impronta originale all’estremità occidentale dell’Agence Moatti-Rivière e progetto in primo piano l’Arts Resource Philippe Donjerkovic) 4 La dell’edificio, si crea una corte all’aperto, usata Selldorf Architects Center progettato da Frank Formation (residenze per artisti eau Bas Sm r Gehry come caffetteria e luogo di incontro. L’interno è e studio di danza) 5 La Maison team di progetto

© Bu Annabelle Selldorf, FAIA view of Parc des Ateliers: uno spazio flessibile in cui un nuovo mezzanino, du Projet (Café e Visitor Center) 6 in the foreground, the Arts 6 centro medico e guesthouse (Principal); Sara Lopergolo, 3 oltre ad ampliare la superficie espositiva, crea AIA (Partner in Charge); John Resource Center designed 7 Arts and Research Center 1 by Frank Gehry una dimensione minuta e una più intima (progetto di Frank Gehry) 4 5 Spencer (Project Manager); 4 plan of Parc des Ateliers. David Bench, RA (Project relazione con l’opera d’arte. Le colonne 5 Architect); Jacob Segal, Ian vista aerea dl sito: Les Forges Legend 1 Les Forges 2 3 e La Mécanique Générale strutturali in ghisa e le capriate in acciaio sono (exhibition spaces) 2 La 5 Ollivier, Rachel Robinson aerial view of the site: Mécanique Générale 4 (Architectural Designers Les Forges and La Mécanique state mantenute e stabilizzate, mentre la (exhibition and workshop - Les Forges); Ian Ollivier Générale copertura preesistente è stata sostituita da un spaces) 3 La Grande Halle (Architectural Designer - Mécanique Générale); Laura nuovo rivestimento che evoca le tegole originali. (exhibition space refurbished by Agence Moatti-Rivière and Bown (Architectural Designer - La Formation) La Mécanique Générale presenta un Philippe Donjerkovic) 4 La 4 intervento più visibile. Un’addizione alla regolare Formation (artist residences architect of record and dance studio) 5 La 2 5 5 5 C+D Architects serie di campate consente di creare uno spazio Maison du Projet (Café and interior designer doppio di 20 metri privo di pilastri, per opere Visitor Center) 6 medical 4 Selldorf Architects te center and guesthouse 7 Arts client Representative & Hô

é particolarmente grandi o performance. Se la and Research Center (project construction Management rv e by Frank Gehry) H forma di questa addizione replica la struttura del Myamo capannone preesistente, la facciata in cemento 6 strutture 4 A–Les Forges: piante piano terra Terrell scuro e il tetto in zinco lavorano sul contrasto. e primo piano, sezione; consulenti Come Les Forges, l’intero edificio è illuminato da B–La Mécanique Générale: Bureau Bas Smets pianta e sezione; C–La (paesaggio); Studio ZNA / Formation: pianta piani terra, lucernari lineari che lo riempiono di luce diffusa. 1 Ingelux (illuminazione); La Formation accoglie spazi di residenza per primo, secondo e sezione. Cabinet Lamoureux Acoustics Legenda 1 ingresso 2 corte 5 (acustica); Casso Associates gli artisti e una sala prove. Gli interni sono stati 3 caffetteria 4 gallerie espositive (prevenzione incendi); qui completamente riconfigurati, con 5 spazio tecnico 6 workshop Transsolar (sostenibilità); 7 camere da letto 8 area giorno Socotec (“code”); Bureau chitects l’introduzione di un nuovo livello rispetto alla comune 9 cucina 10 lounge Michel Forgue (gestione 11 sala prove 12 bagni rf Ar struttura originale. dei costi) do 13 spogliatoio 14 stanza 4 6 ll committente e Gli spazi abitativi, al piano inferiore, sono per terapie f S LUMA Foundation

y o A–Les Forges: ground and una struttura nella struttura: le camere da letto dati dimensionali tes first floor plans, section; scala 1/1000 r 1.016 mq Les Forges ou si affacciano su uno spazio di distribuzione a B–La Mécanique Générale: C sviluppo verticale, con una nuova scala centrale plan and section; C–La 4.518 mq La Mécanique Formation: ground, first and Générale in acciaio. Metà della pianta è occupata da un second floor plans, section. 1.530 mq La Formation 1 grande soggiorno in comune, in continuità con Legend 1 entrance 2 courtyard cronologia 3 cafe 4 exhibition galleries luglio 2014: Les Forges l’esterno grazie a una facciata vetrata. La scala 5 technical space 6 workshop scalagiugno 1/1000 2016: La Mécanique preesistente conduce invece dall’ingresso 7 bedrooms 8 living area Générale 9 kitchen 10 lounge maggio 2018: La Formation principale direttamente alla sala al terzo livello, 11 rehearsal rooms localizzazione garantendo l’accesso pubblico e mantenendo allo 12 bathrooms 13 dressing Arles, France stesso tempo la privacy degli alloggi. Seguendo rooms 14 therapy room scalafotografie 1/1000

la consolidata tendenza che, con l’arte, ridà vita 1 14 Hervé Hôte 1 12 8 5 10 Jean-Baptiste Marcant agli spazi lasciati in eredità dallo sviluppo 13 9 Lionel Roux industriale, il Parc Des Ateliers restituisce Courtesy of Selldorf Architects alla città una fucina del contemporaneo. 11

7 7

0 25m

38 Spazi per l’arte casabella 894 scala 1/1000 39

scala 1/1000 7

8 10

7 vista delle gallerie espositive a doppia altezza, con il nuovo livello introdotto da Selldorf view of the two-story exhibition galleries with the new level added by Selldorf 8, 9 gli spazi aperti della corte, nell’impronta dell’edificio Les Forges te

Hô preesistente é

rv the open spaces of the e H courtyard, in the footprint of the previously existing 9 building 10, 11 gli spazi espositivi con le strutture originali: pareti portanti in muratura, colonne in ghisa e capriate in acciaio exhibition spaces wiht the original structures: load- Il primo edificio bearing masonry walls, cast-iron columns and steel completato, nel 2014, trusses è uno spazio espositivo a doppia altezza che mantiene e recupera il

vocabolario industriale te te Hô Hô é é

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The first building completed, in 2014, is a two-story exhibition space that conserves the original industrial vocabulary, introducing a new mezzanine level. te Hô é rv e H te Hô é rv e H

40 Spazi per l’arte casabella 894 41 12

13 15

12 lo spazio espositivo polifunzionale the multifunctional chitects exhibition space rf Ar 13, 14 do ll

e vista dall’esterno, con il nuovo f S elemento in blocchi di cemento y o scuro e tetto di zinco che replica tes r la struttura esistente, creando ou

La Mécanique C all’interno uno spazio libero x 14 di 20 metri r ou

Générale view from the outside with l the new element in dark ione concrete blocks with a zinc l roof that replicates the 16 existing structure, creating an open space of 20 meters inside 15–18 lo spazio espositivo, illuminato da lucernari lineari, ha una Originariamente usata struttura che consente la massima flessibilità nella

come officina per le chitects divisione degli ambienti

automotrici della SNCF, rf Ar the exhibition space lit do by linear skylights has ll adesso ospita uno e a structure that permits f S

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oltre ai laboratori l ione di Atelier Luma. l 17 Originally used as a garage for the railcars of SNCF, now containing a very flexible exhibition chitects rf Ar

and performance do ll e

space, as well as the f S y o

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18 chitects rf Ar do ll e chitects f S y o rf Ar tes do r ll ou e C f S y o tes r ou C

42 Spazi per l’arte casabella 894 43 19

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19 il corpo scale che, dall’ingresso, conduce alla sala prove al piano superiore the stairwell leading from the entrance to the rehearsal on m i room on the upper level

r & S 20, 21, 22 La Formation vista dall’esterno, in continuità con il perimetro

La cant, Victo

r della corte aperta de Les Forges La Formation seen from the outside, in continuity with Formation tiste Ma p the perimeter of the open courtyard of Les Forges Jean-Ba 23, 24 21 il corpo scale illuminato dall’alto the stairwell lit from above

Era il centro di formazione dello staff SNCF, oggi è destinato a residenze per artisti te e a una sala utilizzata Ô te é h Ô rv per prove, laboratori é h he rv

ed esibizioni. he 22 24 This was the training center for the SNCF staff, now set aside for artist residences and a space used for rehearsals, workshops and exhibitions. te Ô é h rv he on m i r & S te Ô cant, Victo é h r rv he tiste Ma p Jean-Ba

44 Spazi per l’arte casabella 894 45 29

25 27

25, 26 29, 30 le camere da letto degli artisti la sala prove, usata anche sono spazi individuali intimi, per spettacoli aperti al pubblico, realizzati in pannelli X-LAM è circondata da ampie di legno massiccio a strati finestrature che portano incrociati. Gli arredi sono aerazione e illuminazione realizzati in materiali sostenibili naturali innovativi, sviluppati da Atelier the rehearsal room, also used Luma a partire da elementi for performances open to naturali the public, is surrounded the artist bedrooms are by large windows to bring individual personal spaces natural ventilation and light made with X-LAM cross laminated wood panels. The furnishings are made with innovative sustainable materials developed by Atelier Luma starting with natural elements 27, 28 la nuova scala in acciaio e il ballatoio distribuiscono e collegano i due livelli di camere the new steel staircase and balcony provide access to the two bedroom levels ekwa te te rz Ô Ô é h é h y ko rv rv he he sand

26 28 30 te Ô é h rv he te Ô é h rv he te Ô é h rv he

46 Spazi per l’arte casabella 894 47 ture in the ,’ where the hall existing buildings were guided by the industrial vocabulary features the three-story house has a plan formed by page 57 color and weave of the outer surfaces, page 67 exploited as a lighting control device. A urban renewal of the center of Mestre tested in various other projects, such as presents itself on the ground floor with studio of Annabelle Selldorf, charged original steel columns, while the two wings, separated by a terrace over Two art galleries in New York like those inside, have been carefully The timeliness of the picturesque skylight is inserted in the pitch facing and the improvement of its urban fabric. the office building for the GSW real the same materic treatment as the with establishing relations not only exposed concrete floors have been the living area, facing a watery space Massimiliano Savorra studied: to create the rough finish of Federico Tranfa northeast, but inside the facing of the The Fondazione di Venezia, organized by estate company in (1999), or the outside parts in gray brick, while the with the industrial site but also with conserved. The addition of a regular from which a ramp ascends, a solution the facade formwork was made with roof is interrupted by a horizontal rib the Cassa di Risparmio di Venezia as a Brandhorst Museum in Munich in 2008 two upper levels, corresponding to the the new tower designed by Frank Gehry series of spans makes it possible to that has become part of Ando’s style. Carrying out a rigorous exhibition marsh pine planks 10 cm wide, while Downing College, located in the that extends towards the center of the private non-profit foundation with full (see Casabella no. 780, August 2009, and perimeter balconies, form the figure of (a ten-story building with an area of create a double span without pillars, Returning to work at Lincoln Park, the program that combines historic the truncated pyramid features of the southern part of Cambridge, is one of space, enough to contain the electrical administrative autonomy, promoted the the more general coverage of their work an ‘elementary house’ transposed into 15,831 square meters for exhibition for the display of particularly large architect has taken a different design figures of postwar art with living, roof were done with MDF panels the newest institutions of the English tracks facing downward, and to conceal project and funded its construction, with in Casabella no. 737, October 2005). an interior solution, like a child’s spaces, archives, a library, offices and a works or for dance performances. approach. Wrightwood 659 has been highly acclaimed or emerging artists, covered in plastic to create smooth university city, since it was founded as the indirect lighting of the space. The an initial budget of 100 million euros. Though it would be better to resist the drawing with a pitched roof and cafe, slated to open in 2020). While the form of this addition created for the Alphawood Foundation, Paul Kasmin was one of the first to surfaces, eliminating joint lines and “recently” as 1800. The original complex walls contain three large openings: one Operating as permitted by its status, the temptation to explain Sauerbruch parallel walls, completely covered by The foundation –a non-profit replicates the structure of the existing whose mission is to support projects move his gallery –founded in 1989 in giving the ceiling a monolithic composed of three long wings built beside the entrance door, facing the Foundation first developed a detailed Hutton’s treatment of the theme of the strips of wood separated at regular initiative created and run by the shed, the concrete facade and zinc roof and activities in the field of conserva- SoHo– to Chelsea, in 2000. Since then appearance. around a vast green courtyard was First Court, and two that put the gallery functional program for the transforma- enclosure in the light of the considera- intervals: another ‘weave’ and remind- collector of Swiss origin Maja Hoff- work by means of contrast. As in Les tion, promotion of the arts and the he has continued to expand his Next to the Kasmin Gallery, designed by William Wilkins (1778– interior into visual contact with the East tion of one of the most important central tions of Gottfried Semper, looking at er of the ‘textile’ origin of the architec- mann– did not foresee only the Forges, the whole building is lit by defense of LGBT rights. Alphawood activities in the district –once an studioMDA has also created the High 1839) in a neoclassical style, and built in Lodge Garden. Each of them literally areas of Mestre, partially containing their works it is inevitable to think about tural type. Entering the hall, the creation of exhibition spaces, but also linear north-south skylights for Foundation was formed by Eychaner, industrial zone of , now Line Nine, based on a new way of 1807-1822. Though Wilkins’ layout was frames a fragment of the surrounding abandoned or decaying buildings, which the parts of Der Stil that refer to fabric quadrangular openings emerge, placed of residences and workshops to diffused brightness. president of Newsweb Corporation and containing many artspaces and organizing spaces for art. The High still incomplete, the college has grown landscape, establishing a strong bond called for the implementation of a and ceramics as the forms of workman- in a strategic way with respect to the accommodate creative processes and La Formation, originally the a committed social activist, as he cultural institutions– by opening Line Nine is a “turn-key” facility that through many additions, including of continuity with the history of the complex project in functional terms, in ship from which every type of cladding is scenes they set out to frame, the interdisciplinary research in the heart training center for SNCF staff, is the describes himself. Wrightwood 659 is other galleries at 10th Avenue and reinterprets the European passages of some from modern and contemporary college. The gallery is made up of two an area of about 17,000 square meters. derived. Quite often, in fact, Sauerbruch landscape portions of the surround- of Provence. Besides this artistic last of the buildings to be completed. next door to Eychaner’s house, in a 27th Street, near the famous High the 19th century. In this case, studi- times. In 2005 Caruso St John was spaces: the vestibule, which has the Later, at the end of 2009, an international Hutton make use of “ceramic weaves” to ings they are designed to highlight. resource, the recovery of the industrial Opened in May 2018, it houses resi- typical brick building from the 1920s. Line. oMDA has concentrated on the idea of commissioned to restore the monumen- scale and atmosphere of a domestic invitational competition was held, make the dual nature of their construc- From the ceiling a virtual grille hangs ruins located to the south of the center dences and performing arts spaces. This choice seemed consistent with the The design of the new Kasmin a single space of about 900 square tal dining hall, a project that expanded room, and the exhibition space itself. In involving the architects Massimo tions explicit or even eloquent, where the in the air, composed of incandescent of Arles restores to the city an area that Besides renovating the original vision of the Alphawood Foundation, Gallery was assigned to studioMDA, meters to contain a series of small gal- to include the service spaces and offices the section, the first is marked by a low Carmassi, David Chipperfield, Pierre- enclosure is lightly suspended from the light bulbs with bronze details, played a key role in its history, intro- facades, the project has completely with its accent on urban conservation, founded in 2002 by Markus leries: new exhibition spaces for in the adjacent building. Some years wooden ceiling painted white, while the Louis Faloci, Luis Mansilla and Emilio structure, hiding the latter from view forming a suspended luminous level, a ducing a new public space and a park reconfigured the interiors, introducing and in keeping with his way of ap- Dochantschi, who worked at length “full-service boutiques” ranging in later, in 2013, Caruso St John received second takes advantage of the full Tuñon, Matthias Sauerbruch and Louisa with the presence of its vertical and solution that brings out the geometric of 41,800 m2, whose design was a new level with respect to the former proaching established contexts or for Zaha Hadid, on projects which size from 46 to 120 m2. the request to make a small art gallery volume of the roof, which remains Hutton, Eduardo Souto de Moura horizontal pattern, and the lively colors rigor of the whole while emphasizing assigned to the Belgian firm Bureau two-story structure, and thus signifi- historical buildings Ando has once included the design and construction The layout is very simple: along a that would involve the transformation visible. In spite of the small area, (images of all the projects are shown of all its parts. In the case of the M9 this the collective function of the space Bas Smets. cantly enlarging the floorspace. again focused on the complete of the Rosenthal Center for Contem- central corridor that connects 27th of the stables located at the Regent thanks to the asymmetrical placement herein). In 2010 the firm of Sauerbruch is even more evident when one enters the below. The area of the Ateliers is at the The residential spaces on the lower conservation of the existing enclosure, porary art in Cincinnati. StudioMDA and 28th Streets, internal windows Street entrance. The idea of a modest of the windows and the door between Hutton was announced as the winner. building, leaving the plaza in front of the level of the rail line, seven meters level represent a structure in the alongside a radical reconfiguration of has a long history of collaboration offer a view of each of the nine project in a context of such grandeur the rooms the space feels variegated The area is bordered by Via Poerio, entrance, after having observed the below that of the street and the structure: the bedrooms face a vertical the internal spaces. The interiors have with Paul Kasmin, having already exhibition spaces. Featuring a did not appeal to the architects, but the and dynamic. The natural light from connected to the main Piazza Ferretto, elevation on Via Brenta Vecchia. Here, page 37 surrounding zone, including the base access space with a new central steel been emptied out, transforming the designed other spaces as well as concrete pavement with different opportunity to create a new public space the lower windows, though not as Via Brenta Vecchia and Via Pascoli, while after having encountered the auditorium New art hotbeds between of the building designed by Gehry: in staircase. Half the plan is occupied by walls into a wrapper, a modest brick exhibitions for him; but it also has slopes, the central throughway did make the job potentially interesting. controlled as the overhead lighting, a fourth side is occupied by modest, sunken at the end of the layout, visitors the railway and the Champs Elysées contrast with the hypertrophic design a large shared living area, in continuity screen that erases the differences considerable experience in the sector, maximizes ceiling heights, adapting As they have stated, the almost domes- triggers a sensation of proximity with fragmented constructions. Like the ideas ascend along a staircase lit by a long Francesca Serrazanetti of the new reflecting tower, the sober with the outside thanks to a glass between the internal and external thanks to the creation of over 140 to the topography of the site to create tic dimension of the new courtyard was the objects on display, as might happen developed by the other invited partici- slender window, a masterful solution also care of Selldorf’s intervention stands facade with folding doors. The existing images of the building, giving it the booths in art fairs all over the world, an interesting “dynamic” route. The similar to what Jim Ede had envisioned in a private home. Outside, the small pants, the project by Sauerbruch Hutton in static and constructive terms, whose Near Alyscamps –the Roman necropo- out, seeming to do as little as possible staircase leads from the main entrance appearance of an epidermis without a and many galleries (including, in New entrances of the galleries have curved at Kettle’s Yard, halfway through the building separates the public space of called for the construction of a new conception has nothing in common with lis painted by Van Gogh and Gauguin with extreme attention, conserving the directly to the dance studio on the dermis. In spite of the ordinary York alone: Bortolami Gallery, Anton walls that replicate the form of the 1950s. Harold Stanley Ede (1895–1990), the entry court from the garden behind building to contain the museum in the that of the wrapper. It is no coincidence during their time in Arles in 1888– two identity of the place and reactivating third floor, providing public access and character of the material – the most Kern Gallery, Lisson Gallery, Carpen- main facade, revealing the spaces to known as Jim, was a collector and a it, and its insertion in the context is so area bordered by Via Brenta Vecchia and that each of the ramps of the staircase, events in French history have marked the existing industrial language. conserving the privacy of the residenc- common type of brick – the sizes of the ters Workshop Gallery, Richard visitors. The metal pylons, like the friend of artists, but above all he was delicate as to be almost invisible. Along Via Pascoli, and the conversion for naturally placed against the facade facing the transformation of the urban Here we can see Annabelle Sell- es at the same time. The space for surfaces are striking for those who Taittinger Gallery, Nahmad Contem- beams, of the High Line running over the assistant curator of the National the brown brick wall that extends into commercial facilities of the 16th-century the new plaza, concludes with one of the landscape. The first was the excavation dorf’s sensitivity in the recovery of rehearsals, workshops and exhibitions enter Wrightwood 659, fully expressing porary, 303 Gallery, David Nolan the galleries have been left exposed Gallery of British Art, which later the new volume, only the unusual size Convento delle Grazie (a military district tall portals in reinforced concrete prior of the Canal de Craponne, done in the memory, the respect for existing is surrounded by large windows that Ando’s design intuition: the lobby Gallery). and painted white, to grant the became the Tate Gallery. In 1956 Jim of the large square window betrays the since the early 1800s). The placement of to the landings, creating a tersely elegant 16th century to irrigate the region; the elements, the delicate thrift in the use bring natural ventilation and lighting: extends for the full height, in fact, all With light penetrating from above various spaces an industrial atmos- and his wife Helen reached Cambridge presence of something new. In English- the museum, now known as M9, adjacent spatial system. The portals offer access to second, dating back to the early years of expressive means and her experience a warm, intimate space that offers the way to the third floor. The space is and maximum spatial flexibility, this phere typical of the zone. As in a in search of a majestic dwelling, but speaking culture the term picturesque is to the convent with access from Via the exhibition spaces, whose configura- of rail development, was the construc- with exhibition spaces, the result of direct contact between the audience crossed by a staircase that rises with new gallery for Kasmin has been traditional museum, in the spaces of they ended up purchasing four tumble- connected with the observation of the Poerio led to the decision made by tion cannot be grasped today since they tion of the Avignon-Marseille rail line, many collaborations with some of the and the artists. Following the estab- ramps supported by a partition of conceived as a large exhibition space, the High Line Nine the design of the down cottages around the church of St. natural landscape as an aesthetic form Sauerbruch Hutton to redesign the are completely filled with installations, the result of heated debate to select most important contemporary art lished trend in which art brings new reinforced concrete, where the land- without columns, suitable to host lighting system, which skillfully Peter. With the help of the architect that can also be reproduced in a pedestrian circulation system in this mostly interactive, made to engage the one of the routes being considered at centers and galleries, in New York and life to the spaces left behind by ings are detached from the enclosure. large works of art. The most interest- mixes artificial and natural light, has Rowland de Winton Aldridge, Ede designed context. Likewise, the interest portion of the city, making the new plaza audience in a sort of voyage through the time. The selected line passed elsewhere (we can mention two industrial development, Parc Des Walking on the staircase, one notices ing aspect of the project is the roof, been fundamental to create the right remodeled the buildings with the aim of in the archaic forms of spontaneous formed by the buildings they have Italian history in the 20th century. through Arles, and precisely at that projects in Manhattan, in 2002 and Ateliers grants the city a new contem- that the sequence of full and empty designed as a garden for temporary atmosphere for places that are creating an open house, for the benefit architecture is synonymous with designed into a joint capable of establish- The contrast between the ceramic location it called for the construction 2008, published in «Casabella» no. 732 porary hotbed of creativity. parts of the masonry is the negative of sculpture shows, in line with the simultaneously representative, of students, who he personally guided positive environmental qualities, an ing a direct relationship between the enclosure and the fair-face concrete that of depots for the production and repair and no. 784, but also the painstaking what can be observed on the building’s programs of the gallery, known as the familiar and welcoming (for this on visits to his collection. In 1966 Ede idea of comfort and welcome that is not commercial spaces and those of the can be seen on the staircase, however, is of railcars, as well as a large machinery project of the Neue Galerie in New York facade, though with the disturbance of Kasmin Sculpture Garden. In this way reason, at the position of 28th Street, donated the dwelling and its contents to diminished by the small size of spaces. museum. The design of this internal void also announced by the view of the facility for the new network of the or the David Zwirner gallery in page 49 the naive decorations placed over the the roof –landscaped by Future near the entrance of the High Line, an the Cambridge University, but in 1970, Clear traces of all this can be seen in the was honed in the passage from the building seen by those who walk along SNCF, Société Nationale des Chemins Chelsea). Tadao Ando for Fred Eychaner, courses in earthenware. The emptying Green– offers an extension of the Italian-style cafe and wine bar has three years before retiring to Edin- care with which the Heong Gallery has competition project to the definitive Via Brenta Vecchia. From this angle of de Fer Français. The planned position The projects of Annabelle Selldorf a social activist and supporter of the construction is accompanied by visual plane of the High Line, and also also been inserted). burgh, he expanded the residence, to been designed and built, for the benefit version: the elevation of the museum perspective, in fact, it is possible to see was to a large extent occupied by the in the Parc des Atelier of Arles refur- of Obama and Hillary Clinton: the only substantial transformation of an exceptional showcase for the Made with white bronze parts, the which he also added a gallery, in a of its visitors and the works that are facing the plaza, in fact, has become that a concrete body with long skylights old necropolis, whose demolition gave bish existing buildings, converting Wrightwood 659 in Chicago its volume, the addition of a roof level, communication of the works on view, facade –located below the High Line project by Sir Leslie Martin and David displayed there. linear following the reconfiguration of emerges from the closed, colored volume. rise to more heated debate. them as two exhibition spaces, a dance Jean-Marie Martin set back from the edge of the walls and exploiting the enormous success of next to the entrance of the Kasmin Owers. In the eyes of Adam Caruso and the staircase, giving rise as we shall see The skylights conclude the uppermost, After getting started in the winter studio, guesthouse, visitor center and configured in a discreet way. The the elevated promenade that attracts Gallery– metaphorically links back to Peter St John, the opportunity to to one of the most successful solutions vast open floor of the construction, the of 1844, the Ateliers were completed in cafe. The Kaszubi are an ethnic group native reduction of the cladding to a thin skin over six million visitors per year. We the history of the site, which con- generate a quality space, incorporating page 75 developed by the architects for the only level that offers the possibility – 1856 and then expanded in 1872. Les Forges, the first building to be to the historical region of Pomeralia in has led to the use of uncommon should remember that the Kasmin tained a metal recycling center for the existing features located at the Sauerbruch Hutton: M9, not a museum internal exhibition spaces. The plaza since it is empty, awaiting use for Halfway through the 1900s, 100 completed, in 2014, is a system of 12 eastern Poland. During the Civil War solutions to ensure thermal perfor- Gallery specializes in the presentation over 50 years. To create the complex Regent Street entrance in the gallery, but a piece of the city formed by the new constructions can temporary exhibitions – of observing the years after their opening, they occupied spans, half of them without roofing. (1861-65) a Kashubian community mance, while the gutting of the volume of large-scale sculpture, getting facade, studioMDA has turned to became sufficient reason to accept the Francesco Dal Co now be reached from the central Piazza design and extension of the plan, the an area of 11 hectares and had about Here, in the original footprint at the settled in the zone that contains has forced the designers to prepare a involved in public art projects in New Polich Tallix, a foundry with a long job, which was still modest but thus Ferretto by crossing the courtyard of the intelligence of the solution developed to 700 employees: besides garages and western extremity of the building, an Lincoln Park, in the northern part of steel support structure for the mason- York and the world, such as the recent tradition of collaboration with artists. took on new meanings. The purpose of In 2005, within the policy pursued by the historic convent, which has been allow the roof to filter natural light also depots, the area contained a communi- outdoor courtyard has been created, Chicago. ry, built into the concrete bodies. Muro by Bosco Sodi at Washington In pursuit of an elegant form that the new building would be to create a municipal administration of Venice for supplied with a roof; it is faced by the onto the concrete walls. ty center for the workers, a medical used as a cafe and gathering place, for The population has changed over While the pillars in traditional Square Park (2017), Sheep Station by would suggest the material consisten- place where study, conversation and art the regeneration of Mestre, the idea arose main entrance of the M9, whose ground These are simply some preliminary center, a dining hall, a library and presentations and concerts. the years, and Bruce Graham, the reinforced concrete mark the exhibi- Claude and Françoise-Xavier Lalanne cy of stone and at the same time the would converge in a natural way. The of creating a museum that would level can also be reached from Via Brenta considerations. Many others could arise other services. The structural columns in cast iron architect of SOM who among other tion spaces with anonymous configura- in Chelsea (2013), and the Dodecahe- mastery of the firm’s artisans, the First Court is a versatile space, which document the history of the Venetian Vecchia by way of the atrium and the walking through all the spaces of M9, as The Ateliers were shut down in 1984 and the steel trusses have been buildings in Chicago designed the John tions, the volume of the staircase relies dron by Mark Ryden at PMQ Gardens designers scanned a sheet of slate to besides functioning as an entrance to territory during the 20th century. In that bookstore. The convent has been visitors will be able to do. What does and left in a state of abandon: but the conserved and stabilized, while the Hancock Center, also built a home on large concrete surfaces used at this in Hong Kong (2018). extract its texture, which was then the college lends itself to become an century Mestre took on the role of an renovated with discretion; it contains seem certain, however, is that this new site conserves clearly visible traces of existing double-pitched roof has been there. The echoes of the violent point by Ando as a facing, to the point Inside, the “waffle” roof is formed digitally manipulated to create – outdoor foyer for openings and events. urban outlet for industrial settlements, commercial spaces arranged in long work by Sauerbruch Hutton fully lives up what for over a century was an impor- replaced with a new covering that protests against the Vietnam War that of concealing its structural function. by 28 concrete coffers, each contain- through Z-brush software – a motif The intimate quality of the place is which were concentrated in Marghera. galleries, while the courtyard has been to the expectations of the promoters of tant economic and social resource. references the original clay tiles. The took place in Lincoln Park in 1968 have This is no small transformation, one ing a large skylight. This evocative that could be applied to the whole underscored by its materials and the From 1925 to 1970 the companies protected by an elegant translucent roof the project. It the goal was to create a On the western part of the site, in interior is a flexible two-story space died away, and the area around that has taken place in recent years and structural grid permits maximum facade. This digital model formed the way they have been used. The Heong operating in Marghera grew in number supported by slender posts, unfortunate- work inside the anonymous fabric of a the 1990s a regeneration project was with a new mezzanine, which besides Wrightwood Avenue has become one of now characterizes Ando’s work. Also flexibility in the subdivision of the basis with which to make sand molds Gallery is contained in a volume parallel from 35 to 227, while the population of ly disturbed by the presence of unwanted city like Mestre that would impose a launched in collaboration with the adding to the exhibition area creates a the most sought-after residential zones considering this in the light of what is space (in fact, the new gallery also used for the pouring of white bronze to the street, built in wood and brick. Mestre increased tenfold. The ambition lighting fixtures clumsily attached to the change of pace also in terms of future regional government, bringing new smaller dimension, offering a more of Chicago, a favorite of the “Trixies suggested by this latest project, the contains private “viewing rooms” and parts to be assembled at the site. The The doors and windows are in natural of the supporters of the building of the trunks, which would have been better off growth, then the project is a success. facilities for training and higher intimate spatial experience in relation and Chads,” singles in their thirties, audience that arrived in the fall of 2018 offices). The facade on the street, in result bears witness to the fertile oak, while the floors are clad with museum seen in this article was to create without any added features. What remains to be seen is how effective education; in the zone to the east of the with the works of art. with their taste for upward mobility. In for the first exhibition held in Wright- tune with the other Kasmin galleries collaboration between client, archi- encaustic concrete tiles from Iron- a center to compensate for the lack of Observing the construction that has the museum design choices will be, and rail line the Luma Foundation initiated La Mecanique Generale required 1997, on Wrightwood Avenue, Tadao wood 659, titled Ando and Le Corbusier: designed by studioMDA, stands out tect and contractor, in this case bridge, a dark, durable material that cultural services in Mestre, which formed now been completed, the most striking an interesting discussion might develop. a process of recovery aimed at the more invasive alteration: originally Ando constructed the home of Fred Masters of Architecture, could clearly for a large window and a slightly bent communicating not just the history of absorbs the light reflected by the a dramatic contrast with the myriad of thing is of course the enclosure itself. In Though we should admit, “narrating” the creation of new structures for contem- used as a depot for SNCF railcars, it Eychaner, and now he has designed a perceive the distance that now sepa- surface in white self-consolidating the place, but also the relationship internal white walls. The geometry of such offerings in the island city. The its design Sauerbruch Hutton have 20th century is truly a daunting task, porary art. now contains an extremely flexible gallery, Wrightwood 659, occupying a rates the student, as Ando calls concrete, which has permitted the between design experimentation and the long double-pitched roof eases the advocates of the project also had another returned to a construction mode and which is probably impossible to carry out The masterplan and recovery of the exhibition and performance space. The lot of about 1900 square meters. The himself, from his first mentor. precise making of the corners. The artistic research. insertion in the context, but is also aim: that of making a driver for the updated an expressive choice already in a “museum.”

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