The Arup Journal Issue 2 2013 The Arup Journal About Arup Arup is a global organisation of designers, Arup’s core values drive a strong culture Printed by Pureprint Group using engineers, planners, and business of sharing and collaboration. their ® environmental print consultants, founded in 1946 by Sir Ove technology. The printing inks are made from vegetable based oils and Arup (1895-1988). It has a constantly All this results in: no harmful industrial alcohol is used evolving skills base, and works with local • a dynamic working environment that in the printing process with 98% of and international clients around the world. any dry waste associated with this inspires creativity and innovation production diverted from landfill. Pureprint Group is a CarbonNeutral® • a commitment to the environment and the Arup is owned by Trusts established for the company and is certificated to benefit of its staff and for charitable communities where we work that defines Environmental Management purposes, with no external shareholders. our approach to work, to clients and System ISO 14001 and registered This ownership structure, together with the collaborators, and to our own members to EMAS, the Eco Management and Audit Scheme. core values set down by Sir Ove Arup, • robust professional and personal networks are fundamental to the way the firm is that are reinforced by positive policies on organised and operates. The Arup Journal equality, fairness, staff mobility, and Vol48 No2 (2/2013) knowledge sharing Editor: David J Brown Independence enables Arup to: Designer: Nigel Whale • the ability to grow organically by attracting • shape its own direction and take a long- Editorial: Tel: +1 617 349 9291 and retaining the best and brightest email: [email protected] term view, unhampered by short-term individuals from around the world – and pressures from external shareholders Published by Global Marketing from a broad range of cultures – who share and Communications, • distribute its profits through reinvestment those core values and beliefs in social Arup, 13 Fitzroy Street, in learning, research and development, to usefulness, sustainable development, and London W1T 4BQ, UK. Tel: +44 (0)20 7636 1531 staff through a global profit-sharing excellence in the quality of our work. Fax: +44 (0)20 7580 3924 scheme, and by donation to charitable All articles ©Arup 2013 organisations. With this combination of global reach and a collaborative approach that is values-driven, Arup is uniquely positioned to fulfil its aim The full study of Arup’s design contribution to the Montréal bypass to shape a better world. Autoroute 30 (A30) extension, as previewed in The Arup Journal, 1/2013, pp62-63, will now appear in edition 1/2014. Issue 2 2013 We shape a better world | www.arup.com 77738_Cover.indd 1 09/11/2013 08:28 4 Revitalising Amsterdam’s museums: an introduction Joop Paul 6 Refurbishing the Rijksmuseum Karsten Jurkait Siegrid Siderius 26 Enhancing the Stedelijk Museum Marcel de Boer Mariëlle Rutten Siegrid Siderius Frank Van Berge Henegouwen 38 The Bill & Melinda Gates Foundation Campus Peter Alspach Hans-Erik Blomgren Cormac Deavy Steve McConnell Anne Marie Moellenberndt Jay Oleson Sara Paul Betsy Price Simon Reynolds Jesse Vernon 60 The Al Bahar towers: multidisciplinary design for Middle East high-rise Andy Armstrong Giorgio Buffoni David Eames Roy James Leonora Lang John Lyle Konrad Xuereb 74 The Fulton Center: design of the cable net Zak Kostura Erin Morrow Ben Urick 84s Cloudless”: “Lloyd’ reglazing Lloyd’s of London — a first for recycling Mark Bowers Philip King 90 Developing bio-responsive façades: BIQ House — the first pilot project Jan Wurm Front cover: Detail of BIQ House at IBA, Hamburg — the world’s first bio-responsive façade. This page: Rear façade of the refurbished Rijksmuseum in Amsterdam. 11. Pressurised air bubbles rise upwards through the medium, keeping the inner surfaces of the panels clean. 12. The bio-responsive façade stands approximately 320mm proud of the building walls. 13. Detail of the BIQ House façade. 2 The Arup Journal 2/2013 13. The Arup Journal 2/2013 95 77738_Cover.indd 2 09/11/2013 08:28 The Arup Journal 2/2013 3 77738_Text.indd 3 09/11/2013 08:32 Revitalising Amsterdam’s museums: an introduction N 0 250m AMSTERDAM Museumplein 1. Rijksmuseum Van Gogh Museum Stedelijk Museum Concertgebouw 2. 1. The Museumplein in Amsterdam. 2–3. Aerial image of Museumplein showing relative positions of the Rijksmuseum and Stedelijk Museum. 3. 4 The Arup Journal 2/2013 77738_Text.indd 4 09/11/2013 08:32 Author Nowadays the main cultural institutions sited The original building underwent various Joop Paul on the Museumplein are the Rijksmuseum, phases of modernisation, and from 1945 to the Stedelijk Museum, the Van Gogh 1954 its total usable space was extended by Museum (1973) and the Concertgebouw the insertion of intermediate storeys (Concert Hall, 1881) (Figs 2–3). (entresols). In 1954 the Sandberg wing (named after the then director) was added The Rijksmuseum alongside, but this has subsequently made Designed by the long-lived and prolific way for the new extension (nicknamed the Dutch architect Pierre Cuypers (1827-1921), “Bathtub”), the design for which was Introduction the Rijksmuseum was opened in 1885 as the presented in 2004 by Benthem Crouwel In the 23 years since 1990, The Netherlands home of the country’s national museum. Architects. Their plan also included an has invested some €1.5bn in over 40 The collection initially comprised collections extensive renovation of the Weissman museums. Around half of this budget has from the Dutch regents and objects from building, in which various 20th century been spent in the city of Amsterdam, with state institutions, but was soon extended modifications like the entresols were about €500M of that for two museums of to include paintings and illustrations of the removed and the building restored to the international importance. These are the City of Amsterdam. Due the ever-growing original state. As with the Rijksmuseum, Rijksmuseum, celebrated for its Golden Age collection and changing visions for its there have been more visitors than expected. art collection, and the Stedelijk Museum, overall concept and direction, the In the first six months after reopening the which houses the city’s leading collection of Rijksmuseum was renovated several times Stedelijk was visited by 500 000 people, contemporary art. The Rijksmuseum was over the years. Between 1904 and 1916, whereas 800 000 per year were expected. closed in 2003 and the Stedelijk in 2004 for new galleries to the south-west of the main renovations and significant extensions, and building were added — today known as Transforming the square both have now been reopened by Queen the Philips Wing — and later used to With these transformations of the Beatrix: the Stedelijk in autumn 2012 and accommodate and exhibit the collection of Rijksmuseum, the Stedelijk Museum and the Rijksmuseum following in spring 2013. 19th century paintings and drawings donated soon the neighbouring Van Gogh Museum, by Mr & Mrs Drucker Fraser. Between 1950 the Museumplein has gained another These extensive restorations — together and 1960 the original patios were changed dimension, as the main entrances of all the with the 2007–2011 renovation of the into galleries, creating even more space. buildings now point towards the square. Scheepvaartmuseum (the National It is the city’s focus for all kinds of cultural Maritime Museum, focusing on Dutch The latest renovation, based on the designs and social events — for example the annual nautical history), the opening in 2009 of of Cruz y Ortiz, has reinstated the building’s Queen’s Day, sometimes described as the the Hermitage Amsterdam (a branch of original layout. The built-in galleries in the “world’s biggest street party” (to become the St Petersburg Hermitage, focusing atria have been demolished, so that the atria King’s Day in 2014 following the abdication unsurprisingly on Russian art) and the 2012 now offer copious daylighting and a sense of of Queen Beatrix and the accession of King opening, also by Queen Beatrix, of the new space. Paintings, craftsmanship and history Willem-Alexander), and the Uitmarkt, the EYE Film Institute Netherlands — have are no longer separated, but show in one annual opening of Amsterdam’s cultural enabled Amsterdam to regain its status as an chronological circuit an integrated account season at the end of August. international cultural destination alongside of Dutch art and history. A new pavilion has its other well-known attractions to both been added, also designed by Cruz y Ortiz, Catalyst for Arup in Amsterdam inhabitants and tourists. to display the Asian collection. Both projects have not only helped to transform the city, but have also been a The area The museum has been modernised in many further catalyst for the growth of the young Amsterdam’s Museumplein (Museum ways, but at the same time Cuypers’ original Arup office in Amsterdam, following Square) is situated immediately south-west architectural details have been brought back, earlier key projects like the Amsterdam of the outermost canal forming the perimeter illustrating the Rijksmuseum’s new adage: Public Library and the Nescio Bridge. to the city’s historic centre, the unique “Continue with Cuypers”. The Rijksmuseum These important museums have led to a concentric semi-circular rings of streets and is now a fitting attraction for 21st century growing reputation and portfolio for the canals built on reclaimed land in the 17th visitors, the numbers of whom have far firm in the world of Dutch arts and culture, century (Fig 1). exceeded expectations. The museum to which Arup is proud to contribute. welcomed 500 000 visitors in the first two Until the second half of the 19th century months after reopening, compared with the only a handful of peasants’ houses were 2M per year expected.